Marjaana Kella
Marjaana Kella

Amsterdam: Van Zoetendaal, 2002

280 x 220mm., 24 pages. First edition of Kella's highly instructive investigation into the nature of photographic portraiture. Using two studies: one of individuals in hypnotic trances, the other a series of the backs of heads, Kella reveals how the "dumb and still" medium of the photograph challenges us to think in a variety of ways. A fine copy in publisher's illustrated boards. Issued without dust jacket.
[Parr - The Photobook, vol.2]



Jens Liebchen
DL 07 Stereotypes of War. A Photographic Investigation

Berlin: Hackenhauer, 2000

214 x 182mm., 48 pages. First edition, one of an edition of 750 copies. Liebchen gives us an astute lesson in photo-reportage. With his settings set firmly to cliche, we are presented with a selection of sinister images shot in a somewhat shabby but entirely peaceable Tirana. As new in publisher's debossed and printed cloth. [Parr - The Photobook, vol.2]




Christian Boltanski
Inventaire des objets ayant appartenu une jeune femme de Bois-Colombes

Paris: CNAC, 1974

210 x 138 mm, 48 pages. First edition of Boltanki's inventory of the possessions of an anonymous woman, one of a series of studies in which the artist constructs a photographic record of a randomly selected individual. As new, in publisher's printed wrappers.
[Parr - The Photobook, vol.2]




Andreas Magdanz
Auschwitz-Birkenau - Signed

Aachen: Magdanz, 2003

130 x 140mm. First edition of this small and beautiful production by Magdanz. Hardcover with photographically illustrated boards and matching dust jacket in plain cardstock box. Text in Polish. Signed by Magdanz. [Parr - The Photobook vol. 2]




Herbert Spencer
The Visible Word

London: Royal College of Art, 1968

The rare first edition of this major contribution to legibility studies by one of the most influential British communication designers and typographers. Urbane, prolific and unfailingly modest, Spencer was a reformer dedicated to improving standards of design in a field dominated by the printing industry's outdated conventions. But he was also an aesthete with a connoisseur's eye for the wild modernist innovations with letterforms and layout of the 1920s. Spencer launched the seminal publication, Typographica, in 1949, when he was 25, and edited, designed and sometimes wrote for it for 18 years. Equally at home publishing one of the first articles in Britain about concrete poetry (then an international phenomenon), or an illustrated study of the design challenges presented by Braille, he was a new kind of designer-editor, able to think both visually and verbally, and to fuse images and words in meaningful new relationships. Set on the IBM 72 Composer. A near fine copy in the original acetate dust jacket.




Paul Strand
Photographs 1915-1945

New York: Museum of Modern Art, 1945

The true first edition with corrections tipped in to front end paper and no mention of the later printing in the penultimate line of text. A fine copy in a very good+ dust jacket.







RUSCHA, Edward, Billy Al Bergston, Peter Alexander, Charles Arnoldi, Larry Bell, Fred Eversley, Patrick Hogan, Robert Irwin, Craig Kauffman, John McCracken, Edward Moses, Kenneth Price, & DeWain Valentine
A Decade of California Color. 1960-1970

New York: Pace Gallery, 1970

Thirteen loose leaves inserted in a prinded cardstock folder. One title leaf in pink and thirteen leaves black on white, each devoted to a single artist and containing a photograph of the artist, a biography, and a photograph of one piece of the artist's work. Near fine.





Paul Rand
Thoughts on Design - Inscribed

New York: Wittenborn, 1947[1946]

Quarto, 159pp. First edition of the bible of modern graphic design. Inscribed by Rand in the year of publication dated and signed in full. When Paul Rand died in 1996, his career spanned six decades, three generations and numerous chapters of design history. By the late Thirties (Rand's early twenties) he had already started to transform commercial art and was being hailed by the country's leading trade magazine, PM, as the most influential young graphic designer in the country. Rand modeled himself on avant-garde artists such as Paul Klee, El Lissitzky, and Le Corbusier and it was largely through his efforts that European modern art and design - Russian Constructivism, Dutch De Stijl and the German Bauhaus - was introduced to American commercial art. Rand maintained an unfaltering adherence to modernism, and this, the first and most enduring of his books, stands as testament to the fact. A very good copy in a poor example of the iconic dust jacket.




Andreas Magdanz
Dienststelle Marienthal

Aachen: Andreas Magdanz, 2000

First edition.  Hardcover with the image of a B-52 bomber debossed on front board; orange and black printed dust jacket. Text in German and English. A fine copy in dust jacket.




Octavio Paz & Toshi Katayama
Three Notations/Rotations

Cambridge & New York: Harvard University & The Museum of Modern Art, 1974

First edition of this lavish experiment in concrete poetry. This copy inscribed by Katayama on the shipping carton in pencil and in pen by Katayama and his wife, on the reverse of each of the three constructions. Shortly after his resignation as Mexican ambassador to India in 1968, Paz came across an airline timetable constructed of two superimposed and rotating discs. It's ability to divulge varying times, flights, and distances between the world's major cities let Paz to explore the effect such movement might have a poems purpose. In 1971 Paz was appointed Charles Eliot Norton Professor of Poetry at Harvard University where he first met Toshi Katayama already on the faculty of the department of Visual and Environmental Studies. The mutual respect that developed coupled with their shared interest in movement and transformation made the present work almost inevitable. Three full color, 287 x 287mm volvelle constructions designed by Katayama rotate to reveal different combinations of Paz's text. All is contained in a white paper covered cardstock box with the title printed along two sides. All parts in fine condition. Complete with original shipping carton. Uncommon




Roni Horn
Island. [To Place - Book IV]: Pooling Waters

Koln: Walther Konig, 1994

2 volumes, 260 x 208mm, 96pp, 176pp. First and only printing. Both copies fine in publisher's embossed black cloth. Issued without dust jackets.






With an Invitation to the Opening

[Henri Cartier-Bresson]
The Photographs of Henri Cartier-Bresson

New York: Museum of Modern Art, 1947

First edition. Laid in is an invitation to the private opening on February 4th 1947. Occasional light foxing else a fine copy in publisher's printed wrappers.