Here we have two obviously related groups of items.\u00a0 The nudes are self- explanatory: the model takes off her clothes and the photographer takes off his lens cap.\u00a0 The \u201cBad Boys of Photography,\u201d however, deserve a few words.\u00a0 Arthur Ollman, former director of San Diego\u2019s Museum of Photographic Arts, came up with the concept many years ago and mentioned to me that he was hoping to organize an exhibition on the theme.\u00a0 However, when he contacted some of the photographers he wished to include (who will remain unnamed), they responded, indignantly, that they were neither \u201cbad\u201d nor \u201cboys.\u201d\u00a0 So, he shelved the idea, and I retrieve it here, with his blessing.\u00a0 Many of the images made by these fellows are nudes of course, but they address other subjects as well, such as drug culture and religious conformity.<\/p>\n
<\/p>\n
<\/p>\n
l.\u00a0 ALPERN, Merry.<\/b>\u00a0 Dirty Windows<\/i>, Zurich: Scalo, 1995.\u00a0 Hardcover (red-stamped paper over boards), 11 \u00bd x 9 \u00bc inches, 112 pages, 85 duotone illustrations, dustjacket.\u00a0 Stated first edition.\u00a0 Signed, with ephemera.<\/p>\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is Alpern\u2019s defining series of grainy pictures made looking into a bathroom window of a sex club in New York\u2019s financial district, in which people urinate, take drugs, have sex, and count money.\u00a0 A fabulous voyeuristic study.\u00a0 Laid in are an announcement for the book and Alpern\u2019s business card, plus this copy is signed by her.\u00a0 One corner lightly bumped, in mildly rumpled dustjacket.\u00a0 $125<\/p>\n 2.\u00a0 BELLOCQ, E. J.<\/b>\u00a0 E. J. Bellocq: Storyville Portraits<\/i>, New York: Museum of Modern Art, 1970.\u00a0 Hardcover (gold-stamped maroon cloth), 11 \u00bc x 9 \u00be inches, 88 pages, 34 duotone illustrations.\u00a0 Stated fourth printing.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This book represented the initial public rediscovery of work by Bellocq, a New Orleans professional photographer.\u00a0 Working on his own around 1912, he made portraits of prostitutes in the city\u2019s red-light district, known as Storyville.\u00a0 A group of Bellocq\u2019s 8-x-10-inch glass plate negatives were discovered and then acquired by photographer Lee Friedlander, who makes prints on the antiquated printing-out paper.\u00a0 The subjects, both clothed and nude, recline on lounges, sit against neutral backgrounds, and stand in their rooms.\u00a0 Adding to the vintage nature of many of the images are the plate\u2019s deteriorating emulsion and broken pieces.\u00a0 Near fine condition, in rubbed dustjacket.\u00a0 $100<\/p>\n 3.\u00a0 BELLOCQ, E. J.\u00a0 <\/b>Bellocq: Photographs from Storyville, the Red-Light District of New Orleans<\/i>, New York: Random House, 1996.\u00a0 Hardcover (blind-stamped black cloth), 12 \u00bc x 11 \u00be inches, 84 pages, duotone illustrations, dustjacket.\u00a0 Stated first U.S. edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another selection of Bellocq\u2019s hooker portraits.\u00a0 With a preface by Lee Friedlander and essay by critic Susan Sontag.\u00a0 According to Museum of Modern Art curator John Szarkowski, \u201cIn his own way, in these pictures, Bellocq consummates many love affairs.\u00a0 His prostitutes are beautiful, innocently or tenderly or wickedly or joyfully or obscenely, but all beautiful, in the same sense that they are present, unique, irreplaceable, believable, and receptive.\u201d\u00a0 Near fine condition, in rubbed dustjacket.\u00a0 $150<\/p>\n 4.\u00a0 BERNHARD, John.\u00a0 <\/b>John Bernhard: Nudes<\/i>, Houston: John Bernhard, 1999.\u00a0 Softcovers, 7 x 5 inches each, color and black-and-white halftone illustrations, slipcase.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This set of five small booklets was Bernhard\u2019s first publication, each with six accordion-style panels of reproductions from different bodies of nude work.\u00a0 They include stone and wood, in which he projected images of these materials onto nude figures and then photographed them.\u00a0 The group of color photographs, \u201cSkindream,\u201d presents the female figure suggesting natural formations such as \u201cPrairie Fire\u201d and \u201cOasis.\u201d\u00a0 John Bernhard (no relation to Ruth Bernhard) was born in Switzerland in 1957 and immigrated to Houston, Texas, in 1980.\u00a0 In addition to his creative nude work, he runs a graphic design and advertising firm.\u00a0 This copy inscribed by Bernhard.\u00a0 Booklets near fine condition, in slipcase that is lightly scuffed and creased.\u00a0 $35\u00a0<\/b><\/span><\/p>\n 5.\u00a0 BERNHARD, Ruth.<\/b>\u00a0 Original photograph.\u00a0 Classic Torso with Hands<\/i>, 1952 (printed later), gelatin silver print, 13 \u00be\u00a0 x 10 \u00be inches (image\/sheet), 20 x 16 inches (mount).<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Signed, in pencil, on front of mount.\u00a0 Verso: signature, title, and date, in pencil, and photographer\u2019s wet stamp.\u00a0 Image sent upon request.\u00a0 $6,500<\/p>\n 6.\u00a0 BERNHARD, Ruth.\u00a0 <\/b>The Eternal Body [A Collection of Fifty Nudes]<\/i>, San Francisco: Chronicle Books, 1986.\u00a0 Softcover, 11 \u00bd x 12 inches, unpaginated, 50 duotone illustrations.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>As the title states, fifty nudes by one of the female masters of the genre.\u00a0 Features all of Bernhard\u2019s best-known ones, dating 1934-1976.\u00a0 Includes an introduction by the photographer and commentary by writer\/photographer Margaretta Mitchell.\u00a0 This copy signed by both Mitchell and Bernhard.\u00a0 Near fine condition.\u00a0 $150<\/p>\n 7.\u00a0 BERNHARD, Ruth.\u00a0 <\/b>Ruth Bernhard: The Collection of Ginny Williams<\/i>, Denver: Ginny Williams Foundation, 1993.\u00a0 Hardcover (silver-stamped black cloth),<\/p>\n 12 \u00bc x 11 \u00bc inches, unpaginated, 43 tritone illustrations, dustjacket.\u00a0 Stated first edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Published on the occasion of an exhibition at the Denver Art Museum.\u00a0 Comprises a good selection of Bernhard\u2019s still lifes and nudes, including some little-known images, like a 1929 portrait of a woman.\u00a0 Features text by Peter C. Bunnell and Williams, who begins, \u201cRuth Bernhard is a Renaissance woman.\u00a0 She is a timeless artist who lives by principle, curiosity, love, and discovery.\u00a0 She has been an influence in defining my gallery, sharpening my focus, and softening my life\u2014all without advice.\u201d\u00a0 Near fine condition.\u00a0 $150<\/p>\n 8.\u00a0 BERNHARD, Ruth.\u00a0 <\/b>Signed ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Two Portfolios<\/i>, prospectus for \u201cThe Eternal Body\u201d and \u201cThe Gift of the Commonplace,\u201d c. 1976.\u00a0 Folder, 8 \u00bd x 11 inches, 3 halftone illustrations.\u00a0 Each portfolio contained ten gelatin silver prints and cost $1,000.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Printed form letter, dated November 1, 1982, announcing that she would no longer be represented by Collected Visions and would begin selling her own work.\u00a0 Signed, in ink, by Bernhard.<\/p>\n Card reproducing her image \u201cSkull and Rosary\u201d signed twice by Bernhard, in mailed envelope, 1993.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Ruth Bernhard<\/i>, San Francisco: Vision Editions, 1993.\u00a0 Folder, 7 x 4 \u00be inches, 11 loose cards, 10 halftone illustrations.\u00a0 This portfolio included ten platinum\/palladium prints of nudes, featuring such popular pictures as \u201cIn the Box\u201d and \u201cClassic Torso.\u201d\u00a0 The card with information about the portfolio is signed in ink by Bernhard.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Gift of the Commonplace<\/i>, San Francisco: Vision Editions, 1994.\u00a0 Accordion-style brochure, 6 x 4 \u00bc inches, 12 panels, 10 halftone illustrations.\u00a0 This portfolio of ten platinum\/palladium prints comprises still lifes like \u201cTeapot\u201d and \u201cTwo Leaves.\u201d\u00a0 This copy signed in ink by Bernhard.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cRuth Bernhard, Photographer, Dies at 101,\u201d obituary.\u00a0 New York Times<\/i>, December 21, 2006 (on original newsprint).\u00a0 Reproduces her 1952 image \u201cClassic Torso with Hands.\u201d<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A very nice group of six items, most of them signed:\u00a0 $50<\/p>\n 9.\u00a0 <\/b>BODY WORK: Photographs of Nudes: Calendar 2001<\/i>.\u00a0 Minneapolis Institute of Arts, 2001.\u00a0 Spiral bound, 18 x 9 inches, 18 pages, 12 halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This nudie calendar was produced on the occasion of an exhibition of work by twelve photographers, allowing each a single month of the year (how convenient).\u00a0 They were E. J. Bellocq, John Bernhard, Bill Brandt, Anne W. Brigman, Judy Coleman, Wellington Lee, Roger Mertin, Eadweard Muybridge, Edward Steichen, Max Thorek, Thomas Weir, and Edward Weston.\u00a0 Each month includes a few dates relevant to the nude, such as January 12, 1966, when the U.S. District Court declared Tennessee\u2019s anti-nudist law unconstitutional.\u00a0 Fine condition, in shrink wrap. \u00a0$25<\/p>\n 10.\u00a0 BRANDT, Bill.\u00a0 <\/b>Perspective of Nudes<\/i>, New York: Amphoto, 1961.\u00a0 Hardcover (red-stamped paper over boards), 11 x 9 \u00bd inches, 106 pages, 90 screen-gravure illustrations, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Preface by Lawrence Durrell and introduction by Chapman Mortimer.\u00a0 Brandt\u2019s most revered book, with quality, gravure plates.\u00a0 Near fine condition, in dustjacket that has a few tears, is chipped and missing a small piece from the back.\u00a0 $1,500<\/p>\n 11.\u00a0 BRANDT, Bill.\u00a0 <\/b>Bill Brandt: Nudes, 1945-1980<\/i>, Boston: New York Graphic Society, 1980.\u00a0 Hardcover (silver-stamped black cloth), 11 \u00bd x 10 inches, 114 pages, 100 halftone illustrations, dustjacket.\u00a0 Stated first U.S. edition.\u00a0<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Introduction by Michael Hiley.\u00a0 Examples of Brandt\u2019s most important subject.\u00a0 Fine condition, in dustjacket with a few chips.\u00a0 $125<\/p>\n 12.\u00a0 <\/b>CAMERA<\/i>, April 1969.\u00a0 Softcover, 11 \u00bc x 9 inches, 66 pages, 34 screen-gravure and color illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Entire issued devoted to nudes, with work by Jeanloup Sieff (France), Will McBride (Germany), John Pfahl (U.S.A.), Sam Haskins (England), William G. Larson (U.S.A.), and Kishin Shinoyama (Japan).\u00a0 Pfahl\u2019s pictures are color close-ups, completely unrelated to later work for which he is known.\u00a0 Larson\u2019s consists of extremely elongated images created by both the camera and the models moving during exposure, presented on gatefold pages.\u00a0 Near fine condition.\u00a0 $25<\/p>\n 13.\u00a0 <\/b>CAMERA<\/i>, September 1971.\u00a0 Softcover, 11 \u00bc x 9 inches, 60 pages, 31 screen-gravure and color illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>An entire issue of the Swiss magazine devoted to \u201cThe Nude and the Window.\u201d\u00a0 Most of the 28 photographers are represented by a single image.\u00a0 Among them are Judy Dater, Harvey Himelfarb, Jan Saudek, Jack Welpott, and Christian Vogt. \u00a0Cover edges lightly worn.\u00a0 $25<\/p>\n 14.\u00a0 CARROLL, Lewis.<\/b>\u00a0 Morton N. Cohen, Lewis Carroll, Photographer of Children: Four Nude Studies<\/i>, Philadelphia: Rosenbach Foundation, and Clarkson N. Potter, 1979.\u00a0 Hardcover (brown-stamped yellow cloth), 10 x 7 inches, 32 pages, 4 color halftone illustrations, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Examines just four pictures of nude girls by English writer Charles L. Dodgson (1832-1898), acquired by the Rosenbach Foundation in the 1950s.\u00a0 The images are heavily hand-worked, all but obscuring their photographic origins, and show the subjects on seashores, seated beside a tree, and in the studio.\u00a0 Carroll proclaimed that \u201cI have been largely privileged in t\u00eate-\u00e0-t\u00eate intercourse with children.\u201d\u00a0 Near fine condition, with one short tear to dustjacket.\u00a0 $35<\/p>\n 15.\u00a0 CARTER, Keith.\u00a0 <\/b>Opera Nuda<\/i>, Revere, Pennsylvania: Lodima Press, 2005.\u00a0 Softcover, 8 \u00bd x 9 \u00bd inches, 24 pages, 16 quadtone illustrations.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Dream-like, recent images \u00a0primarily of the female nude.\u00a0 Carter\u2019s subjects, presented in selective focus, remove their shoes, lounge on beds and chairs, and interact with a still-life painting.\u00a0 Very high-quality printing, produced in an edition of 1,000 copies.\u00a0 This copy is signed by Carter.\u00a0 Near fine condition.\u00a0 $35<\/p>\n 16.\u00a0 CLERGUE, Lucien.\u00a0 <\/b>N\u00e9e de la Vague<\/i>, Bellegarde, France: Editions Pierre Belfond, 1968.\u00a0 Hardcover (black-stamped gray paper over boards), 12 x 9 \u00be inches, unpaginated, screen-gravure illustrations, dustjacket.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is Lucien Clergue at his best: parts of women\u2019s bodies asplash in ocean waves.\u00a0 He commences the book with a few pages of just the water itself, violently encountering shore rocks.\u00a0 Then, he essays the female form, primarily the torso and breasts, but also buttocks, arms, and back.\u00a0 While they are usually recognizable, some images border on the abstract, somewhat akin to Bill Brandt\u2019s nudes.\u00a0 The book closes with images that represent the calm after the storm; shimmering quite water on the sand and shore.\u00a0 It is a dramatic presentation, lacking any text except for basic publishing information (apparently he felt his images were above words), richly printed in gravure (with extraordinarily dark blacks), with all of the images bleeding off at least two edges of the page.\u00a0 Lucien Clergue (French, born 1934) is best known for his voluptuous female nudes in water, in both black-and-white and color, but also photographed bullfights, landscapes, and Marseille, France.\u00a0 For many years he taught at both the New School for Social Research in New York and the University of Provence in France.\u00a0 He also served as a cinematographer on many short films and a feature-length one on Pablo Picasso.\u00a0 In 1970, he founded the Recontres Internationales de al Photographie in Arles.\u00a0 This copy is boldly signed by Clergue on the title page.\u00a0 Near fine condition, in dustjacket with a few spots and wrinkles, and missing the top \u00bc-inch of the spine.\u00a0 $150<\/p>\n 17.\u00a0 COPLANS, John.\u00a0 <\/b>Foot: Self Portraits by John Coplans<\/i>, New York: Gallery Lelong, 1989.\u00a0 Softcover, 9 x 9 inches, 44 pages, 19 halftone illustrations.\u00a0 With signed ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Catalog for exhibition of photographs Coplans made of his own, aged feet.\u00a0 They are brutally honest and monumental, the originals measuring three feet and larger.\u00a0 Most are multiple images, comprising of up to nine separate negatives.\u00a0 English born John Coplans (American, 1920-2003) worked at Artforum<\/i>, was a museum curator, and began photographing seriously in 1980.\u00a0 He is most renowned for his portraits and close-up images of his own body.\u00a0 This catalog is accompanied by the 1991 exhibition brochure Self Portraits<\/i> and the 1988 exhibition brochure A Body of Work<\/i>, signed by Coplans.\u00a0 Near fine condition.\u00a0 $35<\/p>\n 18.\u00a0 DE DIENES, Andr\u00e9.\u00a0 <\/b>Natural Nudes<\/i>, New York: Amphoto, 1966.\u00a0 Hardcover (black-stamped tan cloth), 12 x 9 \u00bc inches, 160 pages, halftone illustrations, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>\u201cGorgeous natural settings are used as integral compositional elements to produce those evocative analogies between Woman and Nature for which the photographer has won world renown.\u201d\u00a0 Accompanied by the photographer\u2019s text on the model, location tips, posing, backgrounds, and the darkroom.\u00a0 Includes some combination prints, a la Jerry Uelsmann.\u00a0 Hungarian born De Dienes (1913-1985), was indeed widely recognized for his outdoor studies of the well-endowed female form.\u00a0 He began in Paris and worked freelance in Hollywood for many years.\u00a0 Tiny spots on cloth, in dustjacket with light edgewear and two tears.\u00a0 $50<\/p>\n \u00a0<\/b><\/p>\n 19.\u00a0 DE DIENES, Andr\u00e9.\u00a0 <\/b>Nude Pattern<\/i>, London: Bodley Head, 1967.\u00a0 Hardcover (red-stamped gray paper over boards), 11 x 8 \u00bd inches, unpaginated, 104 halftone illustrations, dustjacket.\u00a0 Stated fourth impression.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another selection of voluptuous subjects in the following categories: Interior Settings, With Sand and Rock, Bathed in Sunlight, Above and Below Water, and Superimposed Pictures.\u00a0 With a foreword by Norman Hall.\u00a0 Near fine condition, in price-clipped dustjacket with light edgewear.\u00a0 $45<\/p>\n 20.\u00a0 DRTIKOL, Franti\u0161ek.<\/b>\u00a0 Katerina Klaricov\u00e1, Franti\u0161ek Drtikol<\/i>, Prague: Panorama, 1989.\u00a0 Hardcover (white-stamped black cloth), 10 \u00be x 9 \u00bd inches, unpaginated, 108 halftone illustrations, dustjacket.\u00a0 Stated first edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Published just before Czechoslovakia broke free from the Soviet Union, this monograph remains a rich visual resource on Drtikol, the country\u2019s leading exponent of nude photography.\u00a0 All of the reproductions are full color, reveling the richness of his pigment prints.\u00a0 Drtikol (1883-1961) vies with Josef Sudek for being the most influential twentieth-century Czech photographer, and is universally revered for his modernist nudes.\u00a0 While the book\u2019s main text is in Czech, it includes summaries in English and other languages.\u00a0 Tiny shelf wear, in near fine dustjacket.\u00a0 $125<\/p>\n 21.\u00a0 DRTIKOL, Franti\u0161ek.<\/b>\u00a0 Anna F\u00e1rov\u00e1, Franti\u0161ek Drtikol: Art-Deco Photographer<\/i>, Munich, Germany: Schirmer Art Books, 1993.\u00a0 Softcover, 11 \u00be x 8 \u00bd inches, 200 pages, 181 duotone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>An in-depth examination of Drtikol\u2019s adventuresome nude studies.\u00a0 All made in his studio, often with dramatic lighting and custom props, they are the pinnacle of Czech modernist figure work.\u00a0 F\u00e1rov\u00e1, the country\u2019s senior photo historian, breaks down the photographer\u2019s life and work into thematic and chronological sections, from 1883 to 1961.\u00a0 Mint condition, in shrink wrap.\u00a0 $50<\/p>\n 22.\u00a0 DRTIKOL, Franti\u0161ek.<\/b>\u00a0 Vladimir Birgus, Fotograf Franti\u0161ek Drtikol<\/i>, Prague: Postor, 1994.\u00a0 Hardcover (black-stamped white cloth), 12 x 8 \u00bd inches, 206 pages, 128 halftone illustrations (some in color), dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Czech photographic historian Birgus\u2019 take on Drtikol\u2019s work, mostly his well-known studio nudes.\u00a0 Also includes reproductions of some of the artist\u2019s paintings and a dozen of his signatures and chopmarks.\u00a0 Text in Czech, with summaries in French, German, and English.\u00a0 Near fine condition, in dustjacket that is lightly wrinkled and rubbed.\u00a0 $50\u00a0<\/i><\/span><\/p>\n 23.\u00a0 DUTTON, A. A.\u00a0 <\/b>A. A. Dutton\u2019s Compendium or Relevant But Unreported Twentieth Century Phenomena<\/i>, Phoenix, Arizona: Dutton\/Buse, 1977.\u00a0 Softcover, 9 x 12 inches, 152 pages, halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Comprises rather outlandish images of female nudes collaged with nature and architectural elements, sometimes with repetitive imagery.\u00a0 Most are accompanied by prose or poetry that is equally surreal or subjective.\u00a0 The cover image, \u201cA Group of Boobpersays Watching the Photographer,\u201d shows about 100 large female breasts stacked up like fruit at the grocery store.\u00a0 Allen A. Dutton (born 1922) founded and ran the photography department at Phoenix College during the 1960s and seventies, and published four books of his photographs.\u00a0 Covers worn and small stains to bottom of early pages.\u00a0 $35<\/p>\n 24.\u00a0 EAKINS, Thomas.\u00a0 <\/b>Thomas Eakins: His Photographic Work<\/i>, Philadelphia: Pennsylvania Academy of Fine Arts, 1969.\u00a0 Softcover, 10 \u00bd x 7 \u00bd inches, 78 pages, 82 halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The text by Gordon Hendricks discusses Eakins\u2019 relationship to his family, Walt Whitman, his pupils, his friends, his animals, the Academy of Fine Arts, and various other aspects of his life and work.\u00a0 The reproductions sometimes juxtapose his paintings with their related photographs.\u00a0 Thomas Eakins (American, 1844-1916) was a leading American realist painter, photographer, and educator in Philadelphia, from the 1870s until his death during World War I.\u00a0 He studied and taught at the Pennsylvania Academy of Fine Arts and made photographs of the figure, often as studies for his paintings.\u00a0 Errata slip laid in.\u00a0 Browning to spine and tiny edgewear to covers.\u00a0 $35<\/p>\n 25.\u00a0 EAKINS, Thomas.\u00a0 <\/b>Gordon Hendricks, The Photographs of Thomas Eakins<\/i>, New York: Grossman, 1972.\u00a0 Hardcover (gold-stamped blue cloth), 10 \u00bc x 11 inches, 214 pages, 291 halftone illustrations, dustjacket.\u00a0 Stated first edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This was the first major monograph on Eakins as a photographer, a revelation to many in both the painting and photography fields.\u00a0 It is heavily illustrated, with quality reproductions by Meriden Gravure, showing individuals, nudes, and motion studies.\u00a0 Also featured are over fifty photographs of Eakins himself, from age ten to a few years before he died.\u00a0 Near fine condition, in dustjacket that is lightly smudged and rubbed.\u00a0 $250<\/p>\n 26.\u00a0 EAKINS, Thomas.\u00a0 <\/b>The Olympia Galleries Important Collection of Photographs by Thomas Eakins and the Original Manuscript Record Book of the Art Students\u2019 League of Philadelphia<\/i>, New York: Sotheby Parke Bernet, 1977.\u00a0 Softcover, 9 \u00bc x 8 \u00be inches, 32 pages, 22 halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Auction catalog for twenty-one albumen prints by Eakins.\u00a0 They show men in classical Greek costume or nude boys, men, and women, posing in the studio, swimming, and performing other athletic activities.\u00a0 The estimates for the prints ranged from $3,000 to $12,000.\u00a0 Tiny cover edgewear.\u00a0 $25<\/p>\n 27.\u00a0 EAKINS, Thomas.\u00a0 <\/b>Photographer Thomas Eakins<\/i>, Philadelphia: Olympia Galleries, 1981.\u00a0 Softcover, 8 x 10 inches, 50 pages, 49 halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Comprises photographs by Eakins of groups, individuals, and nudes.\u00a0 The subject index includes names such as Alexander Calder, Joseph Pennell, and Walt Whitman.\u00a0 Essay by Dr. Ellwood C. Parry, III, and catalog notes by Dr. Robert Stubbs.\u00a0 Tiny loss to top of spine and tear to bottom.\u00a0 $35<\/p>\n 28.\u00a0 EVERARD, John.\u00a0 <\/b>Living Colour<\/i>, New York: Dodge, 1938.\u00a0 Hardcover (red-stamped pink cloth), 11 x 8 \u00bd inches, unpaginated, 24 color halftone illustrations, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>According to the flap, \u201cNot only is the first photographic book to be done exclusively in color, but it is also the first book of nudes to be made from direct color photographs.\u00a0 Mr. Everard, who is one of the foremost photographers in England, has here done a book of incomparable beauty.\u201d\u00a0 He presents the female form outdoors and in the studio, singly and in groups.\u00a0 Each image includes technical information and a drawn dissection of the composition.\u00a0 This book preceded Paul Outerbridge\u2019s Photographing in Color<\/i> by two years.\u00a0 Endpapers glue darkened, tiny wear to tips, in worn dustjacket.\u00a0 $50\u00a0\u00a0\u00a0 \u00a0<\/span><\/p>\n 29.\u00a0 FRIEDLANDER, Lee.\u00a0 <\/b>Lee Friedlander, Nudes<\/i>, New York: Pantheon Books, 1991.\u00a0 Hardcover (blind and gold-stamped maroon cloth), 10 x 11 inches, 108 pages, 84 tritone illustrations, dustjacket.\u00a0 Stated first American edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This book reveals Friedlander\u2019s fifteen-year foray into new territory\u2014the female nude.\u00a0 The pictures are surprising not only for their subject matter, but also for the non-idealized nature of the models and their surroundings\u2014the subject\u2019s own domestic environment, as opposed to a \u201cneutral\u201d studio setting.\u00a0 While the singer Madonna is recognizable in some of the pictures, many of the models are rendered as faceless expanses of flesh.\u00a0 Perhaps the most classic of the images is the one on the cover, showing a nude stretched out on a couch, reminiscent of a famous image by the early twentieth-century New Orleans photographer E. J. Bellocq, whose negatives Friedlander rescued.\u00a0 Printed in an edition of 8,000 copies.\u00a0 Afterword by Ingrid Sischy.\u00a0 A few creases to the back of the dustjacket.\u00a0 $250<\/p>\n 30.\u00a0 GELLERT, Vance.\u00a0 <\/b>Carlvision<\/i>, Portland, Oregon: Blue Sky Gallery, 1987.\u00a0 Softcover (plastic spiral binding), 8 x 10 \u00bd inches, 54 pages, color halftone illustrations.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>These pictures, often with vibrant colors, document Gellert\u2019s first few years with his son, Carl, after becoming a househusband with a camera.\u00a0 Carl, usually naked, interacts with his father, television, raw meat, toys, broken glass, and other everyday objects.\u00a0 He even appears in Gellert\u2019s darkroom, in a playful image that shows him simultaneously under an enlarger and in a developing tray (an original print of this image is also available; please inquire).\u00a0 Gellert (American, born 1944) is a Minneapolis-based photographer who ran such non-profit spaces as Parts Photographic Arts and the Minnesota Center for Photography, during the 1980s and 1990s.\u00a0 This copy signed by Gellert.\u00a0 Near fine condition.\u00a0 $25<\/p>\n 31.\u00a0 GOWLAND, Peter.\u00a0 <\/b>How to Photograph Women<\/i>, New York: Crown, 1953.\u00a0 Hardcover (printed paper over boards), 6 \u00be x 4 \u00be inches, 144 pages, halftone illustrations.\u00a0 With ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is Gowland\u2019s first book, in which he covers the \u201cdifficult but pleasant art of photographing the female sex\u2014both indoors and out\u2014dressed and undressed, by flash or flood, by sunlight, daylight or even moonlight.\u00a0 It tells what kind of makeup, light, background, film, exposure and development you need\u2014and also how to pose your model for best results.\u201d\u00a0 Part of the publisher\u2019s Little Technical Library<\/i> and original selling for one dollar ($1.00), the title was reprinted many times (this copy is the first).\u00a0 Peter Gowland (American, 1916-2010) was a famous glamour photographer, active for six decades.\u00a0 He shot more than 1,000 magazine covers, including for Playboy<\/i> and Rolling Stone<\/i>, and constructed some of his own equipment, such as the 4-x-5-inch Gowlandflex, which he marketed to other photographers.\u00a0 Laid into this copy is the New York Times<\/i> obituary for Gowland (April 10, 2010, on original newsprint). \u00a0Covers lightly rubbed and spine slightly racked.\u00a0 $25<\/p>\n 32.\u00a0 HANNA, Forman G.<\/b>\u00a0 Forman Hanna: Pictorial Photographer of the Southwest<\/i>, Tucson: University of Arizona, 1985.\u00a0 Softcover, 11 x 8 \u00bd inches, 138 pages, 67 halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The only monograph on Hanna includes an essay on him by Mark Sawyer, the story of one of his pictures in his own words, and fifty-seven full-page plates, dating as late as 1948.\u00a0 They picture largely landscapes, Native Americans, and female nudes.\u00a0 Forman G. Hanna (1881-1950), a pharmacist based in Globe, Arizona, was active in the Pictorial Photographers of America.\u00a0 He was widely revered for his pictures of young nude women in rocky surroundings, exhibiting them in salons for forty years beginning in the 1910s.\u00a0 Fine condition.\u00a0 $25<\/p>\n 33.\u00a0 HASKINS, Sam.\u00a0 <\/b>Five Girls<\/i>, New York: Crown, 1962.\u00a0 Hardcover (white-stamped red cloth), 14 \u00bc x 11 inches, 144 pages, screen-gravure illustrations, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>\u201cHere are five luscious girls affectionately caught, with wit, with daring, and an impudent camera eye, by an artist who appreciates them, not only for what they are, but for what they can be.\u201d\u00a0 Bes, Gill, Anna, Helmi, and Shirl pose in Haskins\u2019 studio, with period hats, furniture, clothing, and hairstyles; very 1960s.\u00a0 All five appear together once\u2014on the cover.\u00a0 With a foreword and technical information by the photographer.\u00a0 An oversize production, richly printed in gravure.\u00a0 English photographer Sam Haskins (1926-2009) was born in Johannesburg, where he worked until 1968. \u00a0He then relocated to London and continued photographing primarily the nude, the subject for which he is best known.\u00a0 Near fine condition, in dustjacket with a few chips and tears.\u00a0 $350<\/p>\n 34.\u00a0 HENLE, Fritz.<\/b>\u00a0 Fritz Henle\u2019s Figure Studies<\/i>, New York: Studio-Crowell, 1954.\u00a0 Hardcover (gold-stamped cloth and paper over boards), 10 \u00bc x 8 \u00bc inches, 72 pages, 47 halftone and one color illustration, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Safe nude images, made on the beach and in the studio, rarely showing the model\u2019s face.\u00a0 Henle writes about the \u201caesthetic problem\u201d and the \u201ctechnical problem,\u201d and provides data for every image except the color frontispiece, which features a figure with much sand sticking to her side and back.\u00a0 Foreword by Modern Photography<\/i> editor Jacqueline Judge. \u00a0German born Fritz Henle (1909-1993) became known as \u201cMr. Rollei,\u201d for his use of the popular camera that took 2 \u00bc inch square negatives.\u00a0 His work appeared in leading mid-century magazines such as Life<\/i>, Holiday<\/i>, and Town and Country<\/i>, in addition to many books he published on locales like Hawaii and Mexico.\u00a0 Light wear to tips, in dustjacket that is chipped and torn.\u00a0 $25<\/p>\n 35.\u00a0 HILLER, Lejaren \u00e0.<\/b>\u00a0 Kendall Banning, Bypaths in Arcady: A Book of Love Songs<\/i>, Chicago: Brothers of the Book, 1915.\u00a0 Hardcover (gold-stamped vellum), 13 \u00bc x 9 \u00be inches, 64 pages, 26 photogravure illustrations.\u00a0 Signed, with ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Comprises two dozen love poems by Banning, each with an image by Hiller.\u00a0 The figure studies, all shot in a studio against dark backgrounds, frequently show nude women with ancient instruments and other props.\u00a0 This is number 23 of the edition of 77 copies printed on Japanese vellum.\u00a0 In addition, this copy has a handwritten poem by Banning (signed and dated 1937), with two typed and signed letters from him, of the same year, and the prospectus laid in.\u00a0 Lejaren \u00e0 Hiller (American 1880-1969) began as a magazine illustrator and then revolutionized the discipline by using the camera to make often flamboyant pictures, in both black and white and color.\u00a0 He was active for most of the first half of the twentieth century, and is most remembered for his illustration of the history of surgery.\u00a0 Previous owner\u2019s bookplate, two corners bumped, and covers rubbed and lightly stained.\u00a0 $500\u00a0 \u00a0<\/b><\/span><\/p>\n 36.\u00a0 HILLER, Lejaren \u00e0.\u00a0 <\/b>Surgery Through the Ages<\/i>, New York: Hastings House, 1944.\u00a0 Hardcover (gold-stamped brown cloth), 10 \u00bc x 8 \u00bc inches, 178 pages, halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C<\/span>ommissioned by the surgical device manufacturer Davis & Geck, this was apparently a legitimate history of surgery, written by Paul Benton and John H. Hewlett.\u00a0 Hiller was a leading photographic illustrator at the time and he provides highly stylized images depicting events and conditions from ancient Egypt to the nineteenth century.\u00a0 While many of the figures are clothed, Hiller took every opportunity to strip naked those being operated on, in order to titillate the reader of the book.\u00a0 Female breasts abound and many patients writhe in pain, up to the last image with depicts \u201cThe Blessing of Anesthesia,\u201d in 1846.\u00a0 Two corners lightly bumped.\u00a0 $50<\/p>\n 37.\u00a0 HILLER, Lejaren \u00e0.\u00a0 <\/b>Sutures in Ancient Surgery<\/i>, Danbury, Connecticut: Davis & Geck, c. 1948.\u00a0 Folder (gold-stamped), 12 x 9 \u00bd inches, 29 loose halftone plates.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Includes many of the images that also appear in the above book, each with a paragraph of text.\u00a0 Among those with reveling female anatomy are the ones on Celsus (25 B.C.-40 A.D.) and William Harvey (1578-1657).\u00a0 The most gruesome image illustrates men having their hands chopped off, for the medical study of wound treatment.\u00a0 Plates near fine (with slip sheets), in lightly worn folder.\u00a0 $200\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 <\/span><\/p>\n 38.\u00a0 HOSOE, Eikoh.\u00a0 <\/b>Original photograph.\u00a0 Man and Woman #20<\/i>, 1961, gelatin silver print, 35 x 39 \u00bd inches.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is one of Hosoe\u2019s most well-known figure studies, showing a woman\u2019s head with a man\u2019s arm wrapped around it.\u00a0 This print was used in a Shinnyo Daiko (traditional drumming) performance at the 1998 Oracle conference of photography curators in Japan.\u00a0 It was torn up at the end of the performance, and it remains in six sections, with a few small pieces missing.\u00a0 Undoubtedly, a unique item, given its provenance.\u00a0 Image sent upon request.\u00a0 $950<\/p>\n 39.\u00a0 HOSOE, Eikoh.\u00a0 <\/b>Man and Woman<\/i>, Tokyo: Camera Art, 1961.\u00a0 Hardcover (paper over boards), 9 \u00bd x 7 \u00bc inches, 60 pages, 32 screen-gravure illustrations, dustjacket and slipcase.\u00a0 Signature laid in.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is one of Hosoe\u2019s most elegant books, small in scale and richly printed in gravure.\u00a0 The images, primarily of nude women, frequently bleed off the page and appear somewhat abstracted.\u00a0 Text in Japanese.\u00a0 Lacking the English translation booklet.\u00a0 Laid into this copy is a 1998 letter signed by Hosoe.\u00a0 Near fine condition, in original printed slipcase.\u00a0 $1,250<\/p>\n 40.\u00a0 HOSOE, Eikoh.\u00a0 <\/b>Killed by Roses<\/i>, Tokyo: Shueisha, 1963.\u00a0 Hardcover (printed cloth), 16 \u00be x 11 inches, unpaginated, screen-gravure illustrations, acetate jacket and cardboard box.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is one of Hosoe\u2019s most elaborate books, over-sized, richly printed, and featuring some gatefolds.\u00a0 His collaborator was the author Yukio Michima, who is the subject of most of the pictures, rendered surrealistically and with strong graphic impact.\u00a0 Issued in an edition of 1,500 numbered copies (this one 586), signed by both Michima and Hosoe.\u00a0 Near fine condition, in worn (as usual) box.\u00a0 $4,000<\/p>\n 41.\u00a0 KELLY, Jain.\u00a0 <\/b>Nude: Theory<\/i>, New York: Lustrum Press, 1979.\u00a0 Hardcover (blind-stamped black cloth), 12 \u00bc x 9 \u00bc inches, 176 pages, 118 halftone illustrations, dustjacket.\u00a0 With ephemera<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This book presents nude images by eight leading photographers, with reproductions of their work, essays by them, and biographies.\u00a0 The contributors are Manuel Alvarez Bravo, Harry Callahan, Lucien Clergue, Ralph Gibson, Kenneth Josephson, Andr\u00e9 Kert\u00e9sz, Duane Michals, and Helmut Newton.\u00a0 Long a standard reference book, with a promotional page on it from the Popular Photography Book Club laid in.\u00a0 Near fine condition, in a dustjacket that has light edgewear and a few tears.\u00a0 $35<\/p>\n 42.\u00a0 KERTESZ, Andr\u00e9. <\/b>\u00a0Distortions<\/i>, New York: Alfred A. Knopf, 1976. \u00a0Hardcover (gold-stamped gray cloth), 11 \u00bc x 8 \u00be inches, unpaginated, 120 screen-gravure illustrations, dustjacket. \u00a0Stated first edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Edited by Nicolas Ducrot, with an introduction by art critic Hilton Kramer. \u00a0Kert\u00e9sz\u2019s now renowned surrealistic series of female nudes photographed in a distorting mirror. Made around 1930 in Paris, they remained largely unseen for many years due to oxidation of the negatives. \u00a0Presented here in rich gravure, the women are stretched, compressed, bloated, and otherwise visually altered by the mirror. \u00a0Fine condition, in dustjacket with light wrinkling along edges and tears at top and bottom of spine. \u00a0$300<\/p>\n 43.\u00a0 KINSEY INSTITUTE.<\/b>\u00a0 Peek: Photographs from the Kinsey Institute<\/i>, Santa Fe, New Mexico: Arena Editions, 2000.\u00a0 Hardcover (purple-stamped green cloth),<\/p>\n 11 \u00bc x 9 \u00bc inches, 188 pages, 125 color and duotone illustrations, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is a truly wide-ranging group of sexual and erotic images, the first published from the vast holdings of the institute at Indiana University founded by the sex researcher Alfred C. Kinsey.\u00a0 They cover intercourse, oral sex, bondage, gay, and other proclivities.\u00a0 While most are by unknown photographers, George Platt Lynes and Wilhelm von Gloeden also contribute.\u00a0 Features scholarly essays by critic Carol Squires, curator Jennifer Pearson Yamashiro, and professors Betsy Stirratt and Jeffrey A. Wolin.\u00a0 There is something for everyone here, though it represents less than one percent of the institute\u2019s holdings.\u00a0 Near fine condition, in dustjacket with a few tiny wrinkles.\u00a0 $50<\/p>\n 44.\u00a0 KRAUSE, George.<\/b>\u00a0 I Nudi<\/i>, Philadelphia: Mancini Gallery, 1980.\u00a0 Softcover,<\/p>\n 10 \u00bd x 8 \u00bd inches, 24 pages, 22 duotone illustrations, with original photograph.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Catalog for an exhibition of studio nudes, mostly made in Rome around 1980.\u00a0 Tipped onto the first page is a color Polaroid print of a woman holding open her robe.\u00a0 It is signed, dated 1980, and number 159\/500.\u00a0 George Krause (American, born 1937) taught photography at the University of Houston for many years.\u00a0 Near fine condition.\u00a0 $50\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n 45.\u00a0 LACEY, Peter.<\/b>\u00a0 The History of the Nude in Photography<\/i>, New York: Bantham, 1964.\u00a0 Softcover, 7 x 4 \u00bc inches, 216 pages, screen-gravure illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>While not a scholarly publication, this little, thick book covers a lot of ground visually, in rich gravure.\u00a0 After a short introduction, Lacey presents the work of about two dozen photographers, with commentary on each.\u00a0 Among them are Delacriox, Muybridge, the Photo-Secessionists, Weston, Brandt, Callahan, Clergue, and Bernhard.\u00a0 Lesser-known figures include Charles Schenk, Ferenc Berko, Rene Groebli, Marvin Newman, Frank Horvat, J. Frederick Smith, and Robert Wilson.\u00a0 Light cover wear.\u00a0 $25<\/p>\n 46.\u00a0 LEE, Wellington.<\/b>\u00a0 Original photograph.\u00a0 Nude in Frame<\/i>, 1950 (printed later), gelatin silver print, 19 \u00be x 15 \u00be inches (image\/sheet).\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is one of Lee\u2019s entertaining studio set ups, with an oversize picture frame used as a prop for the nude female.\u00a0 The frame is made of weathered wood and has punctured the seamless paper backdrop.\u00a0 The woman\u2019s legs rest on the frame and the rest of her recumbent body is inside of it.\u00a0 Verso is Lee\u2019s signature and the title, in pen, and his wet stamp.\u00a0 Wellington Lee (1918-2001) operated a portrait studio in New York\u2019s Chinatown from the 1950s to 1970s.\u00a0 As a pictorialist he was the world\u2019s all-time most exhibited photographer, beginning in the 1940s and continuing for decades longer than his compatriots.\u00a0 Acquired directly from the photographer.\u00a0 Image sent upon request.\u00a0 $500<\/p>\n 47.\u00a0 LEE, Wellington.<\/b>\u00a0 Pair of original photographs.\u00a0 Betty Page<\/i>, 1950s (printed later), gelatin silver prints, 15 x 19 inches each (image\/sheet).\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The great pin-up model Betty Page (1923-2008), in a pair of studio images, one titled \u201cMy Reflection\u201d and the other \u201cButterfly Lady.\u201d\u00a0 In both Page admires herself in a mirror on the floor surrounded with leopard-skin material, suggesting a pool and Narcissus.\u00a0 So, in two prints you actually get four images of the beauty.\u00a0 Lee\u2019s signature and titles, in pen, along with his wet stamp, verso.\u00a0 Acquired directly from the photographer.\u00a0 Images sent upon request.\u00a0 Set of two: $950\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0 <\/span><\/p>\n 48.\u00a0 LEE, Wellington.<\/b>\u00a0 Artistic Photography<\/i>, New York: Wellington Lee, 1968.\u00a0 Hardcover (red and gold-stamped purple cloth), 11 \u00bc x 8 \u00be inches, 170 pages, 147 halftone illustrations (some in color).\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is the first and most entertaining book that Lee self-published of his own work.\u00a0 It includes bilingual text (in English and Chinese) on his importance and working methods, plus reproductions of hundreds of medals and trophies he won.\u00a0 The photographic illustrations feature primarily urban scenes, figure studies, and high-contrast pictures.\u00a0 Most striking, however, are his nudes, which he places in fabricated studio settings of over-sized objects and fantasy-laden backdrops.\u00a0 This copy signed by Lee.\u00a0 Near fine condition.\u00a0 $50<\/p>\n 49.\u00a0 MEISEL, Steven.\u00a0 <\/b>Madonna Sex<\/i>, New York: Warner, 1992.\u00a0 Hardcover (spiral-bound metal sheets), 13 \u00be x 11 inches, unpaginated, screen-gravure illustrations, plastic sleeve and CD (unopened).\u00a0 Stated first printing.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Singer Madonna\u2019s provocative look at sex, pleasure, and the human body.\u00a0 She and othesr perform varies acts, in high-quality reproductions that bleed off the page.\u00a0 Her running text includes such short essays a \u201cI Like My Pussy.\u201d\u00a0 The half million copies reportedly sold out quickly.\u00a0 Steven Meisel (American, born 1954), a friend of Madonna\u2019s, is a highly successful fashion photographer, working regularly for U.S. and Italian Vogue<\/i>.\u00a0 Near fine condition, in original sleeve that has some wrinkles.\u00a0 $250<\/p>\n 50.\u00a0 MEISEL, Steven.\u00a0 <\/b>Madonna Sex<\/i>.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another copy, this one the French edition.\u00a0 Near fine condition, in unopened sleeve.\u00a0 $250\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n 51.\u00a0 MEISELAS, Susan.<\/b>\u00a0 Pandora\u2019s Box<\/i>, New York: Magnum Editions, 2001.\u00a0 Hardcover (paper over boards), 8 \u00bc x 12 inches, unpaginated, color halftone illustrations.\u00a0 Stated first edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A nice and naughty book of pictures that Meisales made at a high-end New York sex-domination club of the same name.\u00a0 She pictures the workers with clients and statements by the owners and \u201cmistresses.\u201d\u00a0 Reproduces the form that customers would fill out upon entry, with their sexual preferences, such as gloves, spanking, humiliation, and foot worship.\u00a0 Bound in are seven pages of material used at the club, such as rubber and latex.\u00a0 Produced in an edition of 1,650 copies, each hand numbered.\u00a0 Mint condition, in shrink wrap.\u00a0 $150<\/p>\n 52.\u00a0 MERTIN, Roger.\u00a0 <\/b>Plastic Love Dream<\/i>, Davis: University of California, Memorial Union Art Gallery, 1969.\u00a0 Box (plastic with label), 4 x 4 \u00bd x 1 \u00bc inches, 7 inserts.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is a rare and unusual exhibition \u201ccatalog\u201d created by curator Fred R. Parker, who was partial to such productions.\u00a0 \u201cPlastic Love Dream\u201d was Mertin\u2019s earliest successful body of work, depicting female nudes outdoors, with mirrors, and under plastic.\u00a0 The inserts include halftone illustrations, biographical information, text from an interview, and an essay by Eastman House curator Robert Sobieszek.\u00a0 This and a few other interesting catalogs by Parker are pictured in the 2006 book The Collectible Moment<\/i> (Norton Simon Museum, p. 43).\u00a0 This copy bears the signatures of both Mertin and Parker (not called for in the edition).\u00a0 Near fine condition.\u00a0 $750<\/p>\n 53.\u00a0 MICHALS, Duane.\u00a0 <\/b>Homage to Cavafy<\/i>, Danbury, New Hampshire: Addison House, 1978.\u00a0 Softcover, 8 \u00bc x 6 inches, 48 pages, 11 halftone illustrations, glassine dustjacket. \u00a0Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Constantine Cavafy was a Greek gay poet active around the turn of the twentieth century.\u00a0 This little item includes ten of his poems along with the same number of photographs by Michals.\u00a0 However, the photographer points out that his images were not illustrative of the poems; \u201cthey are separate and sympathetic.\u201d\u00a0 Many have nude men, in interior tableaux.\u00a0 This copy signed and dated 1992 by Michals.\u00a0 Near fine condition in darkened dustjacket (as is normal).\u00a0 $125<\/p>\n 54.\u00a0 MUYBRIDGE, Eadweard.\u00a0 <\/b>Animals in Motion: An Electro-Photographic Investigation of Consecutive Phases of Muscular Actions<\/i>, London: Chapman and Hall, 1907.\u00a0 Hardcover (gold-stamped red cloth), 9 \u00be x 12 \u00bd inches, 264 pages, halftone illustrations.\u00a0 Stated third impression.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Features about 120 reproductions from Muybridge\u2019s original series on human and animal locomotion.\u00a0 The first impression of this title appeared in 1899, while the photographer was still alive.\u00a0 The images are categorized into eleven sections: walk, amble, trot, rack, canter, gallop, ricochet, leap, buck and kick, change of gait, and the flight of birds, each with an introduction.\u00a0 Covers lightly worn, bumped, and spotted.\u00a0 $300<\/p>\n 55.\u00a0 MUYBRIDGE, Eadweard.\u00a0 <\/b>The Human Figure in Motion<\/i>, New York: Dover, 1955.\u00a0 Hardcover (gold-stamped brown cloth), 11 x 8 inches, unpaginated, 195 halftone illustrations, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A large selection from Muybridge\u2019s unequaled study of motion, performed at the University of Pennsylvania in the 1880s.\u00a0 It shows men, women, and children, usually undressed, in all states of activity against a gridded backdrop.\u00a0 Introduction by photography historian Prof. Robert Taft.\u00a0 This is the first Dover edition (reprinted many times as softcovers), not particularly common, especially with the dustjacket.\u00a0 Tiny edgewear, price-clipped dustjacket that is rubbed, wrinkled, and torn.\u00a0 $35<\/p>\n 56.\u00a0 NATKIN, Marcel.\u00a0 <\/b>Photography of the Nude<\/i>, San Francisco: Camera Craft, 1937.\u00a0 Hardcover (red-stamped tan cloth), 10 \u00be x 7 inches, 72 pages, 32 screen-gavure illustrations, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Dr. Natkin writes about the nude in painting, sculpture, and photography, and gives technical information about lighting and soft-focus effects.\u00a0 He features the work of but four photographers: Laure Albin Guillot (\u201cExpressive Treatment\u201d), Pierre Boucher (\u201cPhantasmagoria\u201d), Man Ray (\u201cStylized Nudity\u201d), and Roger Schall (\u201cRealistic Treatment\u201d).\u00a0 Each photographer gets eight plates, rendered in rich gravure.\u00a0 A little shelf wear and a few bumped corners, in worn dustjacket that is missing a few pieces.\u00a0 $125\u00a0<\/span><\/p>\n 57.\u00a0 OKUHARA, Tetsu.<\/b>\u00a0 Original photograph.\u00a0 Woman with Crossed Hands<\/i>, 1971, gelatin silver print, 6 \u00be x 7 \u00be inches (image), 10 x 8 inches (sheet).\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Okuhara used the same technique in this photograph as that of his most famous image, Susan<\/i>, which was included in John Szarkowski\u2019s 1978 exhibition and book Mirrors and Windows: American Photography Since 1960<\/i> (Museum of Modern Art, page 109).\u00a0 He photographed his model from different angles and then created a composite image that flattened the figure.\u00a0 In this one, over 300 little pictures form the woman\u2019s arms and twelve seemingly identical breasts, making for a surreal and somewhat robotic-looking nude.\u00a0 Tetsu Okuhara (American, born 1942) is known for his photomontages using minimalist grids, often of his wife, Susan.\u00a0 Accompanied by a handwritten note from Okuhara.\u00a0 Print signed, titled, and dated, in ink, along with the photographer\u2019s wet stamp, verso.\u00a0 Image sent upon request.\u00a0 $250<\/p>\n 58.\u00a0 PEEL, Fred P.<\/b>\u00a0 Shadowless Figure Portraiture<\/i>, New York: Galleon Press, 1936.\u00a0 Softcover (metal spiral binding), 11 \u00be x 9 \u00bc inches, 112 pages, 61 screen-gravure and 31 halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Shadowless images are created by using multiple light sources.\u00a0 Peel writes about models, the darkroom, the print, equipment, theory, and composition.\u00a0 Most of his images are female nudes, made in the studio with a ring light, which imparts a soft glow to the figures\u2019 outlines.\u00a0 Fred P. Peel (c. 1884 \u2013 c. 1959) simultaneously pursued professional and pictorial photography from the mid-1920s to mid-century.\u00a0 He was a charter member of the Photographic Society of America and a fellow of the Royal Photographic Society.\u00a0 This is his only book, addressing the genre of creative work for which he was most known.\u00a0 Covers soiled, torn, and worn.\u00a0 $25<\/p>\n 59.\u00a0 PENN, Irving.\u00a0 <\/b>Earthly Bodies<\/i>, New York: Marlborough Gallery, 1980.\u00a0 Softcover, 11 \u00bd x 9 \u00bc inches, 12 pages, 4 halftone illustrations.\u00a0 With ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Addresses Penn\u2019s body of work with heavy-set models, with an introduction by Rosalind E. Krauss.\u00a0 Laid in is a complimentary card from the gallery and the Newsweek<\/i> review of the exhibition.\u00a0 Very good condition.\u00a0 $25<\/p>\n 60.\u00a0 PENN, Irving.\u00a0 <\/b>Maria Morris Hambourg, Earthly Bodies: Irving Penn\u2019s Nudes, 1949-50<\/i>, New York: Metropolitan Museum of Art, 2002.\u00a0 Hardcover (black-stamped white cloth), 11 \u00be x 11 \u00bd inches, 96 pages, 64 tritone illustrations, dustjacket.\u00a0 Stated first edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is a much fuller examination of the series in the above catalog, beginning with models who were not as buxom.\u00a0 \u201cThe women Penn chose and the ways he viewed them produced nudes that were highly unorthodox by mid-twentieth-century standards: folded, twisted, and stretched, with extra belly, mounded hips, and puddled breasts, their fleshy torsos are sister of Titan\u2019s and Rubens\u2019, while their mother in prodigality is the archaic fertility idol.\u201d\u00a0 Near fine condition, in dustjacket that is lightly rubbed.\u00a0 $50<\/p>\n 61.\u00a0 PETRBOK, Jiri.<\/b>\u00a0 Alexandr S. Puskin, Tajne Zapisk z let 1836-1837<\/i>, Prague: Concordia, c. 1980.\u00a0 Seven loose color halftone plates, 8 \u00bd x 6 inches each.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This seems to be illustrations for author Puskin\u2019s \u201cSecret Journal\u201d of 1836 and 1837.\u00a0 It comprises seven pictures of female genitalia, each with a hairdo superimposed upon it.\u00a0 The black-and-white vulvas are rendered in low contrast and with mori\u00e9 patterns, while the hair imagery appears sharp and in color.\u00a0 Notably, each plate has a woman\u2019s name written in it, such as Eva and Jana, suggesting personalization and\/or conquest.\u00a0 Jiri Petrbok (Czech, born 1962) studied at Prague\u2019s Academy of Fine Arts and is known for his images of the human form.\u00a0 This is a rare and curious little piece of Czech erotica. \u00a0Light folding to a few corners.\u00a0 $150<\/p>\n 62.\u00a0 ROYE.\u00a0 <\/b>Nude Ego<\/i>, London: Chantry, 1958.\u00a0 Hardcover (blue-stamped pink cloth), 9 \u00bc x 6 \u00bc inches, 222 pages, 130 halftone illustrations (one in color), dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This is the autobiography of the English photographer Horace Roye (1906-2002).\u00a0 He recounts his international travels, adventures, photographic work, and encounters with stars, models, and personalities.\u00a0 According to the flap, \u201cMore than a million and a half copies of his books of photographic studies have been sold\u2014a world record.\u201d\u00a0 His nudes are in the typical period cheesecake and glamor styles.\u00a0 Near fine condition, in dustjacket that is chipped and missing a few pieces.\u00a0 $25<\/p>\n 63.\u00a0 SCRAPBOOK.<\/b><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is a unique collection of clippings of male nudes, dating from the 1960s.\u00a0 They are pasted into a manufactured blank journal (7 x 5 \u00bc inches), with nice fabric covers, marbled endpapers, and a bound-in piece of ribbon for marking one\u2019s preferred page.\u00a0 The compiler hand-lettered the title page, \u201cTake one Large Cow: Favorite Ballard and Braswell Menus, Accompanied by Recipes\/Kitchen Drudge Press, Minneapolis,\u201d and dated the book September 12, 1967.\u00a0 The nearly one hundred halftone clippings appear one to four per page and usually show individual naked young men, indoors and out.\u00a0 They are mostly well endowed, but never erect.\u00a0 Images sent upon request.\u00a0 Covers browned.\u00a0 $250<\/p>\n 64.\u00a0 SHIGETA, Harry K.<\/b>\u00a0 Alice Thompson, Justine<\/i>, Washington, D.C.: Counterpoint, 1998.\u00a0 Hardcover (gold-stamped paper over boards), 6 \u00bd x 4 \u00be inches, 226 pages, one halftone illustration, dustjacket.\u00a0 Stated first printing.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is a curious, recently published item related to Shigeta, as it features one of his nudes on the cover.\u00a0 His 1937 image Curves: A Photographer\u2019s Nightmare<\/i> shows a female nude in dark shadow with abstract curves superimposed upon her by way of the photogram process.\u00a0 It is one Shigeta\u2019s most memorable and modernist pictures.\u00a0 The story, an erotic mystery, is set in contemporary London and (according to the dustjacket) \u201cchronicles one man\u2019s obsession with beauty and his journey through the darkest recesses of the mind in its pursuit.\u201d\u00a0 Fine condition, in dustjacket with light scuffing and a fold to inside flap.\u00a0 $25<\/p>\n 65.\u00a0 SKREBNESKI, Victor.\u00a0 <\/b>Skrebneski<\/i>, New York: Ridge Press, 1969.\u00a0 Softcover, 14 x 14 inches, 60 pages, screen-gravure illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Comprises a selection of highly controlled studio images of nude men and women, rendered in often quite dark gravure.\u00a0 Includes his famous image of Venessa Redgrave with tasseled hair and her arms folded over her bare chest.\u00a0 His brief preface reads, in full, \u201cPeople, timeless.\u00a0 They will last my time.\u00a0 Designed as sculpture.\u00a0 I have left them alone.\u00a0 In the human contact they live in reality.\u00a0 I live with them.\u201d \u00a0Victor Skrebneski (American, born 1929) worked in New York and Europe before settling back in his native Chicago, where he opened a studio in 1952.\u00a0 He is known for his work in fashion, cosmetics, ad campaigns, and with personalities.\u00a0 Lacking the slipcase.\u00a0 Previous owner\u2019s name and date, covers edge worn.\u00a0 $50<\/p>\n 66.\u00a0 <\/b>STEREO-CLINIC<\/i>.<\/b>\u00a0 Dr. Howard A. Kelly, Troy, New York: Southworth Company.\u00a0 Hardcovers (gold-stamped tan cloth, ring-bound), 9 x 7 \u00bc inches, about 40 pages each, stereo gelatin silver prints.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>These are instructional medical booklets, with original photographs pasted on to many of the pages.\u00a0 Doctor Kelly (1858-1943), an American surgeon, gynecologist, and professor, was one of the founders of Johns Hopkins Hospital, in Baltimore.\u00a0 Seven ring-bound books, with two original slipcases.\u00a0 Fascinating material, for both medical historians and the ghoulish.\u00a0 There is much blood and guts in these images; they are not for the faint of heart, especially in three-dimensions.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Abdominal Hysterectomy for a Fibroid Uterus<\/i>, 1909.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Examining and Recording a Pelvic or Other Abdominal Tumor<\/i>, 1909.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dr. J. A. Bodine\u2019s Operation for Inguinal Hernia, Under Cocaine: Part First<\/i>, 1909.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dr. J. A. Bodine\u2019s Operation for Inguinal Hernia, Under Cocaine: Part Second<\/i>, 1909.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Suspension of the Uterus<\/i>, 1909.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bismuth Paste Injections: Part First<\/i>, 1911.<\/i><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bismuth Paste Injections: Part Second<\/i>, 1911.<\/i><\/p>\n Edgewear and occasional foxing.\u00a0 Set of seven: $1,000<\/p>\n 67.\u00a0 STIEGILTZ, Alfred.\u00a0 <\/b>Georgia O\u2019Keeffe: A Portrait by Alfred Stieglitz<\/i>, New York: Metropolitan Museum of Art, 1978. \u00a0Hardcover (black-stamped white and gray cloth), 14 \u00bc x 11 inches, unpaginated, 51 duotone illustrations, dustjacket, slipcase.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A resonant selection, dating from 1917 to 1933, of Stieglitz\u2019s images of his young wife, making his point that a true portrait comprised not one photograph but a series that shows many aspects of the subject. \u00a0In addition to O\u2019Keeffe\u2019s face, he captured her paintings, her automobile, and her neck, hands, and torso. \u00a0They are richly reproduced by the Meriden Gravure Company, along with O\u2019Keeffe\u2019s commentary printed in letterpress, making for a splendid production.\u00a0 Fine condition, in shrink wrap.\u00a0 $125<\/p>\n 68.\u00a0 STURGES, Jock.<\/b>\u00a0 Radiant Identities: Photographs by Jock Sturges<\/i>, New York: Aperture, 1994.\u00a0 Hardcover (white-stamped black cloth and paper over boards), 11 \u00bd x 9 \u00be inches, 96 pages, 65 duotone illustrations, dustjacket.\u00a0 Stated first edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Sensual, quiet images by Sturges in which he explores issues of youth and the liberation of body and spirit.\u00a0 Using his own family and friends, he photographed at their homes and at naturalist beaches in France and California.\u00a0 This is Sturges\u2019 second major body of work, published a few years after his groundbreaking book The Last Day of Summer<\/i>.\u00a0 Includes an introductory essay by Elizabeth Beverly on the photographer\u2019s collaborative process and an afterword by critic A. D. Coleman that puts Sturges\u2019 photographs in the context of current debates about censorship and innocence.\u00a0 Near fine condition.\u00a0 $50<\/p>\n 69.\u00a0 SULLIVAN, Constance.\u00a0 <\/b>Nude: Photographs, 1850-1980<\/i>.\u00a0 New York: Harper & Row, 1980.\u00a0 Hardcover (gray-stamped black cloth and paper over boards), 13 x 10 inches, 204 pages, 134 halftone illustrations (some in color), dustjacket.\u00a0 Stated first edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A \u201cmoving, engrossing, and provocative visual experience,\u201d presenting photographs of nude children, women, and men from over 125 years.\u00a0 From the nineteenth century, it features delicately hand-color daguerreotypes, plates from Eadweard Muybridge\u2019s series \u201cAnimal Locomotion,\u201d and artists\u2019 models by Thomas Eakins.\u00a0 Among the twentieth-century photographers represented are F. Holland Day, Edward Weston, Paul Outerbridge, Jr., Man Ray, Andr\u00e9 Kert\u00e9sz, Emmet Gowin, and Robert Heinecken.\u00a0 Curator Robert Sobieszek contributed the essay \u201cAddressing the Erotic\u201d and Ben Maddow addresses \u201cNude in a Social Landscape.\u201d\u00a0 A relatively early serious endeavor that became a standard reference.\u00a0 Near fine condition, in dustjacket that is lightly worn at a few tips, with a few wrinkles and tears.\u00a0 $65<\/p>\n 70.\u00a0 SWEDLUND, Charles A.<\/b>\u00a0 Original photograph.\u00a0 Guess the Date and Time Number Two Will Arrive<\/i>, 1974, gelatin silver print, 8 x 3 \u00bc inches.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is a fun item that Swedlund presumably sent out to friends and family before the birth of his second child.\u00a0 He indicates the due date and then solicits guesses, with the one closest to the actual date and time winning one of his photographs.\u00a0 Swedlund (American, born 1935) studied at Chicago\u2019s Institute of Design and taught photography at Southern Illinois University for about thirty years, beginning in 1971.\u00a0 Includes his return address stamped on the corner of an envelope.\u00a0 Image sent upon request.\u00a0 $175<\/p>\n 71.\u00a0 SWEDLUND, Charles A.<\/b>\u00a0 Photographs: Multiple Exposures with the Figure<\/i>, Cobden, Illinois: Anna Press, 1973.\u00a0 Softcover, 11 x 8 \u00bd inches, 60 pages, 24 duotone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Comprises nude subjects, usually outdoors, made during the 1960s.\u00a0 Swedlund makes the distinction that the multiple exposures were performed in the camera, not later in the darkroom, as he preferred this accidental and less-controlled way of working.\u00a0 Light rubbing to covers.\u00a0 $25<\/p>\n 72.\u00a0 TAJIRI, Shinkichi.\u00a0 <\/b>Tajiri<\/i>, Haarlem, Netherlands: Galerie Kunstbezit, 1982.\u00a0 Brochure, 8 panels, 10 halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is the announcement for a show solo show by Tajiri of sculpture, daguerreo-types, stereographs, panoramics, and mementoes.\u00a0 Most of the reproductions are of female nudes posed indoors.\u00a0 The announcement is die cut, with five pairs of images that fold in the opposite direction of the panel they are on.\u00a0 Los Angeles born Tajiri (1923-2009) studied in Paris with Fernand Leger and lived in the Netherlands from 1956.\u00a0 He was also active in Germany, teaching in Berlin and exhibiting in three Documenta shows, between 1959 and 1968.\u00a0 In the original mailed envelope, with the photographer\u2019s return address.\u00a0 $25<\/p>\n 73.\u00a0 TELBERG, Val.<\/b> \u00a0Anais Nin, House of Incest<\/i>, Chicago: Swallow Press, 1961. Softcover, 8 x 5 \u00bd inches, 72 pages, 9 halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 French-born Anais Nin was heralded as a diarist and writer of erotic literature. \u00a0House of Incest<\/i>, initially published in 1936 as her first book of fiction, was told from the writer\u2019s subconscious, as she tried to escape from a dream in which she was trapped. \u00a0Telberg\u2019s photomontages are well paired with the surrealistic text; they show female figures superimposed with architectural interiors or natural subjects such as water and clouds. \u00a0It seems that Telberg\u2019s imagery appeared with only the 1958 and 1961 Swallow Press printings of the book. \u00a0Russian-born Vladimir Telberg-von-Teleheim (1910-1995) was known for his multiple imagery, often making montaged, solarized, and kaleidoscopic photographs. \u00a0Light edgewear to covers. \u00a0$35<\/p>\n 74.\u00a0 THOREK, Max.\u00a0 <\/b>Creative Camera Art<\/i>, Canton, Ohio: Fomo Publishing Co., 1937.\u00a0 Hardcover (three-dimensional black cloth, printed in white and maroon), 11 \u00bc x 9 inches, 156 pages, halftone illustrations.\u00a0 With ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is one of the most significant books on pictorialism between the World Wars.\u00a0 In it Thorek presents sound technical advice on everything from exposure to print finishing.\u00a0 He also freely expresses his strong opinions about photography and art, railing against purists and modernists.\u00a0 It includes examples of his figure studies, portraits, landscapes, and the flamboyant, confrontational nudes at which he excelled.\u00a0 Dr. Max Thorek (American, born Hungary, 1880-1960), a renowned Chicago surgeon, was one of the top American pictorialists during the 1930s and forties.\u00a0 He produced highly manipulated prints from paper negatives, often picturing female nudes.\u00a0 He was one of the world\u2019s most exhibited pictorialists, showing almost 4,000 prints in over 1,000 salons by the middle of the twentieth century.\u00a0 Laid into this copy is an unused piece of letterhead for the Photographic Society of America, with Thorek listed as the president (c. 1935).\u00a0 Endpapers browned (as usual), with previous owner\u2019s inscription, bright cloth with two mildly bumped corners.\u00a0 $95<\/p>\n \u00a0<\/b><\/p>\n 75.\u00a0 WARHOL, Andy.\u00a0 <\/b>Andy Warhol Nudes<\/i>, Woodstock, New York: Overlook Press, 1995.\u00a0 Hardcover (paper over boards), 12 x 9 \u00be inches, 64 pages, 53 halftone illustrations (some in color).<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This book, issued without a dustjacket, was published on the occasion of an exhibition at the Robert Miller Gallery, New York.\u00a0 It includes the essay \u201cSex is so Abstract\u201d by art historian Linda Nochlin.\u00a0 Warhol\u2019s images, primarily of men, include drawings from the 1950s, 1970s, and 1980s, and silkscreen paintings (of the 1970s), made from photographs.\u00a0 Mint condition, in shrink wrap. \u00a0$35<\/p>\n 76.\u00a0 WEIR, Thomas.<\/b>\u00a0 Original photograph.\u00a0 Oracle<\/i>, 1968, vintage cyanotype,<\/p>\n \u00a09 \u00be inches (diameter).\u00a0 Signed, titled, and dated below image.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 An iconic but underappreciated San Francisco psychedelic image, it gets to the heart of the counterculture\u2019s sexual freedom and communion with nature.\u00a0 It presents a nude woman laying down outdoors with her arms and legs spread, seen from between her feet.\u00a0 The landscape is an immense expanse of sky, trees, hills, and ocean shoreline.\u00a0 The circular picture is rendered in rich high contrast and fine-grained tonalities.\u00a0 This image was reproduced on the cover of the last issue of the leading street tabloid San Francisco Oracle<\/i> (1968) and in Minor White\u2019s Be-ing Without Clothes<\/i> (Aperture, 1970).\u00a0 Thomas Weir (American, born 1935) was a prominent San Francisco photographer during the heyday of hippiedom in the mid to late 1960s, and was unrelated to Grateful Dead guitarist Bob Weir.\u00a0 He was most known for his images of nudes, such as this one, and the psychedelic bands, usually printed as highly detailed cyanotypes and in circular or other non-rectangular shapes.\u00a0 His images appeared on album covers for the Grateful Dead, Steve Miller Band, and Big Brother and the Holding Company.\u00a0 Weir\u2019s work was included in the 2007 exhibition \u201cSan Francisco Psychedelic\u201d at the Minneapolis Institute of Arts.\u00a0 In addition to Minneapolis, museums that have his photographs in their permanent collection include the Oakland Museum, Norton Simon Museum (Pasadena), and the Menil Collection (Houston).\u00a0 Though the edition limitation is 70 prints, Weir personally assured me that he made no more than 20 of them.\u00a0 Print acquired directly from the photographer.\u00a0 Image sent upon request.\u00a0 $4,500<\/p>\n 77.\u00a0 WEIR, Thomas.<\/b>\u00a0 Avant-Garde<\/i>, January 1970 (issue no. 10).\u00a0 Softcover, 11 \u00bc x 11 inches, 64 pages, halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Includes the portfolio \u201cThe Virgin Forest,\u201d with seven black-and-white images by Weir (including the above \u201cOracle\u201d), plus the cover, which is a three-color rendition.\u00a0 The pictures, all dating from 1968 and 1969, present nude women and girls out in Mother Nature, in his highly-detailed, pointilistic manner, often framed as a circle.\u00a0 Tiny edgewear.\u00a0 $25<\/p>\n 78.\u00a0 WELPOTT, Jack, and Judy Dater.\u00a0 <\/b>Women and Other Visions<\/i>, Dobbs Ferry, New York: Morgan and Morgan, 1975.\u00a0 Hardcover (silver-stamped cream leatherette), 10 \u00be x 9 \u00bc inches, unpaginated, 107 halftone illustrations, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Judy usually gets the first listing, due to the alphabet, so here Jack gets his due.\u00a0 This defining book for the married couple of Dater and Welpott represents their likely unique collaboration of photographing the same female subjects.\u00a0 Most were strangers they encountered who expressed elements of the \u201cfeminine mystique.\u201d\u00a0 Their pictures are generally paired on double-page spreads, making evident their differing responses to the women.\u00a0 Some of the images picture Dater, and Welpott appears once, in the final plate, which is a portrait of the couple by Arnold Newman.\u00a0 All the text pages are printed on a distinctive orange stock: an introduction by professor Henry Holmes Smith, list of images, and biographies of both photographers.\u00a0 Near fine condition.\u00a0 $50<\/p>\n 79.\u00a0 WESTON, Edward.<\/b>\u00a0 Original photograph.\u00a0 Nude<\/i>, 1936 (printed later by Cole Weston), gelatin silver print, 9 \u00bd x 7 \u00be inches (image\/sheet), 15 x 13 \u00bc inches (mount).\u00a0 Cole\u2019s signature and wet stamp, verso.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is the classic image of Charis Wilson sitting curled up in a sunlit doorway, with her hair up in bobby pins.\u00a0 It appears on page 83 in the Edward Weston Nudes<\/i> book below.\u00a0 Image sent upon request.\u00a0 $6,500<\/p>\n 80.\u00a0 WESTON, Edward.<\/b>\u00a0 Desnudos<\/i>, Carmel, California: Weston Studio, 1972.\u00a0 Brochure, 11 x 8 \u00bd inches, 4 panels, 12 halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is the prospectus for a posthumous portfolio of eleven nude photographs by Weston, printed by Cole.\u00a0 It was limited to 100 numbered copies and cost $700.\u00a0 Tina Modotti and Charis Wilson were the models for many of the images, dating from 1920 to 1943, and Weston\u2019s son, Neil, is seen in one.\u00a0 Laid in is an order form and addressed envelope.\u00a0 $35\u00a0 \u00a0\u00a0<\/b><\/span><\/p>\n 81.\u00a0 WESTON, Edward.\u00a0 <\/b>Edward Weston Nudes<\/i>, Millerton, New York: Aperture, 1977.\u00a0 Hardcover (gold-stamped brown cloth), 11 \u00be x 9 \u00be inches, 120 pages, halftone illustrations, dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A strong selection of Weston\u2019s female nudes, one of his best known bodies of work.\u00a0 Dating from 1920 to 1945, they emphasize his classic images of the 1930s, and are interspersed with excerpts from his daybooks and letters.\u00a0 Includes a remembrance by Charis Wilson, long-time model and second wife, who is the subject of many of the photographs.\u00a0 Near fine condition. \u00a0$50<\/p>\n 82.\u00a0 YEAGER, Bunny.<\/b>\u00a0 How I Photograph Nudes<\/i>, New York: A. S. Barnes, 1963.\u00a0 Hardcover (green-stamped black cloth), 11 \u00bc x 8 \u00bd inches, 144 pages, halftone illustrations (some in color), dustjacket.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This healthy selection of Yeager\u2019s female nudes comprises one of her most entertaining books.\u00a0 She melodramatically lights and poses her models, who are always well endowed.\u00a0 The front flap proclaims, \u201cFigure photography is much more than recording a likeness of a naked female.\u00a0 It is an art form\u2014an expression of feeling, both of the photographer and the model, for the model must feel part of what the photographer feels in order to set the mood of the photograph.\u201d\u00a0 Bunny Yeager (born 1930) modeled in Florida and then became a prominent glamour photographer during the 1960s, when she published over ten books of her figure and pin-up work.\u00a0 Tiny edgewear, in dustjacket that is torn, worn, and missing a small piece.\u00a0 $75<\/p>\n 83.\u00a0 UNKNOWN.\u00a0 <\/b>Original photographs.\u00a0 The Series of Studies: Volume I: Hands and Arms<\/i>, unknown publisher and place, c. 1900.\u00a0 Folder, with 31 gelatin silver prints, 9 \u00be x 8 inches each.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Comprises thirty numbered plates, with a silver print title page, likely made as an aid to artists.\u00a0 Each sheet features five to ten photographic images that have been initially pasted together and then rephotographed, to provide the negative that was used to print the present photographs.\u00a0 While the emphasis is on hands and arms, more of the models\u2019 bodies appear in some of the images, including occasional breasts and genitals.\u00a0 Those posing include men, women, and children.\u00a0 The most visually stimulating sheets combine many isolated hands, creating a proto-modernist look.\u00a0 Prints in very good condition, in folder with mild edgewear.\u00a0 $300<\/p>\n \u00a0<\/b><\/p>\n The BAD BOYS of PHOTOGRAPHY<\/b><\/p>\n 84-188<\/b><\/p>\n 84.\u00a0 BEARD, Peter.<\/b>\u00a0 Original photograph.\u00a0 Friday, April 6, 1973<\/i>, gelatin silver print, 11 x 14 inches.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This picture presents a two page spread from Beard\u2019s diaries, held open by two hands.\u00a0 Female figures dominate the imagery, including Faye Dunaway in the film \u201cBonnie and Clyde\u201d and a young buxom woman happily carrying two ice-cream floats.\u00a0 Also featured are miniature versions of covers of Andy Warhol\u2019s magazine Interview<\/i> and Christine Jorgensen\u2019s autobiography.\u00a0 Three creases, outside of the image area.\u00a0 Image sent upon request.\u00a0 $750 \u00a0\u00a0<\/span><\/p>\n 85.\u00a0 BEARD, Peter.<\/b>\u00a0 Original photograph.\u00a0 Monday, April 16, 1973<\/i>, gelatin silver print, 11 x 14 inches.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another diary two-page spread with many female figures, although a football player also makes an appearance.\u00a0 Here Beard focuses on special bras, including a \u201c15 minute Beauti-Breast treatment\u201d kit that was guaranteed to increase the user\u2019s bustline by one-quareter inch or more.\u00a0 Beard traveled from Miami to New York on this day and the most prominent piece of collage typography reads \u201cFine, I\u2019m Wrong.\u201d\u00a0 Three creases and a tear, outside the image area.\u00a0 Image sent upon request.\u00a0 $750<\/p>\n 86.\u00a0 BEARD, Peter.<\/b>\u00a0 The End of the Game<\/i>, New York: Viking, 1965.\u00a0 Hardcover (gold-stamped cream cloth), 11 \u00bc x 8 \u00bc inches, 256 pages, screen-gravure illustrations (some in color), dustjacket.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Beard\u2019s first book, published when he was 26 years old and only a few years out of Yale.\u00a0 With the title\u2019s play on words, Beard blends past and present Africa, showing how much the country\u2019s wildlife and landscape had changed.\u00a0 He combines historical maps, drawings, and photographs with his own, all rendered in high-quality gravure.\u00a0 Isak Dinesen, author of Out of Africa<\/i>, witnessed the project in production and declared, \u201cVery few matters could move me as deeply as this epitaph, or monument, to the Old Africa which was so dear to my heart.\u201d\u00a0 See below for a 1988 edition of this title.\u00a0 This copy warmly inscribed on the front pastedown and free-end paper, with some comments about the book\u2019s production, with an outline of Beards\u2019 hand and his inked footprint.\u00a0 Extraneous ink marks (by Beard) to covers, in dustjacket that is chipped with a tear and small piece missing on the back.\u00a0 $1,000 \u00a0<\/span><\/p>\n 87.\u00a0 BEARD, Peter.<\/b>\u00a0 Alistair Graham, Eyelids of Morning: The Mingled Destinies of Crocodiles and Men<\/i>, Greenwich, Connecticut: New York Graphic Society, 1973.\u00a0 Hardcover (silver-stamped blue cloth), 12 \u00bc x 9 \u00bc inches, 260 pages, screen-gravure illustrations (some in color), dustjacket.\u00a0 Stated first printing, signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This book resulted from a year that zoologist Graham and Beard spent collaborating in a study of the crocs in Africa\u2019s Lake Rudolf.\u00a0 Five hundred of the beasts were captured, killed, and examined, with the help of native divers who sometimes sacrificed their limbs and lives.\u00a0 The book is dedicated to \u201call heroes, missionaries, and martyrs\u2014their perils, adventures and achievements.\u201d And the title page resembles nineteenth-century books in its elongated subtitle of eight paragraphs.\u00a0 This copy customized by Beard, with an inscription, additional writing, outline of his hand, ink footprint, and a drop of the photographer\u2019s own blood.\u00a0 Wear to tips, in price-clipped dustjacket that is chipped.\u00a0 $750<\/p>\n 88.\u00a0 BEARD, Peter.<\/b>\u00a0 Longing for Darkness: Kamante\u2019s Tales from Out of Africa<\/i>, New York: Harcourt Brace Jovanovich, 1975.\u00a0 Hardcover (printed paper over boards), 12 \u00bc x 8 \u00bc inches, unpaginated, halftone illustrations (some in color), dustjacket.\u00a0 Stated first edition, signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This journal-like book, combines photographs by Beard and Isak Dinesen (Karen Blixen) with the stories of Dinesen\u2019s lead servant, Kamante, along with his fanciful drawings.\u00a0 It comprises Kamante\u2019s version of Blixen\u2019s classic book Out of Africa<\/i>, told in a personal and enlightening manner.\u00a0 Beard idolized Dinesen to the point of buying land next to her estate outside of Nairobi, Kenya, and befriending Kamante.\u00a0 Demonstrating how well connected Beard was, he got Jacqueline (Kennedy) Onassis to write an afterword for the book.\u00a0 This copy with drawings and an inscription by Beard.\u00a0 Previous owner\u2019s inscription, mild edgewear, and chipping and tears to dustjacket.\u00a0 $500<\/p>\n 89.\u00a0 BEARD, Peter.<\/b>\u00a0 Longing for Darkness: Kamante\u2019s Tales from Out of Africa<\/i>, New York: Harcourt Brace Jovanovich, 1975.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another copy, without the drawings and inscription.\u00a0 Previous owner\u2019s name and address, mild edgewear, and tape on dustjacket.\u00a0 $250<\/p>\n 90.\u00a0 BEARD, Peter.<\/b>\u00a0 Peter Beard: The Last Word from Paradise<\/i>, New York: International Center of Photography, 1977.\u00a0 Single folded sheet, 58 x 42 inches.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This large-scale piece accompanied a solo show that Beard presented at ICP.\u00a0 Printed on quality newsprint, one side features eight double-page spreads from Beard\u2019s diaries and a text by Nelson Doubleday (a pseudonym for Beard?).\u00a0 The flip side is an homage to Beard\u2019s great cause of the survival of African elephants; it presents large scale images of elephant carcasses and herds, all aerial shots.\u00a0 Laid out by the great graphic designer Marvin Israel, it is a rare early Peter Beard item.\u00a0 Mild stains to one corner.\u00a0 $1,000<\/p>\n 91.\u00a0 BEARD, Peter.<\/b>\u00a0 Fleetwood Mac, Tusk<\/i>, Burbank, California: Warner Brothers Records, 1979.\u00a0 LP, 12 \u00bd x 12 \u00bd inches.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Presumably, the band chose Beard to illustrate the two inner sleeves for the record because of the album title and cover track, referencing an elephant\u2019s tusk\u2014saving the endangered African animal was one of the photographer\u2019s causes.\u00a0 Beard\u2019s images are a couple of two-page spreads from his famous diaries, in which he collages found items and his own photographs with his fanciful hand-written accounts of his daily activities.\u00a0 A close reading of Beard\u2019s scribbles include mention of the band members, a partial song list for the album, and notes such as \u201cLindsey [Buckingham] and Mick [Fleetwood] sending Tusker tunes,\u201d perhaps suggesting a variant album title.\u00a0 Features collaged images of band members and, most prominently, an ear and the shadow of a small airplane falling on the skeleton of an elephant on the ground.\u00a0 I remember buying this album when it came out in 1979 and having no idea who Peter Beard was, as at the time his profile in the art world was nil.\u00a0 A few corners bumped.\u00a0 $25<\/p>\n 92.\u00a0 BEARD, Peter.<\/b>\u00a0 The End of the Game<\/i>, San Francisco: Chronicle, 1988.\u00a0 Softcover, 10 \u00be x 9 \u00be inches, unpaginated, duotone illustrations.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is a complete visual reworking of Beard\u2019s first book, initially published in 1965 (see above).\u00a0 The text has been substantially reduced and the visuals ampted up.\u00a0 Most importantly, this copy is heavily customized by Beard.\u00a0 The inside covers (front and back) feature about twenty pasted in images along with a Peter Beard matchbook.\u00a0 It is inscribed and dated 2004 and features three handprints (one multicolored) and his inked footprint.\u00a0 Fabulous, unique handwork by Beard.\u00a0 Near fine condition.\u00a0 $1,000\u00a0<\/span><\/p>\n 93.\u00a0 BEARD, Peter.<\/b>\u00a0 Jon Bowermaster, The Adventures and Misadventures of Peter Beard in Africa<\/i>, Boston: Little, Brown and Co., 1993.\u00a0 Hardcover (black-stamped tan cloth), 10 \u00be x 9 \u00bd inches, 200 pages, halftone illustrations (some in color), dustjacket.\u00a0 Stated first edition, signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is the only authorized biography of Beard, chronicling his flamboyant life and lifestyle, in Africa, New York, and elsewhere.\u00a0 Among those who make appearances are girlfriends, family members, the models Iman and Veruschka, author Karen Blixen, painter Francis Bacon, and the photographer\u2019s beloved crocodiles, elephants, and tigers.\u00a0 This copy customized by Beard with a red handprint and inscription on the title page.\u00a0 Near fine condition.\u00a0 $250\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0<\/span><\/p>\n 94.\u00a0 BEARD, Peter.<\/b>\u00a0 Diary<\/i>, Japan: Libro Port Publishing, 1993. Hardcover (black-stamped white paper over boards), 12 x 9 \u00bc inches, unpaginated, color halftone illustrations, dustjacket and belly band, with ephemera.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The book is filled with full-bleed color photographs by Beard of his richly collaged diary pages. \u00a0While they feature his distinctive handwriting, there is an overabundance of visual material, such as newspaper clippings and photographs, plus three-dimensional objects placed on the pages before he photographed them. \u00a0Includes two short essays and an artist\u2019s chronology, in Japanese. \u00a0The copyright page states, \u201cCatalogue for show \u2018Diary,\u2019 From a Dead Man\u2019s Wallet: Confessions of a Bookmaker.\u201d \u00a0Laid into this copy are a few pieces of ephemera from the publisher.\u00a0 Most importantly, this copy is customized by Beard: reproduction pasted in, red and black inked handprint and inscription, plus partial footprint on inside back flap.\u00a0 Near fine condition. \u00a0$1,000<\/p>\n 95.\u00a0 BEARD, Peter.<\/b>\u00a0 Diary<\/i>, Japan: Libro Port Publishing, 1993.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another copy, without the customization.\u00a0 Near fine condition, $500<\/p>\n 96.\u00a0 BEARD, Peter.<\/b>\u00a0 Peter Beard<\/i>, Paris: Photo Poche, 1996.\u00a0 Softcover, 7 \u00bd x 5 inches, unpaginated, 62 halftone illustrations (most in color).\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Number 67 in the series of little books published by France\u2019s Centre National de la Photographie.\u00a0 Comprises an introduction by Christian Caujolle, a quotation by painter Francis Bacon, and a selection of plates.\u00a0 Text in French.\u00a0 This copy is customized by Beard, with an inscription, date of 2004, and an inky red-and-black handprint that spans two pages (inside cover and half-title page).\u00a0 Tiny chips to cover.\u00a0 $125<\/p>\n 97.\u00a0 BEARD, Peter.<\/b>\u00a0 Peter Beard<\/i>, Paris: Photo Poche, 1996.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another copy, without the customization.\u00a0 Fine condition, in shrink wrap.\u00a0 $25<\/p>\n 98.\u00a0 BEARD, Peter. \u00a0<\/b>Peter Beard: Fifty Years of Portraits<\/i>, Santa Fe, New Mexico: Arena Editions, 1999. \u00a0Hardcover (red-stamped leatherette with mounted reproduction), 10 \u00bc x 8 \u00bc inches, 206 pages, halftone illustrations (some in color), with ephemera. \u00a0Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A dense book, issued without a dustjacket, of Beard\u2019s photographs and collages of people and African wildlife. \u00a0Texts by Peter T. Tunney, David Fahey, and Anthony Haden-Guest. \u00a0Laid into this copy is a large, undated announcement for a show by the same name, at the New York gallery, The Time is Always Now. \u00a0This copy heavily customized by Beard: four full-page illustrations pasted in, red and black ink handprint with inscription.\u00a0 Near fine condition. \u00a0$850<\/p>\n 99.\u00a0 BEARD, Peter. \u00a0<\/b>Peter Beard: Fifty Years of Portraits<\/i>, Santa Fe, New Mexico: Arena Editions, 1999.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another copy, without the customization.\u00a0 Near fine condition.\u00a0 $250<\/p>\n 100.\u00a0 BEARD, Peter.<\/b>\u00a0 28 Pieces<\/i>, Paris: Galerie Kamel Mennour, 2000.\u00a0 Softcover, 10 \u00bd x 8 inches, 60 pages, halftone illustrations (most in color).\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another fine grouping of African animals, diaries, and personalities, such as Francis Bacon and Karen Blixen.\u00a0 Includes a chronology of the artist and essay \u201cForever Young\u201d by J\u00e9rome Sans.\u00a0 Bilingual text in French and English.\u00a0 This copy customized by Beard, with a Christmas inscription and collaged materials including an actual coin to which the artist added dripping red ink (presumably to represent blood).\u00a0 Near fine condition.\u00a0 $500<\/p>\n 101.\u00a0 BEARD, Peter.<\/b>\u00a0 28 Pieces<\/i>, Paris: Galerie Kamel Mennour, 2000.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another copy, without the customization.\u00a0 Near fine condition.\u00a0 $150<\/p>\n 102.\u00a0 BEARD, Peter.<\/b>\u00a0 Stern Spezial Fotografie<\/i>, No. 26, 2001.\u00a0 Softcover, 14 x<\/p>\n 10 \u00bd inches, 94 pages, halftone illustrations (some in color).<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This issue is nearly completely devoted to Beard and features the introduction, \u201cPicture Man,\u201d by Von Jochen Siemens, in both German and English.\u00a0 The oversize magazine comprises largely collages, diaries, and individual pictures, all mashed together into full-page spreads and bleeds.\u00a0 Near fine condition, in opened shrink wrap.\u00a0 $75<\/p>\n \u00a0<\/b><\/p>\n 103.\u00a0 BEARD, Peter.<\/b>\u00a0 Dynamic Mosaics by Peter Beard<\/i>, Milan, Italy: Armani\/Arte, 2004.\u00a0 Softcover, 10 \u00bd x 8 \u00bd inches, 64 pages, color halftone illustrations.\u00a0 With signed ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>An exhibition catalog with but a paragraph of text, in Italian.\u00a0 Most of the images are of unique prints of African animals.\u00a0 However, also included are three recent (2003) color collages made with a Sony camera.\u00a0 Laid in is a 2005 handwritten card from Beard\u2019s wife, Najma, wishing a happy new year and lamenting the publication\u2019s mediocre printing quality.\u00a0 Despite its recent date, a hard to find item, especially with the ephemera.\u00a0 $150<\/p>\n \u00a0<\/b><\/p>\n 104.\u00a0 BEARD, Peter.<\/b>\u00a0 Zara\u2019s Tales from Hog Ranch<\/i>, New York: Alfred A. Knopf, 2004.\u00a0 Hardcover (gold-stamped red leatherette), 9 \u00bd x 7 inches, 158 pages, halftone illustrations, dustjacket.\u00a0 Signed, with ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Subtitled \u201cPerilous Escapades in Equatorial Africa,\u201d the book features eleven true stories set on Beard\u2019s piece of property outside of Nairobi, Kenya, named after the warthogs that cohabitated it.\u00a0 Among his topics are photographing for Life<\/i> magazine, rounding up rhinos, and encounters with crocodiles, other reptiles, and the people and environment of central Africa.\u00a0 Printed to resemble a nineteenth-century journal, it sports handwritten captions and fake foxing on the brown pages.\u00a0 The first printing of the book is identified by the last word in the text, \u201cbeast,\u201d which is misspelled \u201cbest.\u201d\u00a0 This copy is customized by the entire Beard family\u2014Peter, his wife, Najma, and daughter, Zara, with handprints, inscriptions, other writing, and a notice of their appearance in St. Paul, Minnesota pasted in.\u00a0 A triple signature!\u00a0 Also, laid in is the New York Times Book Review<\/i> coverage (December 5, 2004, on original newsprint).\u00a0 $350<\/p>\n 105.\u00a0 BEARD, Peter.<\/b>\u00a0 Zara\u2019s Tales from Hog Ranch<\/i>, New York: Alfred A. Knopf, 2004.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Another copy, without the customization.\u00a0 Very good condition.\u00a0 $35<\/p>\n 106.\u00a0 BEARD, Peter.<\/b>\u00a0 Guillaume Bonn, Peter Beard: Scrapbooks from Africa and Beyond<\/i>, New York: Empire Editions, 2006.\u00a0 Hardcover (orange-printed red leatherette with pasted on reproduction), 10 \u00bd x 7 \u00bc inches, halftone illustrations (some in color).\u00a0 Stated first edition, with compact disc.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Issued without a dustjacket, the cover leatherette resembles the pattern of crocodile skin.\u00a0 The book chronicles Beard photographing, making art, interacting with native Kenyans, and spending time in Paris and his Long Island house.\u00a0 Features a long interview conducted by Edward Behr and includes an hour-long film of the subject on a CD.\u00a0 Near fine condition, with the original shrink wrap laid in.\u00a0 $50<\/p>\n 107.\u00a0 BELLMER, Hans.\u00a0 <\/b>Bellmer!<\/i>\u00a0 Geneva, Switzerland: Galerie D. Benador, 1966.\u00a0 Softcover, 8 \u00bd x 4 \u00bc inches, 24 pages, 14 halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A delicate and nicely designed catalog for a show of 32 gravures (\u201cdessins inavouables\u201d) and a piece of sculpture.\u00a0 It begins with a love letter from Bellmer, printed on pink paper, and includes a chronology of his life.\u00a0 Almost half of the pieces are reproduced, most of them erotic linear images.\u00a0 The cover features a gold-stamped design that frames an image of the sculpture \u201cLe Poup\u00e9e,\u201d on felt-like pink stock, which undoubtedly pleased the artist, who was still alive.\u00a0 Printed in an edition of only 200 copies.\u00a0 Mild rubbing to covers.\u00a0 $300<\/p>\n 108.\u00a0 CLARK, Larry<\/b>.\u00a0 Tulsa<\/i>, New York: Lustrum Press, 1971. \u00a0Softcover, 12 x 9 inches, 64 pages, 50 halftone illustrations.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Clark\u2019s first book, a searing personal document of drug culture in Oklahoma around 1970.\u00a0 The photographer states, \u201cI was born in Tulsa, Oklahoma in 1943.\u00a0 When I was sixteen I started shooting amphetamine.\u00a0 I shot with my friends every day for three years and then left town, but I\u2019ve been back through the years.\u00a0 Once the needle goes in it never comes out.\u201d\u00a0 He presents sex, gun violence, and, most shockingly, a very pregnant woman shooting up, in an image beautified by glowing natural light.\u00a0 Some of the portraits are accompanied by the simple caption \u201cDead.\u201d\u00a0 This was also the first book for Lustrum Press, run by Ralph Gibson.\u00a0 This copy inscribed to fellow photographer and bad boy Ramon Muxter.\u00a0 Some pages loose and covers worn.\u00a0 $750<\/p>\n 109.\u00a0 CLARK, Larry<\/b>.\u00a0 Camera<\/i>, September 1979.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>One of the magazine\u2019s three portfolios is devoted to pictures from Clark\u2019s Tulsa<\/i>.\u00a0 Includes one page of text on him (in French) and eight halftone illustrations plus the cover, which show a man pointing a gun with an American flag hanging on the wall behind him.\u00a0 A few faint folds.\u00a0 $25<\/p>\n 110.\u00a0 CLARK, Larry<\/b>.\u00a0 Tulsa<\/i>, New York: Larry Clark, 1981. Hardcover (silver-stamped black cloth),\u00a0 12 \u00bc x 9 \u00bc inches, 64 pages, 50 halftone illustrations, dustjacket.\u00a0 Signed, with ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This is the second edition of the 1971 one above and the first hardcover.\u00a0 Clark self-published it, printing 3,000 copies and signing all of them.\u00a0 Laid into this copy is an order form for the book.\u00a0 Near fine condition, with miniscule edgewear to dustjacket.\u00a0 $750<\/p>\n 111.\u00a0 CLARK, Larry<\/b>.\u00a0 Teenage Lust<\/i>, New York: Larry Clark, 1983.\u00a0 Softcover,<\/p>\n 8 \u00bd x 9 inches, unpaginated, halftone illustrations.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Commencing with the touching image on the cover of a nude teenage couple in the backseat of a car, the photographer revels in the sexual escapades of young people, indoors and out.\u00a0 Clark declares the book an autobiography and includes childhood and youthful images of himself, such as with his parents and musician Jimmy Reed, and as an adult, doing drugs and other misadventures.\u00a0 He owns up to his criminal activities by including newspaper clippings and a police report.\u00a0 The book ends with a long, rambling autobiographical text by the photographer.\u00a0 This copy inscribed to fellow bad boy Ramon Muxter and dated a year after the publication, making it an important association copy.\u00a0 Scratches, folds, rubbing, and other marks to the covers.\u00a0 $850<\/p>\n 112.\u00a0 CLARK, Larry<\/b>.\u00a0 Larry Clark 1992<\/i>, New York: Thea Westreich, and Gisela Capitain, K\u00f6ln, 1992.\u00a0 Softcover, 10 \u00be x 8 \u00bc inches, 336 pages, halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A thick book, without text and featuring bleed halftones of primarily adolescent boys, with guns, nooses, and in various states of undress.\u00a0 Though designated in an edition of one thousand copies, about half of them were inadvertently destroyed.\u00a0 Mint condition, in shrink wrap.\u00a0 $850<\/p>\n 113.\u00a0 CLARK, Larry.<\/b> The Perfect Childhood<\/i>, London: Larry Clark Books, 1993. Hardcover (gray-printed paper over boards), 11 \u00bc x 9 \u00bc inches, unpaginated, halftone illustrations (some in color), dustjacket. \u00a0Stated first edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Clark\u2019s tribute to youth, with collages of photographic images, newspaper clippings, and other ephemera. \u00a0Most of the full-page pictures are color images of young men, some of them apparently shot from a television or video monitor. \u00a0The book, which was also published in a German edition by Scallo, was banned in the United States, due to some sexual content. \u00a0Mint condition, in shrink wrap. \u00a0$350<\/p>\n 114.\u00a0 CLARK, Larry.<\/b> Kids<\/i>, New York: Grove Press, 1995. \u00a0Softcover, 7 \u00bc x 8 \u00bc inches, 160 pages, halftone color illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Film stills and photographs made on the set of Clark\u2019s film of the same name. \u00a0Color images of kids skateboarding, drinking, and having sex; kids being kids. \u00a0Includes the full screenplay by nineteen-year old Harmony Korine. \u00a0Clark explains that he wanted to make a film that would ring true for the subjects, and it comes off as a documentary. \u00a0Fine condition, in shrink wrap. \u00a0$35<\/p>\n 115.\u00a0 CLARK, Larry.<\/b> Teenage Lust<\/i>, Tokyo: Taka Ishii Gallery, 1997. \u00a0Softcover, 11 \u00bd x 8 \u00be inches, unpaginated, halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Originally self-published by Clark in 1983 (see above) and 1987, this is the third incarnation of Teenage Lust<\/i> and the only Japanese edition. \u00a0It has about ten extra pictures and Clark\u2019s 23-page autobiographical text in Japanese, printed in an edition of 1,000 copies.\u00a0 Fine condition. \u00a0$500<\/p>\n 116.\u00a0 CLARK, Larry.<\/b> Punk Picasso<\/i>, New York: AKA Editions, 2003. \u00a0Softcover, 11 x 8 \u00bd inches, 496 pages, halftone illustrations (some in color), in original cardboard sleeve.\u00a0 Signed.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This two-inch thick tome continues Clark\u2019s autobiographical publishing streak. \u00a0It features reproductions of records, baseball cards, newspaper clippings, letters, and images from his projects such as Tulsa<\/i>, Teenage Lust<\/i>, and Kids<\/i>. \u00a0The book\u2019s title was coined by David Denby, who referred to Clark as a \u201cpunk Picasso\u201d in a review of the photographer\u2019s 2001 film Bully<\/i>. \u00a0Printed in a numbered edition of 1,000, it includes a folded sheet of three color pictures of his nineteen-year old girlfriend, and is signed and dated 2003 by Clark. \u00a0Mint condition. $750<\/p>\n 117.\u00a0 CLARK, Larry.<\/b>\u00a0 The Tulsa Reader: 1971-2010<\/i>, New York: Chelsea Spengemann, 2010.\u00a0 Softcover, 11 x 8 \u00bd inches, unpaginated, halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This substantial volume, running about 400 pages, reprints seemingly every printed reference to Clark\u2019s book Tulsa<\/i>, in the forty years since it was published.\u00a0 It includes book reviews, exhibition releases, editorial letters, and general articles on Clark, and serves as both an exhaustive reference work and collage-like publication.\u00a0 Near fine condition.\u00a0 $150<\/p>\n 118.\u00a0 CLARK, Larry.\u00a0 <\/b>Larry Clark: Kiss the Past Hello<\/i>, New York: Luhring Augustine, 2010.\u00a0 Box (12 \u00bd x 9 \u00be inches), with book, booklet, and poster.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This item was produced on the occasion of an exhibition of the same title at the Mus\u00e9e d\u2019Art Moderne de la Ville de Paris.\u00a0 The 128-page softcover book presents black-and-white and color images from Clark\u2019s major projects\u2014Tulsa, Teenage Lust, Kids, and others.\u00a0 The 66-page booklet reproduces, in small format, 132 images, presumably the contents of the exhibition.\u00a0 It also features essays by Fabrice Hergott, S\u00e9bastien Gokalp, Jim Lewis, Thea Westreich, Mike Kelley, and Dominique Baqu\u00e9, bilingual in French and English.\u00a0 The poster reproduces a color street portrait of a youth wearing a tea shirt that says \u201cZero.\u201d\u00a0 The title \u201cKiss the Past Hello\u201d honors Danny Seymour, a friend of Clark\u2019s;\u00a0 Seymour financed the printing of the first edition of Tulsa<\/i>, which was on press simultaneously with Seymour\u2019s own book A Loud Song<\/i>, in which he wrote the little epigram, \u201cKiss the Past Goodbye.\u201d\u00a0 Near fine condition, except for a mild bump to one corner of the box and a mild fold to one corner of the book cover.\u00a0 $300<\/p>\n 119.\u00a0 CLARK, Larry.\u00a0 <\/b>Ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Tulsa\/Larry Clark<\/i>, Rochester, New York: George Eastman House, 1972.\u00a0 Brochure (single folded sheet), 8 \u00be x 3 \u00be inches, 6 panels, one halftone illustration.\u00a0 With a statement by Clark and short text by Alex Sweetman, this piece promotes a traveling exhibition of the entire Tulsa<\/i> project, for the whopping fee of $250 a month.\u00a0 This is a rare early piece of ephemera, dating from only a year after the book was published.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tulsa: Larry Clark<\/i>, Hancock, New Hampshire: Colloquium, 1974.\u00a0 Brochure, 5 \u00bd x<\/p>\n 4 \u00bc inches, 16 pages, 10 halftone illustrations.\u00a0 This brochure offers the original Tulsa<\/i> portfolio of only ten original gelatin silver prints.\u00a0 All of them are reproduced here and priced at $1,250 total.\u00a0 Laid in is an order card.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Larry Clark: Tulsa<\/i>, New York: Robert Freidus Gallery, 1980.\u00a0 Brochure (single folded sheet), 11 x 8 \u00bd inches, 4 panels, 4 halftone illustrations.\u00a0 This item offers the second Tulsa<\/i> portfolio, with the full set of fifty prints.\u00a0 Includes positive press response to the book Tulsa<\/i>, published about ten years earlier.\u00a0 Also mentions Clark\u2019s ongoing series \u201cTeen Lust,\u201d later renamed \u201cTeenage Lust.\u201d<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Order Form: Tulsa Book<\/i>, New York: Larry Clark, 1981.\u00a0 Single sheet, 11 x 8 \u00bd inches, one halftone illustration.\u00a0 Offers the second edition (first hardcover) of Tulsa<\/i>, for $35.\u00a0 Also available in a special edition, with an original print of the cover image.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Letter, London: Philip Wilson Publishers Limited (London), April 1994.\u00a0 The trade manager informs the recipient that they cannot sell copies of The Perfect Childhood<\/i> to anyone in the United States, because the book was banned there.\u00a0 In mailed envelope.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Jamie Malanowski, \u201cLarry Clark, Moralist, In the Florida Suburbs,\u201d New York Times<\/i>, July 8 2001.\u00a0 Review of Clark\u2019s film Bully<\/i>, on original newsprint.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Larry Clark<\/i>, New York: International Center of Photography, 2005.\u00a0 Exhibition invitation and booklet for Clark\u2019s first, surprisingly late, retrospective.\u00a0 The 28-page booklet reproduces color and black-and-white images and features essays by Brian Wallis, Katherine Dieckmann, and Jim Lewis.\u00a0 The invitation includes a sheet about the patrons\u2019 reception.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nice archive of 7 pieces:\u00a0 $100<\/p>\n 120.\u00a0 GATEWOOD, Charles.<\/b>\u00a0 The Flash<\/i>, 1976-1979.\u00a0 Six issues.\u00a0 With signed ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This self-published magazine was \u201can occasional tabloid dedicated to high seeing.\u201d\u00a0 Printed on quality newsprint and measuring about 15 x 11 inches, it, in fact, depicted much nighttime lowlife.\u00a0 Among the other photographers contributing work were Elaine Mayes, Ramon J. Muxter, Toby Old, Marcia Resnick, and George W. Gardner (Gatewood\u2019s mentor).\u00a0 One issue was devoted to \u201cOff the Wall,\u201d a national exhibition of off-beat and humorous photography at the Catskill Center for Photography in Woodstock, New York.\u00a0 Born in Chicago in 1942, Charles Gatewood made his way to New York by 1970, to begin his photographic odyssey into the city\u2019s thriving underworld of sex, tattooing, and body piercing.\u00a0 With side trips to New Orleans and San Francisco, he morphed into something like a cross between Weegee and Diane Arbus.\u00a0 The full run lasted only eight issues.\u00a0 Accompanied by a handwritten note from Gatewood in the original 1999 \u201cFlash\u201d envelope, this is a rare grouping.\u00a0 Minor folds.\u00a0 $500<\/p>\n 121.\u00a0 GATEWOOD, Charles.<\/b>\u00a0 Spider Webb, X<\/i>, New York: R. Mutt Fine Art Publishers, 1977.\u00a0 Softcover, 8 x 8 inches, 52 pages, halftone illustrations. Signed, with ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This artist\u2019s book concerns Spider Webb\u2019s tattooing his one-thousandth \u201cX\u201d on a man\u2019s leg, comprised of 1,000 tiny X\u2019s.\u00a0 Gatewood photographed the operation at various stages and included portraits of those involved; Webb, Gatewood, Marco Vassi, and the unidentified man receiving the tattoo.\u00a0 Taped in is a small piece of blotter paper with human blood.\u00a0 Printed in an edition of 1,000 (naturally), individually numbered and signed by the three artists.\u00a0 In addition, this copy inscribed by Gatewood to Ramon Muxter, a fellow bad boy, whose work is included elsewhere in this catalog.\u00a0 Laid into this copy is an announcement for Spider Webb\u2019s 1982 book Tatooed Women<\/i>.\u00a0 Covers lightly browned and rubbed.\u00a0 $250<\/p>\n 122.\u00a0 GATEWOOD, Charles.<\/b>\u00a0 Forbidden Photographs<\/i>, Woodstock, New York: Flash Publications, 1981.\u00a0 Hardcover (silver-stamped black leatherette), 11 x 8 \u00bd inches, unpaginated, halftone illustrations.\u00a0 Signed, with ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>As the title suggests, challenging photographs that together form a \u201ccompassionate record of the grotesque.\u201d\u00a0 Among the subjects are a tattooed fetus and penis, a severed finger, and semi-nude female mud wrestlers.\u00a0 Sex star Annie Sprinkle makes a few appearances, including one where she is shown photographing a man masturbating.\u00a0 Fun stuff.\u00a0 Printed in a signed, numbered edition of one thousand.\u00a0 Laid into this copy is an announcement for the book.\u00a0 Tiny tip and edgewear.\u00a0 $100<\/p>\n 123.\u00a0 GATEWOOD, Charles.<\/b>\u00a0 Photographs: The Body & Beyond<\/i>, Woodstock, New York: Flash Publications, 1993.\u00a0 Hardcover (silver-stamped black cloth), 12 \u00bc x<\/p>\n 9 \u00bc inches, unpaginated, 50 duotone illustrations, dustjacket.\u00a0 Signed, with ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another selection of Gatewood\u2019s unique take on the weird of the world.\u00a0 Nudity abounds in sections such as \u201cMardi Gras: Carnival in New Orleans,\u201d \u201cTattoo: Dermagraphic Pleasures & Terrors,\u201d and \u201cPrimitives: Tribal Body Art & the Left-Hand Path.\u201d\u00a0 Introduction by photography critic A. D. Coleman.\u00a0 Numbered and signed edition of two-thousand copies.\u00a0 Laid into this copy is a flyer for the book and Gatewood\u2019s business card.\u00a0 Near fine condition.\u00a0 $100<\/p>\n 124.\u00a0 GATEWOOD, Charles.<\/b>\u00a0 Ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Unusual Documentary Videos<\/i>, San Francisco: Flash Publications, c. 1980.\u00a0 Softcover,<\/p>\n 8 \u00bd x 5 \u00bd inches, 12 pages, halftone illustrations.\u00a0 Catalog for about twenty racy videos about sex and tattooing.\u00a0 Includes such titles as \u201cErotic Tattooing and Body Piercing,\u201d \u201cWeird Amsterdam,\u201d \u201cPainless Steel,\u201d and \u201cWe Bad.\u201d<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Charles Gatewood\u2019s \u201cWall Street,\u201d<\/i> San Francisco: Flash Publications, 1984.\u00a0 Single sheet, 11 x 8 \u00bd inches, one halftone illustration.\u00a0 Prospectus and order form for a book that \u201cshows us the public face of that bastion of democratic capitalism, Wall Street, serving up a set of visual metaphors for that most secretive perversion, high finance.\u201d<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pair: $15 \u00a0\u00a0<\/b><\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0<\/b><\/p>\n 125.\u00a0 GOLDIN, Nan. \u00a0<\/b>The Ballad of Sexual Dependency<\/i>, New York: Aperture, 1986. Hardcover (gold and blind-stamped blue cloth), 9 \u00bc x 10 \u00bc inches, 114 pages, halftone color illustrations, dustjacket.\u00a0 First edition.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Okay, okay, she\u2019s not a boy, but she certainly was bad; I had to include one deviant from the opposite sex.\u00a0 This is Goldin\u2019s influential visual diary of her daily life with friends and lovers. Intensely personal, it covers a decade of human relationships, in which socio-sexual awareness is always present. \u00a0Goldin grouped her color snapshot-like images into potent clusters that address women, men, children, marriage, coupling, and death. \u00a0One of the most potent photographic books of the 1980s, it began as an hour-long slide show of about 700 images. \u00a0Mint condition, in shrink wrap.\u00a0 $250<\/p>\n 126.\u00a0 HEINECKEN, Robert.<\/b>\u00a0 Thonet 19th Century Bentwood Furniture<\/i>, Los Angeles: University of California Art Galleries, 1961.\u00a0 Softcover, 8 \u00bd x 7 \u00bd inches, 36 pages, halftone illustrations.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>So here\u2019s a Heinecken piece you\u2019ve never heard of.\u00a0 It is the catalog for a show of bentwood furniture at U.C.L.A., for which Heinecken provided the graphic design and photographs.\u00a0 The pictures are straightforward images, but are perhaps his earliest appearance in print, preceding by four years the first entry in the bibliography in his Friends of Photography monograph.\u00a0 It was produced one year after Heinecken earned his M.A. and began teaching drawing, design, and printmaking, before he established the school\u2019s photography department.\u00a0 A must for the Heinecken completist.\u00a0 Minor marks to covers.\u00a0 $25\u00a0<\/b><\/span><\/p>\n \u00a0<\/b><\/p>\n 127. \u00a0HEINECKEN, Robert.<\/b>\u00a0 Original art.\u00a0 Periodical No. 5<\/i>, 1979 (second state of 1971 first).\u00a0 Magazine page with additional offset lithography and hand-applied white-out, 11 x 7 \u00bd inches.\u00a0 With signature.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In 1971 Heinecken took pages from popular magazines and printed over them (on both sides of the sheet) with a grizzly image of a smiling Vietnamese soldier holding two severed human heads.\u00a0 Eight years later, when curator Fred R. Parker organized the exhibition \u201cAttitudes: Photography in the 1970s,\u201d the two decided to include \u201crestrikes\u201d of this work in the show\u2019s catalog (Santa Barbara Museum of Art).\u00a0 Heinecken had either lost the original printing plate or wished to slightly alter the image.\u00a0 To do so, he took one of the 1971 printed pieces (printed on only one side) and added white-out in order to make a new printing plate, which constitutes the piece offered here.\u00a0 It is clear that the two editions vary, as the heads touch the soldier\u2019s legs in the first printing and do not in the second, due to the white-out.\u00a0 See the 1980 Heinecken monograph (Friends of Photography) for two examples of the 1971 piece, reproduced as plate 47.\u00a0 This piece is unique and shows the hand of the artist.\u00a0 Although it has no inscriptions, it is accompanied by a portion of an envelope from U.C.L.A. (where Heinecken taught) that bears his signature.\u00a0 Image sent upon request.\u00a0 $2,000<\/p>\n 128.\u00a0 HEINECKEN, Robert.\u00a0 <\/b>Heinecken<\/i>, Carmel, California: Friends of Photography, 1980.\u00a0 Hardcover (silver and blind-stamped black cloth), 9 \u00bc x<\/p>\n 12 \u00bc inches, 160 pages, 92 halftone illustrations (some in color).\u00a0 Signed, with ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This was the first major monograph on Heinecken, issued without a dustjacket.\u00a0 It was edited by James Enyeart, with contributions by Marvin Bell, Carl Chiarenza, Candida Finkel, Charles Hagen, John Upton, and William Jenkins.\u00a0 According to Jenkins, \u201cNearly all of Heinecken\u2019s work is directed at synthesizing the information disseminated by modern culture concerning the elevation and selling of beauty, sex, and money.\u00a0 Advertising and pornography are neither condemned nor revered, but recognized as significant.\u201d\u00a0 Includes a statement by the artist, an extensive bibliography, plus other back matter.\u00a0 Edition of 2,000 copies, signed and machine-numbered.\u00a0 Laid into this copy is a large, six-panel prospectus for the book.\u00a0 Near fine condition except for a few smudges to the covers.\u00a0 $250<\/p>\n 129.\u00a0 HEINECKEN, Robert.<\/b>\u00a0 Heinecken: Selected Works, 1966-1986<\/i>, Tokyo: Gallery Min, 1986.\u00a0 Softcover, 11 x 11 inches, 74 pages, halftone illustrations (some in color).<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Exhibition catalog covering bodies of work such as \u201cAre You Rea?\u201d \u201cHe\/She,\u201d \u201cLessons in Posing Subjects,\u201d \u201cFast Food,\u201d and \u201cNews Women.\u201d\u00a0 Essay, \u201cWarning: Playing with Images Can be Deadly Serious (Art) Game,\u201d by critic Mark Johnstone, bilingual in Japanese and English.\u00a0 Tiny bump to one corner.\u00a0 $100<\/p>\n 130.\u00a0 HEINECKEN, Robert.<\/b> \u00a0Studiesnineteenseventy<\/i>, Tucson, Arizona: Nazraeli Press, 2002. \u00a0Hardcover (printed paper over boards), 7 \u00bc x 5 \u00be inches, 16 pages, 12 halftone illustrations and one original photograph. \u00a0Signed by Heinecken.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Heinecken made these combination images, rendered in negative tones, from pornographic magazines. \u00a0Originally created in 1970, they were part of his ongoing investigation of printed imagery and the female nude.\u00a0 This title is from the Nazraeli Press\u2019 \u201cOne Picture Book\u201d series, all issued without dustjackets. \u00a0The original tipped-in gelatin silver print is signed and dated 2002 by Heinecken, and numbered 32\/500. \u00a0Fine condition. \u00a0$250<\/p>\n 131.\u00a0 HEINECKEN, Robert.<\/b>\u00a0 Ephemera.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Heinecken<\/i>, Carmel, California: Friends of Photography, 1980.\u00a0 Single folded sheet, 9 x 10 \u00bc inches, 6 panels, 3 halftone illustrations.\u00a0 Mailed prospectus for the major monographic book.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Heinecken<\/i>, New York: Light Gallery, 1981.\u00a0 Single folded sheet, 6 x 8 inches, 6 panels, 2 color halftone illustrations.\u00a0 Mailed invitation to exhibition reception and book signing.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1984: A Case Study in Finding an Appropriate TV Newswoman<\/i>, Culver City, California: Robert Heinecken, 1984.\u00a0 Single sheet, 11 x 8 \u00bd inches, 2 color halftone illustrations.\u00a0 Notice of the availability of a book and original Cibachrome print.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Letter.\u00a0 Short handwritten and signed note thanking the recipient for a prompt response to a request of his.\u00a0 In mailed envelope, dated August 4, 1997.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Andy Grundberg, \u201cRobert Heinecken, Artist Who Juxtaposed Photographs, Is Dead at 74,\u201d New York Times<\/i>, May 22, 2006.\u00a0 Obituary, with a halftone of Heinecken, on original newsprint.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Robert Heinecken: Image as Object<\/i>, New York: Andrew Roth, 2007.\u00a0 Poster and press release for show of 30 photo-based works, in original mailed envelope.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Group of 6: $50 \u00a0<\/span><\/p>\n 132.\u00a0 KRIMS, Les.<\/b>\u00a0