Studio Books

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The End of the Game [SIGNED ASSOCIATION W/ HANDPRINT, PHOTOGRAPHS AND EPHEMERA – 1988 CHRONICLE HARDCOVER – FINE]

Beard, Peter Chronicle Books 1988. Hardcover in pictorial dust jacket. Third edition. SIGNED WITH A LARGE HANDPRINT, a shed snake skin laid in, and boldly inscribed to fellow photographer and former assistant Brian English. Includes 3 photogaphs of Beard and a friend (possibly photographed by English) being chased by a Rhinoceros laid into fep; as well as 3 separate envelopes addressed to Mr. English containing separate ephemera: 1.) A Fahey Klein Gallery invitation; 2.) Peter Beard envelope from The Time is Always Now Gallery containing a large fold-out poster titled "Pettiness & Futility" from the Fahey Klein Gallery and a large newspaper fold-out page invite to Beard's birthday party 3.) Another envelope from Peter Beard "Carnets Africains" gallery invite for a showing of the film "Hallelujah the Hills" containing 4 postcards, an Introduction packet, and large fold-out advertisement/poster for the film. Book Condition: Fine, a solid, tight, clean copy in a Fine dust jacket. SIGNED Brian English first studied the history of photography and Black & White printing in 1985 with Teacher and Mentor William Abranowicz at Parsons New York City. From 1986 through 1989, he served as the studio assisted to Robert Mapplethorpe and worked with master printer Tom Baril in the Mapplethorpe darkroom. Brian next worked with and printed for Richard Avedon on Avedon’s 1990 archiving project. While in New York, Brian also worked with Horst P. Horst.During 1990 and 1991, Brian lived in Paris, and traveled while making photographs throughout Europe. In 1992 Brian relocated back to Los Angeles where he assisted Annie Leibovitz with her numerous West Coast assignments. He then co-managed SmashBox Studios from 1993 until 1997. During this period, he also assisted various photographers including Herb Ritts, Lynn Davis, Jean Baptiste Mondino, Michel Comte and Peter Beard.Again in New York City from 1998 through 2001, Brian produced and exhibited fine art projects at the Wessel + O’Connor Fine Art and Throckmorton Fine Art.In Los Angeles, from 2003 through 2010 Brian worked as an Arts Administrator with the Herb Ritts Foundation and worked with the Getty Museum in organizing their upcoming 2012 Herb Ritts Retrospective. He resides in Los Angeles and continues to create and exhibit his photographs with Throckmorton Fine Art and the Stephen Cohen Gallery. Brian is also a contributing Editor to Parabola Magazine and serves on the Arts Advisory Committee for the charitable organization Friends Without A Border.
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Photographs El Mochuelo Gallery Monograph [1964 1ST EDITION IN SLIPCASE WITH SIGNED NOTECARD TO CAROL LAZAR LAID IN – FINE COPY]

Callahan, Harry Santa Barbara, California: El Mochuelo Gallery, 1964. Hardbound in gilt-stamped black cloth, housed in publishers slipcase as issued. First Edition (limited to 1500 copies). Oversized: Measures approx. 11.5 X 13.5 inches. 126 black and white photographs by Harry Callahan, with an essay by Hugo Weber. Includes a brief postcard dated March, 11, 1969 addressed to Carol Lazar (founder of Chilmark Photography Workshop) laid in which is SIGNED twice by Harry Callahan (once on the sender's address line on once under the postcard note written by Callahan to Lazar). BOOK CONDITION: Fine; a solid, tight, clean copy showing light rubbing to covers and the usual toning to the pastedowns/endpapers (and first black page), housed in a Fine slipcase showing hints of rubbing to the extremities. SIGNED card laid in. In 1974 Carol Lazar started the Chilimark Photography Worrkshop on Martha's Vinyard. Students would be housed near today’s Chilmark Chocolates for the 10-day sessions that included field trips to Oak Bluffs for night shots; to Aquinnah and other beaches for landscapes; to the streets of Edgartown for people shots. Their instructors, who included such notable photographers as Bruce Davidson, Jerry Uelsmann and Aaron Siskind, would familiarize neophytes with the latest in camera gadgetry, show them how to process their film in a darkroom in one of the buildings on the school premises and instruct them in both black and white and color photography.
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Shafts [1972 – Volume #9 in the Eizo no Gendai series published by Chuo-koron-sha – FINE COPY]

Yokosuka, Noriaki Chuo-koron-sha, Japan, 1972. Hardcover in printed dust jacket with red wrap-around obi/band (lacking the clear acetate cover). First Edition, First Printing. Unpaginated with circa 125 pages showcasing numerous black and white photographic images throughout. BOOK CONDITION: Fine; a solid, tight, clean copy in a Fine blue dust jacket and a Fine red obi (protected by a nice, clear, acetate cover that appears to be added later and not the original acetate the book was issued with). Hardcover, with obi and acetate jacket, from the Eizo no Gendai series - "a sort of canon for contemporary Japanese photography of the time" (Kaneko & Vartanian, p. 14, 20-21). Included in the series were seminal books by Ikko Narahara, Yoshihiro Tatsuki, Shoji Ueda, Masahisa Fukase, Shomei Tomatsu, Haruo Tmiyama, Akira Sato, Yasuhiro Ishimoto and Daido Moriyama. "The 9th in this influential series from Chuo koron-sha. Yokosuka began his career as a commercial photographer. After studying photography at Japan University, he started working for Shiseido's corporate magazine "House Organ", receiving much recognition for his innovative approaches to advertising. He was a member of the group Workshop, which also included Araki, Tomatsu, Hosoe, and Moriyama. One of the many short-lived collaboratives that coalesced in advanced photography circles in Japan in the late sixties and seventies, the group taught classes and published an eponymous journal from late 1974 to 1976. Yokosuka had an unusual interest in the magic of light and the human physique. Aside from his private work Yokosuka also produced work for Shiseido, Vogue and Issey Miyake's 'East Meet West' project."
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For Now [2010 – 1ST EDITION & 1ST PRINTING HARDCOVER W/ DUST JACKET]

Eggleston, William Twin Palms Publishers, Santa Fe, New Mexico, 2010. Hardcover in pictorial dust jacket. First edition, first printing. Limited to only 3000 copies worldwide. 144 pages with 87 four-color plates. 13" x 12". Photographs by William Eggleston, selected by Michael Almereyda. Texts by Michael Almereyda, Lloyd Fonvielle, Greil Marcus and Amy Taubin. Interview with Eggleston by Kristine McKenna. Includes a list of plates. Designed by Michael Almereyda and Jack Woody. Book Condition: Fine; a solid, tight, clean copy. From the publisher: "For Now is the result of filmmaker Michael Almereyda's year-long rummage through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising." From Michael Almereyda: "William Eggleston's photographs are always about looking. They distill a sense of heightened attention--alertness, anticipation, awe--from fragments of ordinary, unmanipulated reality. But the 'ordinary' in Eggleston is often charged with an air of mystery and menace, a Halloween atmosphere leaking into every season he records. A quality of vulnerability and play converges with unease, dread, the possibility of mayhem. This new book, William Eggleston: For Now, presents over 90 previously unpublished color photographs pulled from Eggleston's back files, spanning four decades of work. The title is meant as an open nod to the immediacy of pictures plucked from near-oblivion, a salute to their freshness, their nowness. The selection is tidier, more self-contained, than I first expected--a bouquet brought back from an archival jungle. Most of the pictures feature people, and many of the subjects are the photographer's blood relations and close friends. The emotional temperature is at once tender and aloof, extending to images of strangers in parking lots and suburban yards, which is aligned with Eggleston's enduring fascination with frayed commercial spaces, cars, signs, cracked sidewalks, light bulbs, bricks, clouds, with rural porches, broken fences, spilled trash, ditches, puddles, architectural gaps and divides--the spaces between spaces, the mundane, the makeshift, all the fragmentary raw proofs of civilization as a perishable human construction that, nevertheless, provide subject matter for vibrant photographs. When I reviewed a rough layout with Bill, he was pleased to see so many pictures he had clean forgotten about. He offered his approval alongside a bemused comment that the book comes close to being a family album."