FIRST EDITION OF HENRI CARTIER-BRESSON THE EUROPEANS; INSCRIBED BY HIM
Item Number: 5770
New York: Simon and Schuster, 1955.
First edition in English of Cartier-Bresson’s famous photobook, “capturing the essence of what has not previously been seen,” with 114 large photogravures (many double-page) and bright cover designed by Joan Miró. Folio, original illustrated boards. An excellent near fine copy in a very good price-clipped acetate dust jacket. Inscribed by the author on the half-title page, “a Jean Simon tres cordialement Henri Cartier-Bresson.” With the captions booklet laid in.
Henri Cartier-Bresson is perhaps the greatest photographer of the twentieth century, The Europeans, along with The Decisive Moment are his finest books. Henri Cartier-Bresson's amazing feat as a photographer is the ability to follow his heart and the keen vision of his mind and eye in each photograph. His subjects are only part of the image in the viewfinder, whose composition he sometimes arranges with geometric precision. Many of his best photographs also have startlingly broad political and sociological connotations, which gives the ordinary subjects extraordinary dignity, even grandeur. Europeans is filled with these images, which are often visually complex as well.
Other Books by this Author
“Calm Down what happens happens mostly without you": First Edition of Joseph Alber's Despite Straight Lines; Inscribed By Josef Albers to Henri Cartier-Bresson
New Haven: Yale University Press, 1961.
First edition. Octavo, original boards. Inscribed by the author to Henri Cartier-Bresson, "For Henry Cartier-Bresson Josef Albers May 20, ‘68." Cartier-Bresson was working for Magnum Photographers when he photographed Josef Albers at his home in Connecticut in May of 1968. An outstanding association copy, linking Albers, one of the great abstract artists of the 20th century and Henri Cartier-Bresson, one of the finest photographers. Also, laid in is a card signed by Albers.
“To photograph: it is to put on the same line of sight the head, the eye and the heart": First Edition of Henri Cartier-Bresson's The Face of Asia; Signed by Him
New York: The Viking Press, 1972.
First edition. Quarto, original cloth. Signed by the photographer on the half title page, “Tres cordialement Henri Cartier-Bresson.” Fine in near fine dust jacket.
New York: Simon and Schuster, 1952.
First American edition of Cartier-Bresson’s classic work, with 126 photographs by “the Raphael of 20th-century photographers.” Folio, original illustrated boards. Jacket design by Matisse. Boldly signed by Henri Cartier-Bresson on the title page. With the captions booklet laid in, which is signed by Cartier-Bresson as well. Fine in a near fine dust jacket with a touch of rubbing and wear. Rare and desirable signed twice by this legendary photographer.
New York: Simon and Schuster, 1955.
First edition in English of Cartier-Bresson’s famous photobook, “capturing the essence of what has not previously been seen,” with 114 large photogravures (many double-page) and bright cover designed by Joan Miró. Folio, original illustrated boards. Signed by Henri Cartier-Bresson on the title page. Fine in a near fine acetate dust jacket. With the captions booklet laid in.
"I like complexity and contradiction in architecture": First Edition of Complexity and Contradiction in Architecture "an essential document in architectural literature"; Warmly Inscribed by Robert Venturi
New York: The Museum of Modern Art, 1966.
First edition of this essential document of architectural literature. Octavo, original gray cloth, illustrated. Presentation copy, inscribed by the author on the front free endpaper, “To Al, Friendship and respect Bob Venturi.” Fine in a near fine dust jacket with a touch of shelfwear.
"In the sunny Adriatic sea, we came to rest and play and bathe ourselves": Signed Limited First Edition of George Bradley's Where the Blue Begins; Signed by Him and Abstract Expressionist Elaine de Kooning
New York : Sea Cliff Editions, 1985.
Signed limited first edition of American poet George Bradley’s Where the Blue Begins. One of only 120 numbered copies signed by George Bradley and abstract expressionist Elaine de Kooning. Quarto, original blue illustrated wrappers by Claire Maziarczyk. Original silkscreen frontispiece by Elaine de Kooning with loose rice paper tissue guard present. In fine condition. An excellent example.
"France may be Paris, but Paris is not France": First Edition of Henry James' classic illustrated travel account: A Little Tour in France
Boston and New York: Houghton Mifflin Company, 1900.
First illustrated edition of James’ classic account of his six-week tour to provincial France between 1883 and 1884. Octavo, original illustrated cloth, gilt titles and tooling to the spine and front panel, top edge gilt, frontispiece of Old Street, Dijon with tissue guard present. Illustrated by Joseph Pennell. In near fine condition with light rubbing to the crown and foot of the spine. A beautiful example.
London: Doves Bindery, 1906.
Quarto, bound in full green morocco, gilt titles and tooling to the spine, all edges gilt. With original caricature and artwork by architect Addison Mizner. Entries dated between 1906 and 1929 and about two-thirds of the leaves remaining blank. Mizner’s contributions include to the guestbook include three self-caricature sketches and also a watercolor, each signed by Mizner. Besides Mizner’s contributions, there are two other watercolors, one a cameo of a bucolic classical ruin, another, a dog looking out onto a panoramic view of pines and the coast, undoubtedly a view from a Farmholme prospect, or nearby, before it was overrun with suburban development. And there are several other fun drawings, including ones of a race car and of a plane. Mizner is credited with pioneering the Mediterranean and Spanish Colonial stucco architectural style in Southern Florida, and also Southern California and Beverly Hills. As virtually integral as this style has become to these places and elsewhere, before Mizner designed the Everglades Country Club’s clubhouse in Palm Beach in 1918, the prevailing style there was Victorian Queen Anne and Colonial Revival shingle homes such as one would have found in Northeastern resorts. Admiration for the Everglades clubhouse made Mizner the go-to architect for millionaires who competed against one another through the 1920s for the most impressive mansion in Palm Beach, formerly primarily a hotel resort, and his style was emulated by other architects hired to build less august developments. Among his legacy is the Boca Raton Resort & Club. Mizner, though, was not your typical nose-to-the-grindstone architect but also a highly colorful figure, famed as a raconteur, a co-author of the satiric “The Cynic’s Calendar of Revised Wisdom for 1903” and many sequels, and a bit of a scoundrel, who with his brother was implicated in some shady transactions relating to the Florida land boom of the 1920s, and this served as the basis for the Stephen Sondheim 2008 musical, “Road Show”. It is the social animal that Mizner was, someone who was able to exploit social connections, that should give this guest book a certain resonance to those fascinated by him and his career. Also, Mizner was a somewhat unconventionally trained architect. He didn’t go to a modern sort of architecture school, but apprenticed in an architectural office, and perhaps it was unorthodox training that later made him so much an original, and eccentric, architect, famous for glitches in his designs such as stairways that went nowhere. But he was regarded as a highly proficient draftsman and talented artist, abilities perhaps all too in short supply in the architectural profession, and here are examples of his quick dash art that provide some delightful corroboration of this reputation. Another guest at Farmholme was Ethel Watts Mumford (Grant), his co-author, who in one place contributed four lines of comic verse and a drawing of two monkeys. Other guests included Elisabeth Marbury, the prominent theatrical agent and lesbian lover of Elsie de Wolfe; Mary Livingston Hunt, of the Old Knickerbocker Livingstons; and many others who were undoubtedly secure in their Social Register bona fides — people with names such as de Forest, Alsop, Callander, Ogden, Hotchkiss. Whoever many of these people were, the same people came back again and again over the two decades, suggesting a close knit group of friends. While many of the entries are just autographs, sometimes accompanied by an anodyne sentiment, not a few are accompanied with a few lines of appreciative verse or snippets of musical notation. One guest, an Eduardo Bucco left several entries in Italian verse. The painter of the watercolor cameo signed in reverse — one needs a mirror to make out the name, which looks something like Raymond Tumball. As august as Farmholme must have been, based on its guests, bits and pieces hinted at in the text of entries, the painted view, the exquisiteness of the guest book itself, we were not able to discover anything definitive about the estate.