Untitled - De Slegte

214. HAEBERLIN, Peter W & BOWLES, Paul: Yallah.
Zürich, Manesse Verlag, 1956. Cloth, in a pictorial dustjacket, 83 pp. True first edition of
this photobook by Haeberlin with text by Paul Bowles.
This book is about the tribes in western Sahara. - € 175
215. HAJIME, Sawatari: Hysteric ten.
Tokyo Hysteric Glamour 2004. Hard cover with clear plastic cover. Printed in an edition
of 600. - € 95
216. HAMAYA, Hiroshi: Snow Land.
Tokyo, Mainichi Shinbun, 1956. Hardcover with illustrated dust jacket housed in original
slipcase with yellow obi wrap-around band.
In 1940 he began work on his Yukiguni (Snow Land) series in Niigata prefecture and from
1945 to 1952 he based himself out of Takada, Niigata Prefecture. Cited in Japanese photobooks
of the 60’s and 70’s (Aperture, 2009), p. 30; and Auer, p. 366. Dustjacket damaged,
missing some paper, in the middle of the spine and at the front right corner and right side.
slipcase worn. - € 950
217. HAMAYA, Hiroshi: Ura Nihon; Japan’s back coast.
Tokyo, Shinchosha, 1957. Cloth in pictorial Dusjacket, in slipcase. Hamayabegan teaching
himself photography from the age of 15 and became a freelance photographer in 1937.
He gained recognition in the immediate aftermath of World War II and his work was
subsequently included in Edward Steichen’s The Family of Man exhibition (1955) at
the Museum of Modern Art in New York. He is best known for works such as Yukiguni
(Snow Country, 1956) and Ura Nihon (Japan’s Back Coast, 1957), humanist portrayals
of the rites and rituals of daily life in rural Japan focusing on the inextricable relationship
between people and their natural environment. aged, but present. - € 1.350
218. HARA, Yoshiichi: Fubaika. The Anemophilous.
Self Publication, 1978. Author’s first work. - € 450
219. HARA, Yoshiichi: Mandala Zukan.
Tokyo, Banseisha, 1988. Paperback, 610 pp. 300 photos.
Yoshiichi Hara was born in 1948 in Tokyo. He attended the Chiyoda Photography
Vocational School but dropped out. He first exhibited his photography in 1973. In 1978 he
self-published his first book, Fubaika. Mandala Zukan is a thick, square-shaped book, containing
exactly 300 black and white photographs. Most of the photographs are in a square
format, with “sloppy borders” to emphasize that we are seeing them full-frame, without
cropping. They fill most of the right-hand page, giving them a sense of scale that is nicely
counterweighted by the subject matter itself, which is rarely grand. On the left-hand page,
there’s an almost completely empty page except for a simple caption denoting the number
of the photograph, the city and district where the photograph was taken (in Japanese only),
and the year the photo was taken. The subject matter is all over the place, but never feels
scattershot or give the impression that Hara doesn’t know what he’s doing. We always feel
he is in control, that there is a vision he is trying to put forth but it is up to us to decide
what that is. There are some images that might repel, and a few that could upset those with
delicate sensibilities, but again one never gets the sense that Hara is shocking for shock’s
sake. Like Suzuki’s books, Hara’s have that same feeling where the thread from photo to
photo is often thin and hard to see, but always strong and firm. - € 350
220. HASKINS, Sam: Cowboy Kate en andere verhalen.
Amsterdam, De Bezige Bij, 1965. Cloth in dustjacket.
First Dutch language edition of ‘Cowboy Kate and Other Stories’. Gilt titled black cloth.
- € 125
221. HEATH, David: A dialogue with solitude.
New York, The Community Press, 1965. Cloth in dustjacket, 100 pp.
Dialogue with Solitude was well-received and has long been sought after by collectors.
Published in 1965, it was the product of 10 years work. It went on to become one of the
most important photobooks of the sixties. Made up of eighty-two black-and-white photos
and quotes, it shows Heath’s dark and poetic vision of existence: “Photography is like making
diary notes, that are inspired by my involvement in life, “ he has said. “The sequence of
my photos create a poetic structure, a connecting link, that does not develop in chronological
order or is narrative in structure like a visual story, but is emotional in development.
When one image is connected to another, it creates a feeling that has a greater effect than
each image alone. “ Page 104 of Martin Parr and Gerry Badger’s “The Photobook: A History
Volume II”, Roth 101. With a former owner’s dedication on the French title. - € 1.500
222. HEATH, David: A dialogue with solitude.
Toronto Lumiere Press 2000. Cloth, in dustjacket. 100 pp.
Signed by the artist. - € 295
223. HEATH, David: Korea. Photographs 1953-1954.
Toronto: Lumiere Press, 2004. Hardcover, 59 pp.
Reviewing an exhibition of Dave Heath’s photographs from Korea, Jacob Deschin of the
New York Times, wrote, in 1958, “Mr Heath is a relatively new photographer and truly a
discovery. His pictures reveal compassion and understanding, penetration and a masterly
use of the medium.” Heath had photographed his fellow soldiers in the winter of 1953/54
– the early months of a tenuous truce – producing a suite of introspective portraits permeated
with the malaise of war. It was a body of work that defined the young photographer as
an artist. The 1958 exhibition remained intact, and it is from this exquisite collection that
Lumiere Press has shaped their limited-edition book. Heath’s reminiscences of Korea, along
with an introductory essay by Michael Torosian, amplify the stunning portfolio of twentysix
black and white photographs and one never before seen colour image. Korea has been
composed in the rare typeface Linotype Falcon, and printed letterpress on Biblio paper,
a mould-made sheet. Heath’s printmaking has been replicated through stochastic tritone
lithography. The images have been printed on Utopia Premium paper and varnished. The
book has been hand bound in Japanese Asahi book cloth and Bugra mould-made paper, patterned
in black and gold, over boards. Limited to a numbered edition of 200. Published in
conjunction with the Howard Greenberg Gallery and the Stephen Bulger Gallery. - € 395
224. HENSON, Bill: Lux et nox.
Lakewood, Scala Pub, 2002. Cloth, in dustjacket, 175 pp.
Australian artist Bill Henson is a passionate and visionary explorer of twilight zones, of
the ambiguous spaces that exist between day and night, nature and civilization, youth and
adulthood, male and female. His photographs of landscapes at dusk, of the industrial noman’s
land that lies on the outskirts of our cities, and of androgynous girls and boys adrift
in the nocturnal turmoil of adolescence are painterly tableaux that continue the tradition of
romantic literature and painting in our post-industrial age. The rich chiaroscuro, the oscillating
light, and the masterful composition of his photographs map enigmatic states that
escape rationalism’s iron grip, providing a much-needed antidote to a culture that increasingly
looses itself in a numbing vortex of blinking screens and glittering surfaces. - € 395
225. HENSON, Bill & VICTORIA, National Gallery of: Mnemosyne.
Scalo 2005. Cloth in dustjacket, 501 pp. - € 450
226. HERDER, Dirk de: Amsterdam. 68 photographic impressions.
C. V. Allert de Lange, 1947. Spiral bound, 64 pp. - € 100
227. HERNANDEZ, Cecelia Denise: Through the eyes of the homeless, a study on
service utilization.
Hannover, Sprengel Museum, 1995. Cloth in dustjacket, 1995. This study examined the
causes and reasons for not using services, and needs among people experiencing homelessness
in the city of Riverside. In addressing the initial causes and immediate needs of the
homeless, current knowledge about services offered from the homeless perspective is very
limited. - € 125
228. HIDO, Todd: Roaming., landscape photographs, 1994-2004.
Nazraeli Press, 2004. Cloth, in dustjacket, 56 pp.
This is Todd Hido’s most popular books of photography, the first monograph where the
artist broke away from his earlier photographs of suburban houses. An excellent collectible
title. From the Publisher: “The work in Roaming appears arrestingly different than that in
Todd Hido’s previous two monographs. It is as if, having spent so many nights outside the
eerie, brightly lit suburban tract homes featured in House Hunting and Outskirts, he has
suddenly put his foot on the gas pedal and driven into the next day. But these landscapes
continue Hido’s mastery in portraying the most mundane scenes with a menacing air of
expectancy. These unpeopled pictures, often taken through a car windshield, are so effective
in creating tension they might almost have been staged. But in fact they are taken ‘as seen’;