Untitled - De Slegte

Ronis visited the working class neighborhoods of Belleville-Menilmontant and photo-
graphed regularly from 1947-1950, with the aim of one day making a book from the im-
ages. Ronis’s images, like countless Realist artists before him, aim to capture the poetry of
the streets. Ever respectful of his subjects, Ronis’s gaze is always affectionate and discrete.
Unlike many documentary photographers, who search out freaks and weirdoes, Ronis
seeks out the typical and the ordinary. Without the belly-band. Dustjacket with some light
shelfwear. - € 250
423. ROTH, Sanford H. & HUXLEY, Aldous: Mon Paris.
Paris: Editions Du Chene, 1953. Illustrated wrappers over stiff wraps, 112 pp. Over 150
page filling black and white photographs.
A very nice copy of Sanford Roth’s look at Paris and Parisians. Printed in beautiful
gravure. - € 125
424. RUPP, August & LEIP, Hans: Hamburg.
Albertus Verlag, 1927. Cloth in dustjacket, 127 pp.
All photos in black & white of beautiful Hamburg before World War II. Slightly foxed.
dustjacket a bit worn at the extrimities. - € 150
425. SALGADO, Sebastião: Other Americas.
New York, Pantheon books, 1986. Paperback, 111 pp.
Photographs show the people of Brazil, Mexico, Ecuador, Peru, Bolivia, and Guatemala,
including weddings, funerals, and scenes of everyday life. The overwhelming impression
left by Salgado’s photographs in Other Americas is that all is sadness, misery, and death. 6
Hand-in-hand with this focus on the tragic is a dominant tone of enigma. All is enveloped
in an incomprehensible and inexplicable mystery which makes enigmatic the hunger, poverty,
misery, and death which appear in this book. Comes together with Exhibition poster
for the photographer’s gallery 1990. - € 175
426. SALGADO, Sebastião 7 GALEANO, Eduardo H. RITCHIN, Fred: An uncertain
grace.
New York, Aperature, 1990. Cloth in dustjacket 155 pp.
This collection of photographs by photographer Sebastiao Salgado represents two decades
of work. His images come from Andean villages, mining shanty-towns in the Brazilian
jungle, and refugee camps in famine-stricken Ethiopia, Chad, and Mali. “Salgado’s photographs
honor the human spirit with a reverent dignity that approaches allegorical vision.
It is not simple social documentary, but his recreation of the spirit of a people struggling
against difficult odds while maintaining a dignity and sense of self that define the very
roots of human existence. “--the publisher. An introduction by noted critic and author
Eduardo Galeano accompanies the images. - € 175
427. SALGADO, Sebastião: Migrations.
New York, Aperature, 2000. Cloth in dustjacket, 431 pp.
First published in April 2000, . In Migrations, internationally renowned photographer
Sebastião Salgado turns his attention to the staggering phenomenon of mass migration. In
photographs taken over seven years and across more than thirty-five countries, this volume
documents the epic displacement of the world’s people at the close of the twentieth century.
Wars, natural disasters, environmental degradation, explosive population growth, and
the widening gap between rich and poor have resulted in over one hundred million international
migrants, a number that has doubled in the span of a decade. This extraordinary
level of demographic change is unparalleled in human history, and presents profound
challenges to the most basic notions of nation, culture, community, and citizenship. The
first pictorial survey to extensively chronicle the current global flux of humanity, Migrations
follows Latin Americans entering the United States, Jews leaving the former Soviet
Union, Africans traveling into Europe, Kosovars fleeing into Albania, and many others.
The images address suffering while revealing the profound dignity, courage, and energy of
the subjects. With his unique vision and empathy, Salgado gives us a clearer picture of the
enormous social and political transformations now occurring in a world divided between
excess and need. - € 225
428. SALGADO, Sebastião: The children.
New York, Aperature, 2000. Cloth in dustjacket, 111 pp.
In the Children: Refugees and Migrants, Sebastião Salgado confronts us with the individu-
als who will bear the burden of this uncertain future. The book brings together portraits
of children under the age of fifteen from Mozambique, Rwanda, Croatia, Burundi, Hong
Kong, Indonesia, Vietnam, India, Brazil, Afghanistan, Iraq, Turkey, Angola, and many
other countries. Part of a major exhibition at the United Nations in New York City during
the Millenium Assembly in 2000, The Children is a companion volume to Salgado’s
Migrations. A world-renowned exemplar of the tradition of “concerned photography, “
Sebastião Salgado has been awarded virtually every major photographic prize in France,
Germany, Holland, Spain, Sweden, and the United States. A former member of Magnum
Photos and recipient of the W. Eugene Smith Grant in Humanistic Photography, he has
twice been named Photographer of the Year by the International Center of Photography.
- € 175
429. SALOMON, Dr. Erich: Berühmte zeitgenossen.
Stuttgart, J. Engelhorns Nachf. 1931. Cloth in dustjacket, 1931. Book Very good, dustjacket
missing some minor chips of paper and a bit rubbed. still good. - € 450
430. SALLE David & CHEIM, John: David Salle. Photographs 1980 to 1990.
Robert Miller, 1991. Hardcover in dustjacket, 66 pp. - € 125
431. SAMARAS, Lucas: Samaras album; autointerview, autobiography, autopolaroid.
Whitney Museum of American Art and Pace Editions, 1971. Embossed decorative
boards with photographic paste-down. 104 pp. This is first edition, first printing of Lucas
Samaras’s most famous photobook “Samaras Album” published by Whitney Museum of
American Art and Pace Editions, New York in 1971 with a limitation of 2000 copies that
was released in anticipation of the Whitney’s 1972 Samaras retrospective.
Vince Aletti in “The Book of 101 Books: Seminal Photographic Books of the Twentieth
Century” writes, ” Album gathers the artist’s first body of photographic work…Working
alone, often late at night and almost always in the nude, Samaras turned his cluttered
apartment into an impromptu Theater of the Ridiculous with himself as both willing cast
and inspired crew. . . [in this book] Images--usually antic, erotic variations on a theme--are
reproduced in their original size in color and black-and-white, and arranged in grids,
in rows, or singly on a page as if in a family snapshot album or a demented high school
yearbook. “ - € 295
432. SAMMARTINO, Lori: La domenica degli Italiani.
Milan, Minerva, 1961. Clothbound in photo-illustrated dust jacket, 132 pp. Introduction
by Ennio Flaiano.
“Lori Sammartino dashes off notes in a notebook with his camera. His gaze is reposed,
drawn in by the quotidian aspects of street life--the salt of a city and the comfort of
voluntary unemployment. The photographs in this volume have the gift of happy times
set with the ease of young people eager for a life of love and memory that runs out in front
of their eyes at the same moment in which it operates. Seizing that ephemeral moment the
secret. But only an affectionate irony, the artist can assist in setting down these memories
desperate--only a true love for others every day “--loosely translated from Ennio Flaiano’s
introduction. - € 150
433. SANDER, August: Antlitz der zeit.
München, Transmare Verlag /Kurt Wolff Verlag, 1929. In yellow cloth, still in original
slipcase.
“One of the great documentary works of all time, Antlitz der Zeit (Face of Our Time), is
an affecting collective portrait of Germany during the Weimar Republic, on the way to
the Third Reich.” Considered “a crowning achievement of photography in this century, ”
Sander’s rare 1929 monograph “has influenced many photographers in the years since…
In an essay published in 1931, Walker Evans compared Sander to the French photographer
Eugene Atget, and described his approach as ‘one of the futures of photography’… The
simple act of showing things as they are, Sander demonstrated, can reveal meaning with
a striking clarity, and even beauty” (New York Times). From 1910 to the 1950s, Sander
made over 500 portraits of Germans from all professions and classes, but was unable to
complete his planned masterwork, publishing only a select number here in 1929. “When
his portraits were first shown in 1927… Sander was hailed as the ‘Balzac of the lens.
’… It would be difficult to overestimate the influence of this work on later photography,
documentary or otherwise, in Germany and elsewhere” (Roth, 52). Sander’s “magnum
opus… is not just penetrating, but was seen as positively dangerous, a little too acute
in its analysis of society and class… This is made clear by the fact that when the Nazis