Paris De Nuit by Brassaï (16 results)

'Paris de Nuit. Paris, Édition Arts et Métiers Graphiques, [1932]': First edition, presentation copy inscribed by Brassaï on the first page with a gelatin silver photograph by Emiel van Moerkerken mounted on the front cover, verso (107 x 77 mm, 4¼ x 3 in); 4to (248 x 192 mm, 9¾ x 7½ in); black-and-white photographs printed in gravure by Draeger, light offsetting to first page, four leaves with Morand's text removed; photo-illustrated spiral-bound card covers, titles printed in red, wear to edges, handling creases, top and bottom tabs lost, Morand's name and the editor and series information on the upper side covered in black tape; Emiel Van Moerkenen's ownership signature and bookplate on the first page; [76]pp. 'Voluptés de Paris. Paris, Paris-Publications, [1934]': First edition, the complete version with 46 photographs, presentation copy inscribed on rear cover, recto; 4to (271 x 209 mm, 10¾ x 8¼ in); black-and-white photographs printed in relief halftone by G. Desgrandchamps, tabs torn; printed card covers, red, title in white and black, light fading to edges, chip to top corner at head, originally bound with five plastic rings, now missing and partially tied with thread, Emiel Van Moerkenen's bookplate to verso of front cover, his ownership signature dated Paris Sep '38 to first page; [48]pp. Portrait of Brassaï: Gelatin silver photograph (244 x 347 mm, 9½ x 13¾ in), signed and titled in pencil on verso. 'Paris de Nuit': First edition; 4to (248 x 192 mm, 9¾ x 7½ in); black-and-white photographs printed in gravure by Draeger, light offsetting to first page; photo-illustrated spiral-bound card covers, titles printed in red, light wear, handling creases, tear to first tab, a very good copy; [76]pp. Van Moerkerken or perhaps even Brassaï has removed and discarded the text pages with Paul Morand's introduction to Paris de Nuit, and has placed black tape over Morand's name on the cover. Brassaï was furious that Morand's name was printed on the cover in a typeface almost twice the size as the rest of the text, suggesting that Morand was the book's author. Contemporary reviews of Paris de Nuit pointed out that Brassaï's photographs were far superior to Morand's text, with Le Temps stating, 'When the name of Paul Morand will be long forgotten, Brassaï's photographs will still be living and precious documents.' Presentation copy of Brassaï's second book, inscribed to Dutch photographer and filmmaker Emiel van Moerkerken: 'à mon cher Van Moerkerken / ces malheureux "plasirs" qui ont mérités / un meilleur sort / Brassaï / Paris [1]938.' ['to my dear Van Moerkerken / these unfortunate "pleasures" who deserved / a better fate / Brassaï / Paris [1]938.'] Voluptés de Paris is Brassaï's scarcest title. Disappointed after the publication of Paris de Nuit (1932) failed to bring either the extra income or new commissions that he had hoped for, Brassaï began publishing some of his more risqué photographs in magazines such as Scandale, Secrets de Paris, and Paris Magazine. The publisher of Paris Magazine was Léon Vidal, who also owned Librairie de la Lune and the Diana Slip lingerie company; for a time, he was Brassaï's best customer. In August 1932, Vidal and Brassai signed a contract to publish a book called 'Paris Intime', intended to be similar in format to Paris de Nuit with a text by Pierre Mac Orlan. The project drifted as the relationship between Brassai and Vidal deteriorated, and two years later, Vidal published Voluptes de Paris without any involvement on Brassaï's part. Brassaï disowned the book, as inferred in the inscription, and when many of these photographs were later included in The Secret Paris of the Thirties (1976), he claimed that this would be the first time they were published. Copies of Voluptés de Paris exist in versions comprising either 48 or 40 pages. Although the exact reason and time this censorship or change occurred is unclear, being ring-bound, removing four leaves without disturbing the others would have been easy. This copy has the full complement of 48 pages. [Paris de Nuit] Regards à travers Le Livre 57; Brassai: Letters to My Parents pp207-8; Fotografia Pública 100-3; The Book of 101 Books pp76-7; The Photobook: A History I, p134; The Open Book pp110-1; Auer collection p198; Paris: Les Livres de photographies pp116-21; [Volupté de Paris] Regards à travers Le Livre 61; Auer collection p214; Paris: Les Livres de photographies pp136-7.

First edition, first printing, of the photographer's first publication, double presentation copy, inscribed by Morand on the first page of text, "à Pierre Cot, Voici un joli décor pour La Patriouille etc. (Chut! chut! chut!) tres fideliement P. Morand Paris, fev. 32", and further inscribed by Brassaï across the following two pages, "Pour Christian-Vincent Matorasso, ce Paris de Nuit perdu et retrouvé avec toute ma sympathie, Brassai, Ete Village, le 7 mai 1965". The first recipient, Pierre Cot (1895-1977), was a politician central to the establishment of the French Air Force, and later of Air France. Morand's inscription alludes to La Patriouille, a display wing of the air force, the French equivalent of the British Red Arrows. Pasted below Morand's inscription is a small photograph of Brassaï in later life, which probably relates to the photographer's subsequent inscription. This is a superb copy of the work in which Brassaï showcases his mastery "at drawing luminosity from the darkness. The swaths of wet paving stones featured on the covers and endpapers of Paris de Nuit gleam like pale beacons in the streetlight. Inside, Brassaï explores the city, beginning with its broad vistas and grand public spaces and gradually moving into the demimonde he knew so intimately" (Roth, p. 76). It remains one of the most influential photobooks; signed copies are rare, and copies inscribed by both author and photographer rarer still. Parr & Badger I, p. 134; Roth, p. 76. Quarto. Spiral bound monochrome photographic wrappers, front cover lettered in red. Housed in a custom black quarter morocco solander box by the Chelsea Bindery. Illustrated with 62 full-page gravure plates, and 2 double-page plates as endpapers. A few punch holes slightly worn, covers lightly creased and rubbed at extremities, a few pages faintly soiled. A very good copy of a notoriously fragile book.

Spiral bound. Condition: Very Good. SIGNED BY BRASSAI near the head of the opening page of Paul Morand's Introduction. A solid, very presentable copy to boot of the 1933 1st edition of this soaring achievement in pre-War photography and printing. Crisp and VG in its iconic card wrappers of a late-evening, cobblestoned Paris walkway, with light creasing and chipping along the edges. A touch of separation as well to the front panel along only the top 1" of the spiral binding. Internally, very sharp, with just a bit of light soiling to several pages of the Introduction. The remarkable gravures, all 62 of them, are all-but-pristine, deep and rich and magnficent. While Brassai's signature is not especially scarce, it is truly uncommon on copies of this, his masterwork and greatest achievement.

Paris, Arts et Métiers Graphiques, 1933. Gr.-8°. 60 photohéliographic plates. Stiff photographic wrappers; ringbound; an unusual nice copy. Fine spiral binding ! First edition. - One of the classics of photographic literature, this extraordinarily evocative book is now very difficult to find in good condition. Brassai arrived in Paris in 1924 and prowled the city with his friends Henry Miller, Raymond Queneau, Jacques Prévert and Léon Paul Fargue. He used Kertèsz's camera. In 1933 his first book 'Paris de Nuit' was published. A book that remains one of the landmarks in the history of photography."Paris le jour/Paris la nuit", p.85 and passim. Original spiral bound photographic wraps printed in black and red. Spiral binding intact. Ownership inscription. Otherwise a very good plus copy of the notorious fragile book. Rare in this condition. Sprache: Französisch. *** Bitte kontaktieren Sie mich immer BEVOR Sie bestellen! Für ausführliche Beschreibungen und Bilder sowie günstigere Versandoptionen kontaktieren Sie mich bitte per Email! Please contact me always BEFORE you order! For detailled descriptions and photos as well as cheaper shipping options please send an email! ***.

souple. 60 photos inédites de Brassaï publiées dans la Collection "Réalités", sous la direction de J. Bernier, 1 vol. in-8 cartonnage illustré à reliure spirale éditeur, Editions "Arts et Métiers Graphiques", Paris, s.d. [ 1933 ], 6 ff. et 62 pp. Exceptionnel exemplaire de l'édition originale, enrichi d'un magnifique envoi autographe signé de Paul Morand : "à Henri de Régnier, ce livre, qui commence comme la Cité des Eaux et qui finit comme un roman naturaliste. En le remerciant de son livre, véritable comprimé de poésie ; livre d'autant plus précieux qu'on ne peut lire les poètes qu'on aime qu'en voyage ; sans aucun excédent de bagages, j'emporterai désormais partout une oeuvre admirable. Son ami respectueux Paul Morand". Paul Morand évoque sans doute ici "Airs pour l'écho", petit recueil de poésie publié par Henri de Régnier en 1933. Bon état (très petit accrocs angulaire sans manque au second plat) pour cet ouvrage fameux, dans lequel Brassaï se révèle comme un grand maître de la photographie nocturne. Langue: Français. signé par l'auteur.

Soft cover. Condition: Near Fine. 1st Edition. SIGNED by Paul Morand atop his 8-page preface. Paris: Edition Arts et Métiers Graphiques, 1933. First Edition. Spiral bound quarto, sixty-four gravure plates. The highest celebrated, most iconic of the great Paris photobooks, printed in a luscious gravure so tactile "that after handling the book one expects to find sooty deposits all over one's fingers. One should think of it as amongst the best produced and influential photobooks ever" (The Photobook, Vol. I). Roth 101. Whereas most night photography of the period celebrates electric light, speed and metropolitan life, Brassai's portfolio expresses a different urban narrative. The Paris he shows, his "little boxes of night," is tawdry, intimate, dark and full of mystery, as though nighttime were its natural hue. As a young man, prefacer Paul Morand bathed in Parisian artistic circles and the high public service. Appointed at the age of 24, attached to the French Embassy in London, he began a career at the Quai which took him all over Europe. He entered literature in 1921 with his first prose work, Tendres Stocks, a collection of short stories prefaced by Marcel Proust. During the 30s, he published numerous books, travelogues, novels, short stories; he also practiced journalism, notably for Le Figaro. A lovely, collectible copy signed by Paul Morand. Book #vC1123. $4850. We specialize in Rare Ayn Rand, history, and science. Signed by Author(s).

First Edition. Spiral bound quarto, sixty-four gravure plates. The best-known and most iconic of the great Paris photobooks, printed in a deep gravure so tactile it seems almost as if charcoal will rub off on the hands of the viewer. The cobblestone covers and endpapers are particularly evocative. (Parr / Badger, v1, 134; Roth 76-77). Former owner's innocuous book plate, signature that reads "Brassai", but likely not in the photographer's hand, light edge creases to the bottom corners, gently handled with minor wear; a solid, very good copy lacking serious defects in photo-illustrated spiral-bound wrappers.

Wire spiral bound. Condition: Very Good. First edition. Bears the bookplate of Carl Van Vechten, the American writer and artistic photographer who was a patron of the Harlem Renaissance and the literary executor of Gertrude Stein. Several creases and tiny chips to covers, chiefly in the area of the perforations at head and tail of spine. A small strip of clear adhesive tape applied to upper corner, rear cover. No other interior markings or other defects to note. [12] pages 62 plates on 32 leaves 25 cm. Paris (France) -- Pictorial works. Night photography -- France -- Paris.

grand in-8°, reliure métallique en spirale, couverture illustrée (bords de la couverture un peu défraichis, petit manque dans le coin inférieur du premier plat), 12 pages de texte et 62 photographies reproduites en héliogravures, intérieur frais, bon exemplaire.

Gr.-8°. 6 Bll. Text und 62 Photographien 25,5 x 20 cm. Illustr. OUmschlag mit Spiralheftung. Erste Ausgabe eines der berühmtesten Fotobücher des 20. Jahrhunderts über das nächtliche Paris. Nächtliche Aufnahmen ohne Kunstlicht galten bis dahin als unüblich. Tim Gidal widerlegte diese Ansicht durch seine Arbeit. 1923 zog er nach Paris, lernt die Künstlerkreise um Picasso und Dali kennen und beginnt 1928 mit den ersten Fotografien. Die Aufnahmen zeigen ein intimes, eher unbekanntes Paris, ein Milieu der Seitenstraßen, der Clochards und Prostituierten und kleinen Leuten. - Ein schönes Exemplar, die Spiralheftung hier in guter Kondition, ohne den meistens durch die Heftung verursachten Ausrisse. - Selten! Sprache: deutsch.

4°. [6] Bl. u. 62 Tafeln in Tiefdruck. Illustr. OKart. mit Metallring-Heftung. Auer 198. Bouqueret, Paris 116. Koetzle, Eyes on Paris 106 ff. The Open Book 110 f. Parr/Badger I, 134. Roth, The Book of 101 Books 76 f. - Erste und einzige Ausgabe des ersten und wichtigsten Werks des bedeutenden Fotografen. - "Un livre moderne, superbement imprimé, avec une relieure spiralée, qui va aussitôt s'imposer comme un ouvrage majeur au sein du monde de la photographie" (C. Bougueret). - "Instead of seeing Paris de nuit as a great 'might have been', therefore, one should think of it as ampngst the best produced and influential photobooks ever" (G. Badger). - "Erst Brassai hat unser Bild von Paris komplettiert. Er war es, der die andere Seite der Stadt, jene zweite spätere, finstere Tageszeit, die untrennbar zum 24-Stunden-Rythmus gehört, erkundet und aufgezeichnet hat. Zugegeben, bei Nacht, im Schatten der Gassen oder im Dunkel der Katakomben wurde schon vor Brassai fotografiert. Allerdings nie wirklich mit System, nach Maßgabe eines Konzepts und mit künstlerischem Anspruch. Brassai war der "Poète des nuits" und er war der Erste, dem ein mehr als überzeigendes Buch zum Thema gelang. . (Es) ist unter allen Titeln mit Paris-Bezug vermutlich der bekannteste, ein gedruckter Superlativ, der Brassai, den mehr oder minder mittellosen Immigranten, buchstäblich über Nacht berühmt gemacht hat" (H.-M. Koetzle). - Deckel mit wenigen Kratzspuren, Ecken mit Knickspuren, Vorderdeckel am Kapital und Fuß geringf. beschädgt (jeweils 2 Löcher an den Metallringen eingerissen), noch sehr gutes Exemplar. Sprache: französisch.

Paris, Arts et métiers graphiques, [1933]. [12] S. Mit 62 s/w Kupfer-Tiefdrucktaf., gedruckt bei Draeger. (= Collection "Réalités). 25 cm. OKart mit Spiralheftung. Erste Ausgabe (des ersten Fotobuchs Brassais). - Brassaï (d.i. Gyula Halász, 1899-1984), französischer Fotograf ungarischer Herkunft, kam nach Studien in Ungarn und Deutschland 1924 nach Paris. Sein Freund, der ungar. Fotograf André Kertész überredete ihn, die Faszination des Pariser Nachtlebens in Fotos einzufangen. 1933 erschien sein Bildband "Paris de Nuit", der ihn sofort berühmt machte: "Brassai, der Pariser aus Transsylvanien, erscheint als Engel der Dunkelheit. Seine Sensibilität genießt das Ursprüngliche, das Fantastische, das Zweideutige und sogar das Bizarre" (John Szarkowski, Museum of Modern Art, New York). - Deckelkanten gering berieben.

Softcover. Condition: Good. No Jacket. Brassai (illustrator). First Edition. 12 pp of text and captions, 62 pp. of full-page black and white photographs. Spiral bound, stiff wraps. Text is in French. Covers and endpapers are additional photographs. Spiral binding is complete and secure, unusual for such a fragile publication. Extremities are worn, covers are scuffed and creased. Front cover has 3/4" square of photo missing (paper only is missing, the underlying board of the cover is complete). Interior is very clean throughout and photographs are sharp and clear. Brassai was one of the most influential photographers of the 20th century and this, his first book, was a landmark work. In it he captures both the luminosity and the eeriness of all corners of the city and lifestyles of Paris at night in the early 1930s. Scarce. Size: Small Quarto.

Petit in-4 carré ( 250 X 190 mm, broché par spirale métallique sous couvertures illustrées. EDITION ORIGINALE des 12 pages de Paul MORAND et PREMIER TIRAGE des 62 magnifiques photographies à pleine page hors-texte de BRASSAÏ. Usures et plissures à la couverture, les photographies de BRASSAÏ d'un noir d'une rare intensité sont en bel état. Malgré les défauts annoncés, un exemplaire tout à fait désirable. Edition-Originale Littérature Photographie Beaux-Arts.

Paperback. Condition: Very Good. Photos by Brassai, 10 x 7.5", spiral bound pict stiff wraps, (12)pp of text by Paul Morand + 62 photographs by Brassai, covers quite worn, corners bumped and creased, some scratches to covers, pp toned and worn/bumped corners. Still, a usable copy. Text in French.

Wrappers. Condition: Fair. First Edition. [1933]. Small 4to. 1st edition. Lacking leaf with plate 2 and 3. Front and back wrappers fully detached from spiral binding. Some edgewear, creasing, toning and rubbing to extremitities. Light edgewear and moderate toning to leaves. VG in wrappers.