PHOTOGRAPHIE
[Photo 1935]
Pierre Abraham [Editor]
Pierre Abraham [Editor]: PHOTOGRAPHIE [PHOTO 1935] . Paris: Arts et Métiers Graphiques, September 1934. First edition. Quarto. Text in French. Thick printed wrappers. Wire spiral binding. 128 pp. 120 heliogravure plates. Introductory text. Elaborate period advertisements. Wrappers edgeworn and shelfworn with chewed spine ends. Textblock very good with a mild bump to lower edge. A nice, early copy of this influential and easily-abused series. A very good copy.
9.75 x 12.25 spiral-bound book with 120 Heliogravure reproductions. Essay by Georges Hilaire. This issue partly devoted to the Exposition Internationale de la Photographie Contemporaine, organised by the Musee des Arts Decoratifs. Photographie was an annual, special issue of the magazine Arts et Métiers Graphiques entirely dedicated to photography. Published under the direction of Charles Peignot, Arts et Metiers Graphiques was famous for its new photographic vision and has become the "Who's Who"of modern photography. Peignot and his friends Jean Cocteau, Maximilain Vox, A. M. Cassandre, Jean Carlu and Paul Colin formed the Paris-based group Union des Artiste Moderne, a group "strongly against anything backward looking."
PHOTOGRAPHIE published the work of the leading photographers of the period, as well as the work of successful commercial agencies. Many of the articles are illustrated with documentary photographs and film stills.
Contains Heliogravure plates by Philippe Pottier, Herbert Harris, Martin Munkacsi, Julius Arnfeld, Ching-San-Long, S. de Kaskel, Remy Duval, Rudolph Balogh, Grete Popper, Edward Bishop, Florence Henri, Hein Gorny, Laure Albin-Guillot, Alex. Keighley, Nora Dumas, Erika Huber, Ichiro Itani, Bruno Stefani, Clara Wachter, André Durand, Arthur de Carvalho, Kefer Dora Maar, Boitier, Margaret Bourke White, Edward Weston, Seidenstucker, Ch. Hurault, G. Mounier, Vicenzo Balocchi, Jean Moral, Brassai, Georges Platt Lynes, Marjorie Content, Imboden, Kollar, Juliette Lasserre, Fred G. Korth, Egry Landau, Rod Rieder, F. M. Boiteau, Gremmler, Jean Moral, Georges Saad, Otto Umber, Gutschow, Paul Wolff, Harry O. Meerson, Willy Prager, André Durst, Kardas, Ch. Hurault, André Steiner, Gustave Seiden, Edouard Bollaert, Guida, A. Fernandez, John Myren, Bill Brandt, Marianne Breslauer, Herbert List, Karl Theodor Kremmler, Ringl, Masamitsu Kato, Marie Gottlieb, Harry O'meerson, Edwald Hoinkis, Sougez, Schirner, Horst, August Rambucher, Gilbert de Chambertrand, Pierre Adam, Erno Vadas, Steiner, Remie Lohse, Roger Livet, Pierre Verger, Brodsky, Nora Dumas, and Vigneau.
In 1925, the critic, poet, and one of the founders of Surrealism, Andre Breton, posed the question: when would 'all the books that are worth anything stop being illustrated with drawings and appear only with photographs?’ A few short years after this statement, the photographic image had established itself as one of the most provocative, poetic, and radical forms of representation in modern society. A plethora of groundbreaking exhibitions, books and publicity, the work of some of the most influential figures in history of photography, ushered in the creative flowering of the medium across Europe. Unquestionably the increasingly effective presence of photography was tied to the emergence of these new recruits and their passionate conviction regarding its creative worth. It was out of this hotbed of revolution in the photographic form, that one of the most influential photographic annuals of the 20th century was published in Paris on the 15 March 1930. Photographie began life as a one off special issue of the graphic arts bimonthly magazine Art et metiers graphiques (No 16). [Kerry William Purcell]
Heliogravure is praised by conneiseurs the world over, because of the incomparably rich palette of blacks and shades of gray, the breadth of tonal range, and its exquisite expressiveness. Despite these qualities, Heliogravure has pretty much disappeared over the last fifty years: the costly and time-consuming traditional heliogravure technique has been abandoned in favor of cheaper, faster modern industrial printing methods, such as offset and rotogravure.
In the early part of the 20th century, heliogravure was the method of choice for reproductions appearing in high quality books and artistic photographic reproduction. Alfred Stieglitz (1864-1946) employed the technique for reproducing the photographs appearing in his celebrated quarterly Camera Work, published from 1903 to 1917. Before World War I, many considered heliogravure as an artistic medium in its own right.
Heliogravure belongs to the same family of intaglio printing techniques as engraving, etching and aquatint. As such, it requires an especially good quality of thick paper, one that can draw out the ink from the furthest recesses of the etched copper. In like manner, the plate embosses the finished prints, for its form is impressed into the dampened paper as they pass together through the rollers. Printed by hand in limited quantities, each heliogravure is considered an original, and its value is accordingly assured. [photographie_2018]