Available Copies from Independent Booksellers
Lee Friedlande. Lee Friedlander: Self-Portrait. Haywire Press, 1970.
Price: US$250.00 + shipping
Condition: Near Fine
Description: A beautiful copy of the true first edition, signed by Friedlander. Friedlander focuses on the role of his own physical presence in his images. He writes: "At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings." Here readers can witness this progression as Friedlander appears in the form of his shadow, or reflected in windows and mirrors, and only occasionally fully visible through his own camera
Seller: Black Dog Books, Emerson, NJ, U.S.A.
Photography - Friedlander, Lee. Self Portrait (Inscribed). Haywire Press, New York, 1970.
Price: US$400.00 + shipping
Condition: Good
Description: Oblong 8vo. First edition of the photographer's first separate book. INSCRIBED on the title page. A good only copy with considerable wear and small creases to covers. Featured in Parr and Badger and a Roth 101 selection.
Seller: Derringer Books, Member ABAA, Avon, CT, U.S.A.
Lee Friedlander. Self Portrait. Haywire Press, New York, 1970.
Price: US$400.00 + shipping
Condition: Very Good
Description: Wrappers. Signed by the photographer on the title page. Photographer's first book. Very good but for significant wear to cover.
Seller: Moe's Books, Berkeley, CA, U.S.A.
Price: US$412.50 + shipping
Condition: Near Fine
Description: First edition, first printing. Signed by Friedlander. Soft cover. Photographically illustrated stiff wrappers; no dust jacket as issued. Photographs and text (untitled preface) by Lee Friedlander. Designed by Friedlander and Marvin Israel. Unpaginated (88 pp.) with 42 plates plus the cover image (not reproduced inside the book), printed by the Meriden Gravure Company, Meriden, Connecticut, from duotone separations made by Richard Benson. 8-1/2 x 9-1/8 inches. Out of print. Scarce. [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume I. (London and New York: Phaidon, 2004).] Lee Friedlander's work is widely known for transforming our visual understanding of contemporary American culture. Known for passionately embracing all subject matter, Friedlander photographed nearly every facet of American life from the 1950s to the present. From factories in Pennsylvania, to the jazz scene in New Orleans, to the deserts of the Southwest, Friedlander's complex formal visual strategies continue to influence the way we understand, analyze, and experience modern American experience. Friedlander's work continues to influence photographic practice internationally, in part due to the heightened sense of self-awareness that is a trademark of so many of his photographs and in part because of his ability to embrace wide-ranging subject matter, always interpreting it in an elegance that hadn't existed prior to his work. Near Fine (wear to the extremites, else Fine). Friedlander's Self-Portraits call attention to the complex, fractured and sometimes dissimulating interplay between various screens, shadows, reflections, lenses and the surfaces of the photographs themselves. Introducing this body of work, Friedlander wrote, "I might call myself an intruder." Following this, in Andrew Roth's Book of 101 Books Vince Aletti asserts, "Friedlander does seem to be lurking or barging into his own pictures -- a hovering, disembodied Everyman, at once here and gone. Like the ephemeral figures in nineteenth-century spirit photos, he appears as a shadow, a reflection, a pair of shoes, a barely discernible shape. Although there are a number of shots where Friedlander's head is clearly visible in a mirror or looms unmediated into the frame, none are conventional or in any sense flattering self-portraits.Mostly, however, he seems determined to remove himself from the frame -- to become not the subject of the picture but just another incidental bit of photographic phenomena, no more important that a shaft of sunlight or a shop window or a passing shadow." Signed by Author.
Seller: Vincent Borrelli, Bookseller, Albuquerque, NM, U.S.A.
FRIEDLANDER, Lee. Self Portrait [Signed first edition]. Haywire Press, New City, NY, 1970.
Price: US$500.00 + shipping
Description: 8.5 x 9 inches. Friedlander's first solo publication, self-published and preceded only by his 1969 collaboration with Jim Dine. Though this slim monograph collects 42 self-portraits of Friedlander, many of which show only his shadow or his reflection, it "is essentially a landscape work, full of those slightly menacing urban and suburban photographs by which he changed the vocabulary of late twentieth-century photography" (Parr & Badger 1:258). Roth 198-199. A very good plus copy in wrappers with a little soiling to the front panel and rubbing and wear to the rear panel that is primarily near the spine. Still a very nice copy of this important book First edition, signed by Friedlander on the title-page.
Seller: Riverrun Books & Manuscripts, ABAA, Ardsley, NY, U.S.A.
FRIEDLANDER, Lee.. Self Portrait.. New York Haywire Press self-published, 1970.
Price: US$544.50 + shipping
Description: First edition, signed in black ink on title page; oblong 4to (216 x 230 mm, 8½ x 9 in); black-and-white photographs printed in offset duotone, design by Friedlander and Marvin Israel, small pen mark to one page, light toning, minor wear, photo-illustrated wrappers, impression mark on upper wrapper, sticker ghost to inside cover, near-fine; [86]pp. signed copy of Friedlander's first solo book. Self Portrait comprises a series of urban and suburban scenes, into which Friedlander has included his reflection or shadow. He financed the publication of this book with the proceeds from his share of the sale of the portfolio version of Work from the Same House, naming his new imprint Haywire Press: 'I remembered that haywire was what farmers use to hold things together when they can't get the real thing. And that's just how that book got put together. Everybody I knew helped me.' The Book of 101 Books pp198-9; Books, Speclal Editions, and Portfolios 3; The Photobook: A History I, p258; The Open Book pp262-3.
Seller: Shapero Rare Books, London, United Kingdom
Price: US$577.50 + shipping
Condition: Fine
Description: Price is net to all; promotional discounts do not apply. First edition, first printing. SIgned in ink by Friedlander. Soft cover. Photographically illustrated stiff wrappers; no dust jacket as issued. Photographs and text (untitled preface) by Lee Friedlander. Designed by Friedlander and Marvin Israel. Unpaginated (88 pp.) with 42 plates plus the cover image (not reproduced inside the book), printed by the Meriden Gravure Company, Meriden, Connecticut, from duotone separations made by Richard Benson. 8-1/2 x 9-1/8 inches. Out of print. Scarce. [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume I. (London and New York: Phaidon, 2004).] Lee Friedlander's work is widely known for transforming our visual understanding of contemporary American culture. Known for passionately embracing all subject matter, Friedlander photographed nearly every facet of American life from the 1950s to the present. From factories in Pennsylvania, to the jazz scene in New Orleans, to the deserts of the Southwest, Friedlander's complex formal visual strategies continue to influence the way we understand, analyze, and experience modern American experience. Friedlander's work continues to influence photographic practice internationally, in part due to the heightened sense of self-awareness that is a trademark of so many of his photographs and in part because of his ability to embrace wide-ranging subject matter, always interpreting it in an elegance that hadn't existed prior to his work. Fine, a Near Mint copy (from Friedlander's personal archive). Friedlander's Self-Portraits call attention to the complex, fractured and sometimes dissimulating interplay between various screens, shadows, reflections, lenses and the surfaces of the photographs themselves. Introducing this body of work, Friedlander wrote, "I might call myself an intruder." Following this, in Andrew Roth's Book of 101 Books Vince Aletti asserts, "Friedlander does seem to be lurking or barging into his own pictures -- a hovering, disembodied Everyman, at once here and gone. Like the ephemeral figures in nineteenth-century spirit photos, he appears as a shadow, a reflection, a pair of shoes, a barely discernible shape. Although there are a number of shots where Friedlander's head is clearly visible in a mirror or looms unmediated into the frame, none are conventional or in any sense flattering self-portraits.Mostly, however, he seems determined to remove himself from the frame -- to become not the subject of the picture but just another incidental bit of photographic phenomena, no more important that a shaft of sunlight or a shop window or a passing shadow." Signed by Author.
Seller: Vincent Borrelli, Bookseller, Albuquerque, NM, U.S.A.
Price: US$660.00 + shipping
Condition: As New
Description: Price is net to all; promotional discounts do not apply. First edition, first printing. SIgned by Friedlander. Soft cover. Photographically illustrated stiff wrappers; no dust jacket as issued. Photographs and text (untitled preface) by Friedlander. Designed by Friedlander and Marvin Israel. Unpaginated (88 pp.) with 42 plates plus the cover image (not reproduced inside the book), printed by the Meriden Gravure Company, Meriden, Connecticut, from duotone separations made by Richard Benson. 8-1/2 x 9-1/8 inches. [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), in Martin Parr and Gerry Badger, The Photobook: A History, Volume I. (London and New York: Phaidon, 2004) and in Peter Galassi, Friedlander. (New York: MoMA, 2005), "Books, Special Editions, and Portfolios" (pp. 444-459), #3.] Lee Friedlander's work is widely known for transforming our visual understanding of contemporary American culture. Known for passionately embracing all subject matter, Friedlander photographed nearly every facet of American life from the 1950s to the present. From factories in Pennsylvania, to the jazz scene in New Orleans, to the deserts of the Southwest, Friedlander's complex formal visual strategies continue to influence the way we understand, analyze, and experience modern American experience. Friedlander's work continues to influence photographic practice internationally, in part due to the heightened sense of self-awareness that is a trademark of so many of his photographs and in part because of his ability to embrace wide-ranging subject matter, always interpreting it in an elegance that hadn't existed prior to his work. As New (from Friedlander's personal archive). Friedlander's Self-Portraits call attention to the complex, fractured and sometimes dissimulating interplay between various screens, shadows, reflections, lenses and the surfaces of the photographs themselves. Introducing this body of work, Friedlander wrote, "I might call myself an intruder." Following this, in Andrew Roth's Book of 101 Books Vince Aletti asserts, "Friedlander does seem to be lurking or barging into his own pictures -- a hovering, disembodied Everyman, at once here and gone. Like the ephemeral figures in nineteenth-century spirit photos, he appears as a shadow, a reflection, a pair of shoes, a barely discernible shape. Although there are a number of shots where Friedlander's head is clearly visible in a mirror or looms unmediated into the frame, none are conventional or in any sense flattering self-portraits.Mostly, however, he seems determined to remove himself from the frame -- to become not the subject of the picture but just another incidental bit of photographic phenomena, no more important that a shaft of sunlight or a shop window or a passing shadow." Signed by Author.
Seller: Vincent Borrelli, Bookseller, Albuquerque, NM, U.S.A.
Friedlander, Lee.. Self Portrait.. Haywire Press, New City, 1970.
Price: US$750.00 + shipping
Condition: Near Fine
Description: First trade edition. (after 100 hardcover copies and 20 artist's copies with prints) SIGNED by Lee Friedlander on title page. Near fine in oblong pictorial printed wrappers. (un-paginated) -88pp. ) (8 3/4" X 9 1/4") (Light traces of foxing to margins in text. ) 42 b&w plates. The photographer's FIRST solo book. ; 8 3/4" X 9 1/4"; 88 pages
Seller: WAVERLEY BOOKS ABAA, Santa Monica, CA, U.S.A.
FRIEDLANDER, Lee. Self Portrait. Haywire Press, New York, 1970.
Price: US$10000.00 + shipping
Condition: Fine
Description: First edition, hardcover issue. Oblong quarto. Full cloth with applied gelatin silver print. Fine in fine slipcase. This is one of 20 copies with two original prints: 1, "Tallahassee, Florida. 1969" mounted on the front board of the book, and 2. "Wilmington, Delaware. 1965" mounted and bound in following the title page. Inscribed beneath the image by Friedlander using a nickname: "To Bub with love, Sunny. Nov. 1972. a/c." The artist R.B. Kitaj's copy. A significant association between two American artists. Friedlander published a volume devoted exclusively to portraits of Kitaj: *Kitaj* (San Francisco: Fraenkel Gallery 2002).
Seller: Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, U.S.A.
Price: US$10000.00 + shipping
Condition: As New
Description: Please inquire. Pricing and availability are subject to change (price is net to all; promotional discounts do not apply). PAYMENT: by check or wire transfer (please inquire about payment by credit card). SHIPPING NOTE: due to size and weight, additional shipping fees apply (calculated at actual cost). Special limited edition of 100 signed and numbered copies, plus 20 artist's copies, with two vintage gelatin silver prints: 1) "Tallahassee, Florida. 1969" (cover image of the trade edition). Image 3-7/16 inches x 5-3/16 inches, mounted on cloth cover of the book; and 2) "Wilmington, Delaware. 1965" (pl. 23 in the trade edition), mounted and bound in following the title page. Signed and numbered in pencil on recto of mount beneath image. Image 6-7/8 x 4-3/8 inches; mount 8-1/2 x 9 inches. Edition is housed in a gray paper-covered slipcase. ABOUT THE BOOK: First edition, first printing. Signed by Friedlander. Hardcover. Black cloth-covered boards, with gelatin silver print mounted on the cover; no dust jacket as issued (for the Special Limited Edition). Photographs and text (untitled preface) by Friedlander. Designed by Friedlander and Marvin Israel. Unpaginated (90 pp. including bound-in print) with 42 plates plus the cover image (not reproduced inside the book), printed by the Meriden Gravure Company, Meriden, Connecticut, from duotone separations made by Richard Benson. 8-1/2 x 9-1/8 inches. [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume I. (London and New York: Phaidon, 2004).] [See: Peter Galassi, Friedlander. (New York: MoMA, 2005), "Books, Special Editions, and Portfolios" (pp. 444-459), #4.] Lee Friedlander's work is widely known for transforming our visual understanding of contemporary American culture. Known for passionately embracing all subject matter, Friedlander photographed nearly every facet of American life from the 1950s to the present. From factories in Pennsylvania, to the jazz scene in New Orleans, to the deserts of the Southwest, Friedlander's complex formal visual strategies continue to influence the way we understand, analyze, and experience modern American experience. Friedlander's work continues to influence photographic practice internationally, in part due to the heightened sense of self-awareness that is a trademark of so many of his photographs and in part because of his ability to embrace wide-ranging subject matter, always interpreting it in an elegance that hadn't existed prior to his work. As New (from Friedlander's personal archive). Friedlander's Self-Portraits call attention to the complex, fractured and sometimes dissimulating interplay between various screens, shadows, reflections, lenses and the surfaces of the photographs themselves. Introducing this body of work, Friedlander wrote, "I might call myself an intruder." Following this, in Andrew Roth's Book of 101 Books Vince Aletti asserts, "Friedlander does seem to be lurking or barging into his own pictures -- a hovering, disembodied Everyman, at once here and gone. Like the ephemeral figures in nineteenth-century spirit photos, he appears as a shadow, a reflection, a pair of shoes, a barely discernible shape. Although there are a number of shots where Friedlander's head is clearly visible in a mirror or looms unmediated into the frame, none are conventional or in any sense flattering self-portraits.Mostly, however, he seems determined to remove himself from the frame -- to become not the subject of the picture but just another incidental bit of photographic phenomena, no more important that a shaft of sunlight or a shop window or a passing shadow." Signed by Author.
Seller: Vincent Borrelli, Bookseller, Albuquerque, NM, U.S.A.