New and Best-Selling Titles 2015 ‘Reel Art Press Is a Publishing Cult’ ESQUIRE MAGAZINE CONTENTS

New and Best-Selling Titles 2015 ‘Reel Art Press is a publishing cult’ ESQUIRE MAGAZINE CONTENTS

Introduction 7 Autumn / Winter 2015 8 Backlist 25 Limited Editions 35 Contact Information 58 One of the greatest pleasures for me when working with artists or their estates is that tantalizing moment, the spark, when a single image, or contact sheet, or long forgotten box of negatives or battered prints promises something special. Diving into the depths of an archive to explore an artist’s brilliance and talent. Our 2015 titles have all given me that unquantifiable moment of excitement when I was certain that something very special could be brought to press and I could not be happier with the resulting editions. My first window into the work of British Magnum photographer David Hurn was in my days as a vintage movie poster dealer, through his work as the special photographer for From Russia With Love and Barbarella. His shots of the stars were the very best of their kind, capturing the icons of the era in all their sixties glamour and cool. Hurn’s photograph of Sean Connery, for example, with his tux and gun in From Russia With Love is one of the most celebrated Bond images of all time, more synonymous with 007 than any other shot. When I began to look more closely at Hurn’s work from the period, one of the things that actually intrigued me most was his non-celebrity work. Hurn is so much more than just another sixties A-list photographer. As Peter Doggett comments in his introduction, “Unlike most of his peers, Hurn delved beyond the fatal attractions of Swinging London and its global counterparts, to pursue his greatest subject: ordinary people pursuing ordinary passions. … Hurn’s portfolio is a unique blend of celebrity and anonymity, which provides a far more accurate summary of the decade than an anthology of superstar portraits.” Such “superstar portraits” are balanced by photo essays on the streets of New York, in the sex clubs of London’s Soho, on the French Riviera and the Isle of Wight Festival, amongst others. More than perhaps any other photographer from this often-stereotyped decade, Hurn presents one of the most authentic, well-rounded and visually exciting essays on the 1960s that I have encountered. One of the most in-depth books we have ever produced, The 2001 File: Harry Lange and the Design of the Landmark Science Fiction Film is truly the holy grail for fans of 2001: A Space Odyssey and a visual feast for lovers of film, design, science and space. I was granted access to art director Harry Lange’s unseen archive, which forms the heart of this stunning tome. The book covers the whole of Lange’s artistic scope. With a background at NASA and in research, Lange had a comprehensive vision of what the future could and should look like. He brought his strikingly realistic designs to life from early technical correspondence, to intricate sketches, and finally the meticulous set designs on the film. The attention to every detail is truly astounding and Lange’s work was vital to the whole look and feel of the movie. This book is the first time his incredible vision and complete archive has been brought to the public. It is accompanied by exhaustive research and text by Sir Christopher Frayling, including the last interview Frederick Ordway – the NASA scientist who was an integral consultant on 2001 and worked hand-in-hand with Lange – gave before his death. Cuba 1959 is the first in a series of books we are producing with Magnum photographer Burt Glinn’s archive. When I was first introduced to his archive through Michael Shulman, Magnum’s Director of Publishing, I was blown away by the embarrassment of riches it contained. Glinn’s career spanned more than fifty years, and the wealth and quality of the material is breathtaking. His photo essay on the first ten days of the Cuban Revolution could be a documentary. It is a hugely important body of work, capturing the Revolution as it unfolded on the ground and culminating in Castro’s triumphant entrance into Havana. The book includes some of Glinn’s most iconic images, as well as several unseen shots, rediscovered in the archive after more than half a century. Barbara Pyle’s photographic essay on Bruce Springsteen and the E Street Band from 1975 captures a special and unique moment in time, with Bruce and the Band on the cusp of fame. This is not just another fan book: Barbara’s photographs are legendary and have been eagerly awaited for forty years. She is one of the only photographers to have ever been allowed in the studio during rehearsals and was their “official unofficial photographer”. Barbara has a photojournalist’s eye and each image is a perfect moment. There are so many interesting shots in this book: one of my favourite sections shows each band member’s first ever passport photos and outtakes, shot by Barbara before they went on tour. This volume is a fascinating and intimate body of work showing the arc of Bruce and the Band’s journey leading up to the release of Born to Run and the moment, in Barbara’s words, that “they became airborne”. Bill Bernstein’s photographs of disco, taken in Manhattan in the late-70s, capture the music movement when it was at its purest – not chic, not celebrity – but a raw love of the music. His photographs are sometimes bizarre, sometimes surreal, and capture a melting pot coming together in the democracy of the dance floor. Talking about that time, Bernstein comments, “We saw gay liberation, women’s liberation, racial equality. And they all met up on the dance floor. A Wall Street guy dancing next to a transgender. There were no judgements...” I first met photographer Hunter Barnes when we were exhibiting prints from our limited edition Rat Pack book at Milk Gallery in New York in 2011. We started talking, and Hunter invited me to a private view of a selection of photographs from his most recent trip, of a community of serpent handlers in the Appalachian Mountains. I was blown away by his work and within the space of fifteen minutes, had bought one of his prints. We went on to produce a book of this collection, A Testimony of Serpent Handling in 2012. Hunter and I always talked about doing another book of an overview of his work in general, which has finally culminated inRoadbook . Hunter is a very special artist and, in my opinion, one of the most important documentary photographers working in the States today. His images are timeless and draw you in. They are real Americana, and he captures little known and forgotten communities outside of mainstream society. Roadbook is a mesmerizing collection of his portraits from his years on the road. Brigid Berlin was Andy Warhol’s best friend and a central figure at the Factory. She was an artist and an obsessive photographer. Her Polaroid collection is somewhat legendary and what I find exciting about these is that they weren’t taken as a photo essay, or with careful planning, but rather they were a compulsive chronicle, an artistic experiment in double exposures and angles while capturing friends and Factory visitors. They are almost indiscriminate and haphazard, yet the overall impression is of precious artefacts and works of art. They also offer a really interesting and immersive picture of what was going on in the Factory and are a virtual Who’s Who of everyone in the art scene in New York at that time. Her photographs of Andy expose the rare intimacy of closest friends. I want to thank all the artists, estates and writers we have worked with this year – it has been a joy. I also give thanks daily for the committed small team around me at Reel Art Press, who are all exceptional and relentlessly dedicated to producing the greatest and most exciting publications out there.

TONY NOURMAND EDITOR-IN-CHIEF REEL ART PRESS

- 6 - - 7 - THE 1960s: PHOTOGRAPHED BY DAVID HURN Introduced by Peter Doggett

“Hurn has the eye of a compassionate eagle, the skill to entice the best out of his subjects, and the wit to turn everyday images into an enduring legacy.”

A magnificent volume curated with insight and appreciation for a true master of his art. Magnum photographer David Hurn’s rendering of the 1960s encompasses both Hollywood screen idols and East End sun-seekers; headline news, alongside rituals unchanged for centuries. Photoessays from the streets of New York, anti-Vietnam protests, the London Soho scene, the French Riviera, Queen Charlotte’s Ball and the Isle of Wight Festival in 1969; portraits of Michael Caine, Quentin Crisp, Julie Christie, amongst many more; and Hurn’s work within the film industry, capturing The Beatles during filming ofA Hard Day’s Night, Sean Connery in From Russia With Love and Jane Fonda in Barbarella. An incredibly well- rounded vision of the 1960s that is not to be missed. “Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities. There is more pleasure, for me, in things as they are.” – David Hurn

David Hurn is one of Britain’s most respected and influential documentary photographers. He began his career in 1955, earning an early reputation for his photo-essays from the 1956 Hungarian revolution. He joined Magnum photo agency in 1965. His work is distinguished not only for its unique eye and insight but for his diversity of subjects, as this volume of his work from the 1960s illustrates.

THIS TITLE HAS THREE ACCOMPANYING LIMITED EDITIONS: ‘BARBARELLA’, ‘FROM RUSSIA WITH LOVE’ AND ‘A HARD DAY’S NIGHT’. SEE PAGES 36-37.

ISBN: 978-1-909526-13-6; £29.95 / $49.95 228pp; Hardback; 240 colour & b/w photographs 290 x 245 mm / 11.4 x 10 in. October 2015

- 8 - - 9 - THE 2001 FILE: HARRY LANGE AND THE DESIGN OF THE LANDMARK SCIENCE FICTION FILM Christopher Frayling

CLAVIUS MOON BASE THE 2001 FILE Landing pads HARRY LANGE AND THE DESIGN OF THE LANDMARK SCIENCE FICTION FILM

HL 0693A Moon base landing pad (acrylic on black paper). HL 0175A Moon Base landing pads.

DISCOVERY Early ‘Bell’- or ‘Saucer’-shaped concepts

HL 0121B

HL 0121

HL 0323 HL 0324

HL 0121 B Command module (D3) with bell shaped fuel storage and life support, and propulsion system details. HL 0323 Command module (D2) section HL 0120 with bell shaped fuel storage and life support, and propulsion system details. HL 0324 Discovery section view with surface construction detail. HL 0121 Discovery early concept showing command module and reverse bell shaped fuselage. HL 0120 Discovery propulsion system multiple views.

The holy grail. Harry Lange’s complete, unseen archive.

This stunning tome is a previously unseen look behind-the-scenes at the making of this most legendary of science fiction classics. It is an in-depth examination of the complete, largely unpublished archive of art director Harry Lange’s designs, concepts, roughs and photographs. Lange’s strikingly realistic designs created an extraordinary vision of the future. By releasing this unpublished archive and explaining its significance, the book takes the reader/viewer on a journey deep into the visual thinking behind 2001, for the first time ever – visual thought that might actually work. The book is about the process, as well as the finished product. It examines how Harry Lange’s experience with NASA fed into the innovations of the film. It includes rejected designs, concepts and roughs, as well as the finished works. It reveals how the design team was obsessed with things that actually might work. The book illustrates several innovations that were science fiction in the 1960s but have since become science fact, including a ‘newspad’ designed by IBM, which bears an uncanny resemblance to today’s iPad. The remarkable designs for 2001 created a credible vision of the future.

Sir Christopher Frayling is an art historian, critic and award-winning broadcaster. He is a Professor Emeritus and a Fellow of Churchill College Cambridge and was awarded a knighthood in 2001 for ‘Services to Art and Design Education’. He has published several books, including Ken Adam: The Art of Production Design and Once Upon a Time in Italy. His television and radio series include Nightmare: The Birth of Horror, America: the movie and Britannia: the film. CHRISTOPHER FRAYLING ISBN: 978-0-9572610-2-0; £45/ $75 336pp; Hardback; 600+ illustrations 290 x 245 mm / 11.4 x 10 in. October 2015

- 10 - - 11 - CUBA 1959 Photographs by Burt Glinn CUBACUBA 19591959

Incredible photographs of the Cuban Revolution as it unfolded. Includes iconic and unseen images.

New Year’s Eve, 1958, 10pm: Magnum photographer Burt Glinn is at a black tie party in New York when he hears news that dictator Fulgencio Batista has fled Cuba. By 7am the next morning, he is in Havana in a cab, saying, “Take me to the revolution”. Such photojournalistic fervour allowed Glinn to be in the middle of the action to capture the Cuban Revolution as it unfolded on the ground. As Glinn said, “I could get up as close as I wanted.” His magnificent photographs convey the revolutionary idealism, mayhem and excitement of that moment in history. This tome includes some of Glinn’s most iconic Cuban photographs, as well as unseen shots, in both black and white and colour. From gunshots being fired, confusion on the streets, the rounding up of the Batista Secret Police, spontaneous gatherings, embracing revolutionaries returning home to mothers, and, of course, Fidel Castro’s triumphant entrance into Havana. Glinn is famously quoted as saying, “I think that what you’ve got to do is discover the essential truth of the situation, and have a point of view about it.” This tome celebrates his ability to do just that.

Burt Glinn was one of Magnum’s greatest photographers, with a career spanning more than fifty years. He was renowned for capturing crucial moments in history, offering searing insight with his social documentary photography and for his iconic portraits of celebrities. Versatile and technically brilliant, he embraced colour as well as black and white. His photographs of the Cuban Revolution and Fidel Castro’s entrance into Havana are a stunning body of work from a legendary talent. DISCOBurtBurt Glinn PHOTOGRAPHES BY BILL BERNSTEIN ISBN: 978-1-909526-31-0; £40 / $60 176pp; Hardback; 150+ colour & b/w photographs 304 x 245 mm / 12 x 10 in. October 2015

- 12 - - 13 - BRUCE SPRINGSTEEN & THE E STREET BAND 1975 Photographs by Barbara Pyle

Legendary unseen photographs. “I knew I was witnessing history in the making.”

Barbara Pyle’s intimate behind-the-scenes photographs from 1975 during the recording, rehearsing and touring of Born to Run have been eagerly awaited for forty years and are finally being published for the first time. Barbara captured Springsteen and the Band as they were catapulted to stardom. She is also one of the only photographers who has ever been given access inside the recording studio while Springsteen is working. “I first saw Bruce and the E Street Band by accident ... I was blown away by their music. For the next year, I drove to as many of their gigs as I could reach. They jokingly started calling me their ‘official unofficial photographer.’ I was just expected to be there, and I almost always was – on my self-imposed mission to document this little known New Jersey band. ... I had the remarkable good fortune to spend most of the last Born to Run months in the studio with Bruce and the band. I became sort of a living ‘good luck’ charm and was asked to be there many nights. I knew I was witnessing history in the making.” This stunning and intimate tome also marks the fortieth anniversary of Born to Run.

Barbara Pyle is an executive producer, filmmaker, photographer, media innovator and environmental activist. She is a United Nations Sasakawa laureate, awarded for her lifelong dedication to environmental concerns. She created and led the environmental ethos of Turner Broadcasting for 20 years and created the globally known Captain Planet cartoon series. Pyle has produced 65 documentary films and is the recipient of hundreds of industry and personal awards. She is also an acclaimed photographer.

THIS TITLE HAS AN ACCOMPANYING LIMITED EDITION: SEE PAGE 38. ISBN: 978-1-909526-34-1; £40 / $60 228pp; Hardback; 150+ colour & b/w photographs 304 x 245 mm / 12 x 10 in. September 2015

Springsteen COVER.indd 1 19/05/2015 22:18

- 14 - - 15 - DISCO THE BILL BERNSTEIN PHOTOGRAPHS Foreword by James Hillard, Introduction by Nona Hendryx DISCO THE BILL BERNSTEIN PHOTOGRAPHS

“Had I been suddenly transported back to a pre-War Berlin cabaret? Who were these people of the night… ?”

Stunning photography by Bill Bernstein. Containing many previously unpublished photographs, Disco takes the viewer on an access-all-areas tour of late-70s New York nightlife. “Who were these people of the night... ? It was the Posers. The Watchers. The Posers watching other Posers watching the Watchers, watching the Dancers, watching themselves.” Bernstein’s eye was drawn to the characters that lived for the night, rather than the celebrities, the unknown men and women who were transformed by the nightclub haze, and this is one reason his photographs from this time feel so authentic and immersive. As James Hillard writes in his foreword, “These shots capture the very essence of what going out was, is, and should be, all about. They showed the true democracy of the dance fl oor where anyone could be a star, as long as they had the right attitude and fl air ... The pictures in this book are a document of an incredibly exciting and creative time, not only in music, but also in social, political and fashion history too.” All the photographs featured were shot by Bernstein from 1978-80. Manhattan was the epicentre of the movement. And Bill Bernstein captured it all.

Bill Bernstein is a successful commercial photographer working in New York City. For the last fi fteen years, he has worked as Paul McCartney’s offi cial photographer. His fi rst professional job was for the Village Voice photographing the new fad called ‘disco’. DISCO THIS TITLE HAS AN ACCOMPANYING LIMITED EDITION: SEE PAGE 41. PHOTOGRAPHS BY BILL BERNSTEIN ISBN: 978-1-909526-22-8; £40 / $60 176pp; Hardback; 150 b/w photographs 304 x 245 mm / 12 x 10 in. October 2015

- 16 - - 17 - ROADBOOK Photographs by Hunter Barnes

Redneck Roundup

I was living in New York when I took my first trip to a small town in Oregon that would later become my home. I met a girl who led me to this hidden paradise nestled in the mountains and canyons. I remember seeing the communities of the old west and immediately realized the necessity of documenting this dying breed of people who populated the land. We packed up and drove across country toward a new life to me unknown. Living in small houses and care taking ranches for the first months, getting to know the people before any true images could be made. From everyday people and classic characters, to the far reaches of Sammyville, an outside community built on legend sometimes misunderstood from the outside world. All the good people I met have a true proud story of their own, caring on a lifestyle with simple truth. New friends had heard and believed in my vision offering me a place to print with the canyon’s pure spring water. I parked my Airstream and put a darkroom in their barn. Months of printing with no ventilation balanced by nature’s true beauty. Making friends with the bear, printing my first book. A gift this journey has given me. (Perhaps: Making friends with the bear; printing my first book – a gift this journey has given me.)

Sammy - Sammyville Oregon 2000

Prestigious – Espinola, New Mexico – 2003 Mat(t)hew – Chimayo, New Mexico – 2003

Times Square Opa Locka – Opa Locka, Florida – 2013 Times Square Opa Locka – Opa Locka, Florida – 2013

“The road has taught me what I know today. These are the stories I have waited to tell.”

Roadbook is a magnificent work by one of the most important emerging documentary photographers in America. Hunter’s beautiful and sensitive photographs document aspects of American culture and communities ignored by the mainstream and his artistic gaze focuses on the faces of proud groups of people who are consistently misrepresented in the modern American narrative. “For years I’ve traveled with my cameras capturing moments of time with the people the road has led to me.” Hunter’s photographs flash us into moments and scenes most people will never get to experience first-hand during their lifetime. Hunter cherishes the friendships he builds with people who recognize his sincerity and allow him access to their private worlds. After establishing their trust over meaningful dialogue and shared experiences, he frames his subjects as they are and where they dwell. As Nathaniel Kilcer writes in his foreword, “Great photographs might be the hope, but Hunter leads with modest curiosity, expectation suspended, the journey his calling. He seeks out forgotten ROADBOOK quarters and the stories concealed there.” Hunter also shoots exclusively in black and white film, “In the end, film HUNTER BARNES provides a fitting metaphor for Hunter’s entire process: it takes a long time to earn the trust of these people, and it takes time to commit them to paper.” The release of Roadbook will coincide with an exhibition at Milk Gallery in New York in October 2015. ROADBOOK THIS TITLE HAS FOUR ACCOMPANYING LIMITED EDITIONS: SEE PAGE 39. DISCOHunter Barnes PHOTOGRAPHES BY BILL BERNSTEIN ISBN: 978-1-909526-27-3; £29.95 / $49.95 192pp; Hardback; 160 b/w photographs 290 x 245 mm / 11.4 x 10 in. October 2015

- 18 - - 19 - BRIGID BERLIN POLAROIDS Edited by Dagon James, Vincent Fremont and Anastasia Rygle Foreword by John Waters, Introduction by Bob Colacello

Paul Morrissey Jackie Curtis

David Whitney Christophe de Menil

Brigid with Gerard Malanga and his Mother, Candy Darling and Gerard Malanga Ronnie Cutrone and Kate Simon

Renowned Polaroids by Warhol insider Brigid Berlin

Brigid Berlin was one of the most prominent and colourful members of Andy Warhol’s Factory in the 1960s and 1970s. Her legendary personal collection of Polaroids are collected here for the first time and are an intimate, beautiful, artistic, outrageous insight into this iconic period. This wild photographic odyssey features a foreword by cult filmmaker John Waters. He writes, “Brigid was always my favorite underground movie star; big, often naked, and ornery as hell. … The Polaroids here show just how wide Brigid’s world was; her access was amazing. She was never a groupie, always an insider.” Brigid knew everyone and her lens captured them all: celebrities, Superstars, artists, herself, and, of course, Warhol. As Waters observes, through her snaps, “Andy was uncovered and revealed like never before.” The book also features an introduction by Bob Colacello, editor of Warhol’s Interview magazine, and features writer for Vanity Fair: “In recording life, she captured our times. By myopically depicting her own transgressions and self- indulgences, she has prophetically reflected the narcissism and exhibitionism, the craving for fame and confusing of fame and infamy that have become the staples of American popular culture.” In discussing her style, he reflects, “This is the opposite of fashion photography or studio portraiture. Brigid was a realist. What she saw is what you got.”

THIS TITLE HAS AN ACCOMPANYING LIMITED EDITION: SEE PAGE 40.

ISBN: 978-1-909526-24-2; £29.95 / $49.95 208pp; Hardback; 250 colour photographs 280 x 235 mm / 11 x 9 in. October 2015

- 20 - - 21 - IN THE EYE OF THE ROCK‘N’ROLL HURRICANE The Photography of Neal Preston IN THE EYE OF THE ROCK‘N’ROLL HURRICANE THE PHOTOGRAPHY OF NEAL PRESTON IN THE EYE OF ROCK‘N’ROLL HURRICANE

“Shooting live music is something few photographers do really well. I just discovered one day I was good at this because it felt 32 natural 33 to me. You can’t teach it, you can’t learn it, you just do it. The recipe is as follows: one part photography, one part love “‘Those nutty, crazy Zappas’ people would say with a snicker— that’s the way people looked upon them at the time. I was shooting Frank for People Magazine and he had been reading the Financial Times ... Who would think of Frank Zappa reading the FT? I shot him playing ping-pong and the bird was flying around the table—and flew right onto his head. I saw that and said, ‘let’s pose the bird for a tighter shot.’ The look of music, one part a love of theatre and theatrical lighting, one on the bird’s face is classic (I seem to remember the bird was named ‘Bird Reynolds’) as if it’s saying, ‘Who the f*** is this guy underneath me?’” part hero worship, one part timing and 95 parts instinct.”

26 27 „Fotos von Live-Konzerten zu schießen, ist etwas, das nur wenige Fotografen wirklich gut beherrschen. Mir wurde eines Tages bewusst, dass ich das gut kann, weil es sich so

selbstverständlich anfühlte. Man kann18 es nicht vermitteln, man kann es nicht lernen, man muss es einfach machen. Das

Rezept dafür ist folgendes: ein Prozent Fotografie, ein Prozent “The more intensely you look at them, the more each picture will tell you.” Liebe zur Musik, ein Prozent Begeisterung für das Theater und

Neal Preston’s legendary music images include some of the most memorable ever made of rock’s most iconic stars. theatralische Licht, ein Prozent Heldenverehrung, ein Prozent THE PHOTOGRAPHY OF NEAL PRESTON If this era could be described as a hurricane, Neal captured this from his unique position in the eye of the Rock‘n’Roll hurricane. Timing und 95 Prozent Instinkt.“ “In a room with five people or 50,000, Neal always seems to find a place of his own, to capture a moment not noticed or looked for by anyone else. His live photography perfectly relays the feeling of having been at that concert, to feel the excitement and energy and to visualise the music and identity of the subject.” Neal has toured with Led Zeppelin, The Who, Queen, Fleetwood Mac, Bruce Springsteen, and countless others. This special, limited edition book has been produced in collaboration with The Lightpower Collection and features some of the greatest highlights from Neal’s 40-year career, carefully selected to represent the finest work from his extensive catalogue. Produced to coincide with an exhibition at the Frankfurt Musikmesse in April 2015, this book has accompanying text in English and German.

Neal Preston’s career spans more than forty years. His client list is a virtual Who’s Who of rock royalty and his archive is regarded as one of the music industry’s most extensive and significant photo collections.

THE LIGHTPOWER COLLECTION ISBN: 978-1-909526-35-8; £19.95 / $29.95 112pp; Hardback; 65+ colour & b/w photographs 290 x 245 mm / 11.4 x 10 in. Available Now

- 22 - - 23 - BACKLIST BILLY NAME: THE SILVER AGE ART KANE BLACK & WHITE PHOTOGRAPHS FROM ANDY WARHOL’S FACTORY Jonathan Kane & Holly Anderson Edited and designed by Dagon James

“Billy’s book will go down in history as the best book about Warhol.” - Gerard Malanga A breathtaking tribute to one of the most visionary and creative This is the definitive and comprehensive collection of Billy Name’s black and white photographs from Warhol’s Factory. photographers of the twentieth century. Billy’s photographs from this period (1964-68) are one of the most important photographic documents of any single artist in history. Art Kane was one of the most profoundly influential photographers of the twentieth century. A bold visionary, his work Billy lived in a tiny closet at the Factory. He was responsible for the legendary ‘silverizing’ of the space using explored a number of genres – fashion, editorial, celebrity portraiture, travel, and nudes – with an unrelenting and aluminium paint and aluminium foil to complete the instillation. When Andy gave Billy a Pentax Honeywell 35mm innovative eye. Like his contemporaries, Guy Bourdin (1928-1991) and Helmut Newton (1924-2004), Kane developed camera, he took on the role of resident photographer and archivist. a style that didn’t shy away from strong colour, eroticism and surreal humour. This visual essay, produced in collaboration with Billy, offers an extensive trip through Warhol’s world. Billy In 1958, Kane assembled the greatest legends in jazz and shot what became his most famous image, Harlem photographed the day-to-day happenings at the Factory with Andy, including visits from Lou Reed and the Velvet 1958. In the 1960s and 1970s, he photographed, among others, the Rolling Stones, The Who, Janis Joplin, The Doors, Underground, Nico, Edie Sedgwick, Ivy Nicholson and Bob Dylan; filming Screen Tests and features like Chelsea Girls, and Bob Dylan. While the battle for civil rights and the Vietnam War raged, Kane was refining a conscientious response Vinyl and My Hustler. Featuring over 400 of Billy’s black and white photographs, this volume is not to be missed. to the period with his editorial work that was powerfully accessible and populist in its desire to communicate to a large audience. This is the first time Kane’s work has been collected into one, breathtaking volume. Beautifully curated, it is Dagon James is a New York based archivist, editor and curator. He is the publisher of limited edition books and prints; a fitting tribute to one of photography’s most original and creative forces. and he works with museums and galleries worldwide. Jonathan Kane, Art Kane’s son, is a drummer and composer known for his contributions to New York’s downtown music scene. He is also a photographer and photo editor. NYC poet and lyricist Holly Anderson’s work is in library collections at MoMA, Brooklyn Museum, Victoria & Albert Museum, and many more.

LIMITED EDITION This title is also available in a limited edition ISBN: 978-1-909526-12-9 ISBN:978-1-909526-17-4 of 100 signed and numbered copies. It is BILLY NAME £60/ $95 £60 / $95 a must-have luxury item. It is presented in a THE SILVER AGE 448pp; Hardback; 400 b/w photographs bespoke clamshell box. Please see page 46 320pp; Hardback; 200 colour & b/w photographs 290 x 245 mm / 11.4 x 10 in. for more details. 304 x 245 mm / 12 x 10 in.

- 26 - - 27 - WOODSTOCK TOM KELLEY’S STUDIO Baron Wolman, Michael Lang & Dagon James, Foreword by Carlos Santana Tom Kelley, Jr. & Tony Nourmand, Text by Peter Doggett TOM KELLEY’S STUDIO VISIONARY AND UNSEEN NUDE PHOTOGRAPHS BY THE GODFATHER OF PIN-UP Baron Wolman’s stunning black and white photographs of Woodstock are published here for the first time. The Godfather of pin-up. In 1948, celebrity photographer Tom Kelley took a photograph of an out-of-work The majority of images are completely unseen. With accompanying text featuring an interview with Wolman actress; a nude posed with arm outstretched against a scarlet background. That actress was Marilyn Monroe. and Woodstock creator, Michael Lang, and a foreword by musician Carlos Santana. In 1953, this photo became Playboy’s first ever centrefold in its inaugural issue. Kelley’s photograph has Wolman captured the experience and atmosphere of Woodstock like no other photographer. ‘I ended up become one of the most viewed nudes in history and, as Norman Mailer wrote, is ‘breathtakingly beautiful’. spending most of my time out in the wild with the crowd because what was happening “out there” was just This is but one image from a vast, previously unseen archive of Kelley’s visionary nude photography from the too interesting not to explore.’ More interested in the crowd than the performers, his photographs are hugely 1940s to 1970s, published for the first time by R|A|P. evocative and offer an insight into this legendary event that is rarely seen. ‘The thing to remember about the This exquisite volume is accompanied by text from Peter Doggett. Describing the evolution of Kelley’s style, 60s, even near the end in ‘69 was that everything was totally different, the behavior was new and unexpected. he writes: ‘The 1940s portraits have an air of classicism … Next comes the era of the exotic: of leopard skins Plus, the 1960s were simply wildly photogenic in every way imaginable ... the changes that were taking place in and fur, French lingerie and exquisite furniture … And then, in the late 1960s and into the 1970s, the mood is the heads of the people were visually manifested. I mean, how could you not take pictures?’ This exceptional one of freedom … in keeping with the spirit of the age … And then there are the photographs that transcend volume is not to be missed. the genre for which they were intended, and veer towards experimental art – the almost eerie “doll” portraits,

TOM KELLEY JR TONY NOURMAND for example, that seem to prefigure the later work of Cindy Sherman.’

LIMITED EDITION This title is also available in a limited edition ISBN: 978-1-909526-03-7 ISBN: 978-1-909526-11-2 of 100 signed and numbered copies. It is ISBN: 978-1-909526-03-7 TOM KELLEY’S STUDIO £45/ $75 £29.95 / $49.95 a must-have luxury item. It is presented in a TOM KELLEY JR TONY NOURMAND 192pp; Hardback; 100+ b/w photographs bespoke clamshell box. Please see page 44 288pp; Hardback; 250 colour photographs 290 x 245 mm / 11.4 x 10 in. for more details. 290 x 245 mm / 11.4 x 10 in.

Tom Kellys Studio - PPC and End Pages 3rd draft.indd 1 22/09/2014 21:58 SEPARATE CINEMA: THE FIRST 100 YEARS OF BLACK POSTER ART DENNIS STOCK: AMERICAN COOL John Duke Kisch, Foreword by Henry Louis Gates, Jr., Afterword by Spike Lee Tony Nourmand & Graham Marsh, Introduced by Michael Pritchard

SEPARATE CINEMA This magnificent volume is a celebration of the first 100 years of black film poster art. A visual feast, these Dennis Stock had an extraordinary ability to capture the essence of the American experience. This magnificent THE FIRST 100 YEARS OF BLACK POSTER ART images recount the diverse and historic journey of the black film industry from the earliest days of Hollywood volume is the first anthology dedicated to him during his celebrated period of the 1950s to 1970s. Complete to present day. Accompanied by insightful accompanying text, a foreword by black history authority and access to Stock’s archive has been granted and several of the images are never-before-seen. Included are renowned academic, Henry Louis Gates, Jr. and an afterword by Hollywood director, Spike Lee. his iconic photo-essay on James Dean; celebrity portraits including Audrey Hepburn resting her head on a car Part aesthetic, part nostalgic, the posters have meaning to young and old alike, and possess the power window on the cusp of fame; Miles Davis playing jazz; JFK on the campaign trail; corporate America; Stock’s to transcend ethnicity. From early independents to 12 Years a Slave, these posters represent a journey: California road trip and the alternative lifestyle of the burgeoning hippie movement. Stock’s photographs they remind people of the pioneers of the past, those courageous and daring African-American filmmakers, are introduced by an essay by world-leading photography authority Dr. Michael Pritchard and a foreword from entertainers and artists whose dreams and struggles paved the way for future generations. Stock’s friend and colleague at Magnum, Michael Shulman. The wealth of imagery on these pages is taken from The Separate Cinema Archive, maintained by archive For a man who once said that “every picture should be a masterpiece”, this stunning coffee table tome is director John Kisch. The most extensive private holdings of African-American film memorabilia in the world, it DENNIS STOCK witness to Stock’s ability to manage just that. contains over 35,000 authentic movie posters and photographs from over 30 countries. This stunning coffee AMERICAN COOL table book represents some of the archive’s greatest highlights.

ISBN: 978-1-909526-06-8 ISBN: 978-1-909526-02-0 £45 / $75 £45 / $75 JOHN DUKE KISCH TONY NOURMAND AND GRAHAM MARSH FOREWORD BY HENRY LOUIS GATES, JR. AFTERWORD BY SPIKE LEE 320pp; Hardback; 260+ images INTRODUCED BY MICHAEL PRITCHARD 288pp; Hardback; 260 b/w photographs 290 x 245 mm / 11.4 x 10 in. 290 x 245 mm / 11.4 x 10 in.

HOLLYWOOD AND THE IVY LOOK PHOTOGRAPHERS Graham Marsh & Tony Nourmand Michael Pritchard & Tony Nourmand

Back by popular demand, this stunning new Evergreen Edition of the worldwide best seller delivers a pictorial Featuring over a century of striking images, this beautiful volume celebrates the men and women behind celebration of the look and attitude of ‘Ivy’. the lens. It showcases known, unknown and celebrity photographers with their cameras: at work, in candid In the decade between 1955 and 1965 a coterie of discerning Hollywood hipsters appropriated the snaps, and posed self-portraits. An array of photographic styles and influences are represented, capturing incomparable Ivy League clothing of America’s East Coast elite. These West Coast actors elevated The Ivy some of the most celebrated names in photography, including Robert Capa, Weegee, Margaret Bourke- Look to the height of cool and defined a quintessentially American male dress code for a new generation of White, Philippe Halsman, Dennis Stock, David Bailey, Bill Cunningham, and Annie Liebovitz. This magnificent movie audiences. From the button-down hip of Steve McQueen, Paul Newman and Anthony Perkins to the tome includes many unseen images and all are reproduced to the very finest quality yet seen in print. The preppy sensibilities of Woody Allen and Dustin Hoffman; the understated but carefully selected components book has been produced in collaboration with Getty Images: one of the world’s leading and most respected of The Ivy Look didn’t shout ‘look at me’ but instead gave off an image of approachable correctness and laid photographic archives. The photographs and details of the different cameras used are brought alive by back confidence. accompanying text from one of the world’s leading photographic specialists, Dr. Michael Pritchard. Exhaustively compiled, this coffee table volume takes an in-depth look at how ‘Ivy’ established itself as the epitome of Hollywood style, gained a new democratic global following and a place in history as the look of modern America.

Evergreen Edition ISBN: 978-1-909526-20-4 ISBN: 978-0-9566487-7-8 PHOTOGRAPHERS £45 / $75 £24.95 / $39.95 MICHAEL PRITCHARD AND TONY NOURMAND 288 pp; Hardback; 260 colour and b/w photographs 288pp; Hardback; 260 colour & b/w photographs 280 x 235mm / 11 x 9 in. 290 x 245mm / 11.4 x 10 in.

- 28 - - 29 - VANITY: PHOTOGRAPHS BY SCOTT CAAN 100 MOVIE POSTERS: THE ESSENTIAL COLLECTION Edited and designed by Howard Nourmand Tony Nourmand, Introduced by Christopher Frayling 100 Movie Posters Over the past few decades, actor Scott Caan has quietly garnered a reputation as an outstanding The Essential Collection For the first time ever, world vintage movie poster authority, Tony Nourmand, shares his long-awaited ‘Best Of’ photographer. This exceptional volume is a celebration of his most recent work. list in this beautifully curated, definitive volume. For 30 years, Nourmand has been instrumental in redefining Shooting with a photojournalist’s eye, Caan captures moments that have a quiet honesty to them and a twentieth century movie posters as an art form and a valuable collectible. He brings his wealth of knowledge documentary feel. Caan’s images also have a unique insight into life as a celebrity – such as the book’s to these pages – defining a great or ‘essential’ movie poster as the most effective in terms of design and cover image, taken from the top of the red carpet at Cannes (where no photographer has ever been allowed) impact. looking back at the hive of paparazzi below. It features a century of inspiring images from famous designers like Saul Bass and Bill Gold; renowned The title of the book is another subtle nod to his fame. Countering claims that he is simply indulging in photographers like Philippe Halsman and George Hurrell; and celebrated artists like Al Hirschfeld and Alberto “a vanity project”, Caan has reclaimed the word in full force with this exquisite demonstration of his talent. Vargas. It features classic posters like King Kong, Breakfast at Tiffany’s, and Metropolis, as well as more “To me, Vanity was the perfect title. Photography is the one thing I can do where I don’t have to answer to unusual works from Eastern Europe or the silent-era. The magnificent and diverse imagery from around the anybody. … In a sense, it is my selfish way of saying; ‘these are the photographs that I like.’” world is reproduced in exceptional quality, and is accompanied by Nourmand’s fascinating commentary and an insightful introduction by writer, academic, and film authority, Christopher Frayling.

ISBN: 978-1-909526-16-7 ISBN: 978-0-9572610-8-2 £29.95 / $49.95 Tony Nourmand £29.95 / $49.95 Introduced by Christopher Frayling 192pp; Hardback; 160+ b/w photographs 224pp; Hardback; 100+ colour & b/w illustrations 290 x 245 mm / 11 x 10 in. 290 x 245 mm / 11.4 x 10 in

UNSEEN McQUEEN: BARRY FEINSTEIN AUDREY HEPBURN IN HATS Dagon James & Tony Nourmand, Introduced by Dave Brolan June Marsh

Every image completely unseen. Stunning photography of the King of Cool. Audrey Hepburn’s legendary style and grace redefined perceived notions of Hollywood glamour and ushered in an age of sophistication and elegance. Her legacy on screen and in fashion is undisputed and her image These images of Steve McQueen taken by photography legend Barry Feinstein between 1960-68 – at the has become as synonymous with her fame as her films. This book celebrates Audrey Hepburn wearing a race track, on the set of Bullitt, relaxing with friends – have all remained completely unseen until now and are selection of her most beautiful, stylish and outrageous hats – from exquisite designers such as Givenchy reproduced for the first time in magnificent quality in this volume. Feinstein was a close personal friend of and Dior. It features an extended section dedicated to Cecil Beaton’s outstanding costumes and hats in My McQueen’s and the two shared a similar laid-back approach to life, an innate cool and a passion for fast cars Fair Lady. and motorcycles. Feinstein’s friendship with McQueen infused his photos with an intimacy rarely experienced This stunning volume features portraits of one of Hollywood’s most fashionable icons, taken by leading in shots of the star. Tremendous photography. Not to be missed. photographers including Cecil Beaton, Terry O’Neill, Howell Conant, and Bob Willoughby, and accompanying text from renowned fashion writer, June Marsh.

LIMITED EDITION This title is also available in a limited edition ISBN: 978-1-909526-04-4 of 100 signed and numbered copies. It is ISBN: 978-1-909526-00-6 £19.95 / $29.95 a must-have luxury item. It is presented in a £19.95 / $29.95 128pp; Hardback; 100+ b/w photographs bespoke clamshell box. Please see page 42 128pp; Hardback; 60+ colour and b/w photographs 280 x 235 mm / 11 x 9 in. for more details. 280 x 235 mm / 11 x 9 in.

50 SHADES SID AVERY: THE ART OF THE HOLLYWOOD SNAPSHOT Lauren Goldstein Crowe Ron Avery & Tony Nourmand

This unique book immortalises 50 of the coolest icons from the worlds of film, music, politics, literature, SID AVERY the art of the hollywood snapshot James Dean on the set of Rebel Without a Cause; Audrey Hepburn on her bike with pet dog in tow; Marlon and fashion. They are some of the most glamorous and infamous people in public life from the most stylish Brando taking out the garbage; Elizabeth Taylor soaking up the sun. These are just a few of the iconic images decades of modern history. Photographed wearing their own shades, the images speak volumes about for which Sid Avery is responsible. This sumptuous volume is a long overdue tribute to his prolific talent. how celebrities see themselves and how they want us to see them. From Jackie O, who kept a large bowl Sid worked in Hollywood from the 1940s to 1960s and became known for his candid portraits of the of sunglasses by the front door so that she could throw on a pair whenever she left the house, to Debbie stars. He made history as the only photographer to shoot both the original 1960 cast of Ocean’s Eleven Harry, who wore mirrors so that the corporate executives from her label saw only themselves reflected in her and the 2001 remake, recreating his iconic group shot around the pool table. Avery was also responsible shades, this beautiful 120-page edition looks at the ways some of the most fascinating figures in for establishing mptvimages: the Motion Picture and Television Photo Archive. This complete anthology of popular culture dealt with public scrutiny. From Steve McQueen to Marilyn Monroe, Andy Warhol to Brian Jones, Elvis Presley to Yves Saint Laurent, Avery’s work includes outtakes and contact sheets, with over half of the material never-before-seen. All Clint Eastwood to Catherine Deneuve, this volume features stunning photography reproduced to the highest images are reproduced to the finest quality yet seen in print. quality, with text from leading fashion writer, Lauren Goldstein Crowe.

ISBN: 978-0-9572610-6-8 ISBN: 978-0-9572610-0-6 £19.95 / $29.95 £45 / $75 128pp; Hardback; 50+ b/w photographs 288pp; Hardback; 250+ colour & b/w photographs 280 x 235 mm / 11 x 9 in. 290 x 245 mm / 11.4 x 10 in.

- 30 - - 31 - MICHAEL CAINE: 1960s GIL ELVGREN’S PRIVATE STOCK Graham Marsh Tony Nourmand

Revel in the sixties cigarette cool, stylish suits and sex appeal of the original British working class hero. With Previously unseen personal nude collection from ‘The Norman Rockwell of Cheesecake.’ The illustrated his no-nonsense, laconic delivery, horn-rimmed glasses and sharply cut suits, Michael Caine epitomised a pin-up was the most popular girl in mid-twentieth century America. Long, slender legs, an impossibly small new class of cool that has since become intractable from the iconography of the Swinging Sixties. This is waist, bursting curves and a wide-eyed innocence felled hearts across the country. This ubiquitous vision the first coffee table book dedicated to Caine in his most iconic decade. This eye-catching volume contains of feminine perfection was ‘The Elvgren Girl’, named for her creator, Gilette A. Elvgren (1914-1980). An more than 100 images catching the mood, manner and method of a man as at ease among movie stars as immensely talented artist who enjoyed a prolific, 40-year career, Gil Elvgren was a master of the female form, he is on the street. combining technical proficiency as a painter with an innate ability to capture a sensuous yet naive beauty Collected in this splendid book is a wealth of rare and never-before-seen photographs capturing Caine’s in his subjects. Elvgren’s name ranks alongside Alberto Vargas and George Petty as one of the greatest on-set preparations and off-screen life as well as stills taken while he worked on many of his greatest films maestros of the pin-up to have ever lived. including Zulu, The Ipcress File, Alfie, and The Italian Job. These stylish photographers are accompanied by This volume features Elvgren’s previously unseen photographic nude slide collection. It helps us build a design and text from the renowned Graham Marsh. more complete picture of his artistic process and it offers a valuable insight into the development of glamour photography. The lasting impression is of a man who loved and appreciated the female form. Its beauty and impact lies in the knowledge that one of the greatest masters of the illustrated pin-up took his inspiration from the very real flesh of womanly curves in all of their natural glory.

ISBN: 978-0-9572610-9-9 ISBN: 978-0-9572610-5-1 £19.95 / $29.95 £29.95 / $49.95 128pp; Hardback; 100+ colour & b/w photographs 192pp; Hardback; 160+ colour photographs 280 x 235 mm / 11 x 9 in. 237 x 237 mm / 9 x 9 in.

MARIO CASILLI HURRELL: THE KOBAL COLLECTION Tony Nourmand & Peter Doggett, Foreword by Joan Collins Phil Moad & Tony Nourmand

Mario Casilli’s photographs defined the fabulous and outrageous entertainment industry in the 1980s. His “A Hurrell portrait is to the ordinary publicity still about what a Rolls-Royce is to a roller-skate.” (Esquire, 1936.) larger-than-life portraits, featuring his trademark backlighting and bright colour palette, captured everyone George Hurrell was one of the greatest portrait photographers of Hollywood’s Golden Age. His strong from Joan Collins in glittering jewels, Dolly Parton in perfectly coiffed grandeur and the Bee Gees in sleeveless contrast black and white images and groundbreaking use of negative retouching revolutionized the medium leather. Also full cast shots of iconic television shows like Dynasty, Dallas, Knight Rider and Miami Vice. of Hollywood portraiture during the 1930s and 1940s. Casilli was a magnificently talented photographer who captured this exciting, fun and over-the-top decade This lavish book captures the enduring glamour of Hurrell’s photography and presents the very finest like no other. reproductions of his work yet seen in print. All images have been taken from The Kobal Collection. One of the This wonderful coffee table volume brings Casilli’s 1980s portraits alive for the first time. The crisp, clean most distinguished archives of classic Hollywood imagery in the world, it has the largest collection of Hurrell design is accompanied by a foreword by Joan Collins, text by best-selling author, Peter Doggett, and an essay material in existence. It features several unseen images of cinema’s most iconic faces. Hurrell photographed on 1980s style by fashion writer, June Marsh. all the greats: Garbo, Cagney, Bogart, Garland, Katharine Hepburn, Harlow, Lombard, Laurence Oliver, Rita Hayworth, Joan Crawford, and he is even credited with creating Veronica Lake’s Peek a Boo hairstyle and for putting Jane Russell (bra less) on a haystack.

ISBN: 978-1-909526-05-1 ISBN: 978-0-9566487-5-4 Price: £29.95 / $49.95 £45 / $75 192pp; Hardback; 100+ colour photographs 288pp; Hardback; 260 b/w photographs 304 x 240 mm / 12 x 9 in. 290 x 245 mm / 11 x 10 in.

HOLLYWOOD BOUND THE KENNEDYS: PHOTOGRAPHS BY MARK SHAW Peter Doggett & Tony Nourmand THE KENNEDYS Tony Nourmand PHOTOGRAPHS BY MARK SHAW Researched and collated with typical stylish flair by editor Tony Nourmand and featuring insightful text by This stunning publication is the definitive collection of Mark Shaw’s renowned photographs of the Kennedys. author Peter Doggett, Hollywood Bound is a tremendous photographic guide to the history of movie bondage. More than 50 percent of the images have never been seen before and are the finest reproductions of Shaw’s It includes over 100 photographs reproduced to the highest quality, and stars some of the twentieth century’s work yet seen in print. For the first time ever, complete access was granted to The Mark Shaw Photographic greatest names, including Elizabeth Taylor, James Dean, Cary Grant, Lauren Bacall, Sean Connery and Archive in order to produce this fresh and expanded take on Shaw’s classic 1964 work, The John F. Kennedys: Woody Allen. A Family Album. Not only is this beautiful tome a tribute to the Kennedy Family, but it pays homage to the Hollywood was a city of extremes: not for Tinseltown the carefully judged subtleties of shot and tone that extraordinary talent of Mark Shaw himself. were the hallmark of the art-house auteurs. It demanded passion, thrills, suspense, violent outbursts of Shaw shot the Kennedys for the first time for Life magazine in 1959. He developed a close friendship emotion and movement – and so for every protagonist sweeping his way across the screen with a silvery with the family that gave him extraordinary and informal access to their inner circle. His stunning shots rapier or a sensuous leer, there had to be a victim, waiting to be tossed aside with contemptuous ease or from this time capture some of their most intimate and candid moments. Photographs include Kennedy’s devoured whole in a paroxysm of lust. ... And so it was that innocent maidens were pinned down by rapacious favourite ever shot of himself, walking alone on the dunes at Hyannis Port, plus images on the campaign trail, seducers; monstrous villains chained to receive their just desserts; valiant heroes manacled or trussed or relaxing at home with friends, entertaining at the White House, and the sombre days immediately following viciously tied, awaiting the cruellest of tortures, physical or psychological – only to free themselves in the final the assassination. reel, and carry off the equally endangered heroines to safety and starry-eyed romance.

ISBN: 978-0-9572610-7-5 ISBN: 978-0-9566487-6-1 £19.95 / $29.95 £45 / $75 128pp; Hardback; 100 b/w photographs 288pp; Hardback; 260 colour & b/w photographs 280 x 235 mm / 11 x 9 in. 290 x 245 mm / 11.4 x 10 in. LIMITED EDITIONS THE 1960s: PHOTOGRAPHED BY DAVID HURN Three Deluxe Limited Editions of 50 copies each

THE 1960s THE 1960s PHOTOGRAPHED BY DAVID HURN PHOTOGRAPHED BY DAVID HURN

THE 1960s PHOTOGRAPHED BY DAVID HURN

There are three Deluxe versions of The 1960s: Photographed by David Hurn available for sale: A Hard Day’s Night, From Russia With Love and Barbarella. Each edition is limited to 50 signed and numbered copies only. These luxury collector’s items are each presented in a bespoke slipcase. Each edition includes a limited edition, numbered silver gelatin photograph of either A Hard Day’s Night, From Russia With Love or Barbarella, signed by David Hurn, exclusive to the edition. Each book is also numbered and signed by David Hurn.

For information on rest of book, please refer to regular edition on previous pages.

ISBN: 978-1-909526-37-2 (A Hard Day’s Night); 978-1-909526-36-5 (From Russia With Love); 978-1-909526-15-0 (Barbarella) £650.00 / $950.00 October 2015. Special Order Only.

- 36 - - 37 - BRUCE SPRINGSTEEN & THE E STREET BAND 1975 ROADBOOK Vintage Deluxe Limited Edition of 150 copies Four Deluxe Limited Editions of 4 copies each

ROADBOOK ROADBOOK HUNTER BARNES HUNTER BARNES

BRUCE SPRINGSTEEN & THE E STREET BAND 1975

PHOTOGRAPHS BY BARBARA PYLE

ROADBOOK ROADBOOK HUNTER BARNES HUNTER BARNES

This is a special, Vintage Deluxe edition of Bruce Springsteen & The E Street Band 1975. Each edition features a unique Roadbook is available as four separate Deluxe editions: Lowriders; Redneck Roundup; The People; and Opa Locka. vintage test print, printed by Barbara Pyle in 1975. Each photograph and book is also signed by Pyle. The Vintage Each edition is limited to 4 copies only and all are signed and numbered by photographer Hunter Barnes. These Deluxe edition is limited to 150 signed and numbered copies only. This luxury collector’s item is also presented in a luxury collector’s items are each presented in a bespoke slipcase. Each edition includes a limited edition, numbered bespoke slipcase. For details and images of each unique edition, please visit www.reelartpress.com photograph unique to that edition. The photographs are fiber based silver gelatin archival prints, hand printed by the artist from an edition of 4.

ISBN: 978-1-909526-39-6 (Lowriders); 978-1-909526-40-2 (Redneck Roundup); ISBN: 978-1-909526-38-9 978-1-909526-18-1 (The People); 978-1-909526-41-9 (Opa Locka) From £500-£5000 / $800-$8000 £750.00 / $1200.00 October 2015. Special Order Only. October 2015. Special Order Only.

- 38 - - 39 - BRIGID BERLIN POLAROIDS DISCO: THE BILL BERNSTEIN PHOTOGRAPHS Deluxe Limited Edition of 100 copies Deluxe Limited Edition of 100 copies

BRIGID BERLIN

DISCO POLAROIDS THE BILL BERNSTEIN PHOTOGRAPHS

The Deluxe edition of Brigid Berlin Polaroids is limited to 100 signed and numbered copies only. This luxury, collector’s The Deluxe edition of Disco: The Bill Bernstein Photographs is limited to 100 signed and numbered copies only. This item is presented in a bespoke slipcase. It includes a limited edition, numbered photograph of Andy Warhol, exclusive luxury collector’s item is presented in a bespoke slipcase. It includes a limited edition, numbered silver gelatin to this edition. The book is numbered and signed by Brigid Berlin. photograph, exclusive to this edition. The book is also numbered and signed by Bill Bernstein.

For information on rest of book, please refer to regular edition on previous pages. For information on rest of book, please refer to regular edition on previous pages.

ISBN: 978-1-909526-25-9 ISBN: 978-1-909526-23-5 £650.00 / $950.00 £650.00 / $950.00 October 2015. Special Order Only. October 2015. Special Order Only.

- 40 - - 41 - UNSEEN McQUEEN: BARRY FEINSTEIN Deluxe Limited Edition of 100 copies

The Deluxe edition of Unseen McQueen: Barry Feinstein is limited to 100 signed and numbered copies only. This luxury collector’s item is presented in a bespoke clamshell box. It includes a limited edition, numbered print, stamped by Feinstein’s Estate, exclusive to this edition. The book has a cover design unique to the Deluxe edition and is numbered and signed by all contributors: Dagon James, Tony Nourmand, Judy Jamison, and Dave Brolan.

For information on rest of book, please refer to regular edition on previous pages.

ISBN: 978-1-909526-10-5 £500.00 / $800.00 Available Now. Special Order Only.

- 42 - - 43 - WOODSTOCK Deluxe Limited Edition of 100 copies

The Deluxe edition of Woodstock is limited to 100 signed and numbered copies only. This luxury collector’s item is presented in a bespoke clamshell box. It includes a limited edition, numbered silver gelatin photograph, signed by Baron Wolman, exclusive to this edition. It includes a full set of original, unused tickets for the Friday, Saturday and Sunday of the festival. The book has a cover design unique to the Deluxe edition and is numbered and signed by all contributors: Baron Wolman, Dagon James, Carlos Santana and Michael Lang.

For information on rest of book, please refer to regular edition on previous pages.

ISBN: 978-1-909526-14-3 £750 / $1200 Available Now. Special Order Only.

- 44 - - 45 - BILLY NAME: THE SILVER AGE Deluxe Limited Edition of 100 copies

The Deluxe edition of Billy Name: The Silver Age is limited to 100 signed and numbered copies only. This luxury collector’s item is presented in a bespoke clamshell box. It includes a limited edition, numbered silver gelatin photograph, signed by Billy Name, exclusive to this edition. The book is numbered and signed by Billy Name and Bibbe Hansen, Danny Fields, Robert Heide, Allen Midgette and Dagon James.

For information on rest of book, please refer to regular edition on previous pages.

ISBN: 978-1-909526-18-1 £750.00 / $1200.00 Available Now. Special Order Only.

- 46 - - 47 - A TESTIMONY OF SERPENT HANDLING Hunter Barnes

Strychnyne Death overcome by God

58 59

Pastors

“It’s in its nature to bite, but God won’t let it.”

The Anointing

This work by documentary photographer Hunter Barnes provides a unique and intimate portrait of a small community of Serpent Handlers in West Virginia. This devout way of life fi nds its roots in the King James Bible, with followers believing that the literal interpretation of passages of Mark and Luke regarding handling poisonous serpents and drinking lethal poisons is central to their faith. With lyrical refl ections accompanying his photographs, Hunter’s sensitive study brings beauty and understanding to a perhaps misunderstood practice. In recording this slowly diminishing community, this photographic collection also provides a valuable service to the cultural history of the United States.

A Testimony of Serpent Handling is a limited, numbered edition of 1000, available as a Master or Deluxe Edition. Deluxe Edition limited to 100 copies, includes Super 8 fi lm by Hunter and signed, numbered, limited edition silver gelatin photograph by Hunter.

ISBN: 978-0-9566487-4-7 Prices: Master Edition SOLD OUT; Deluxe Edition: £650 / $950 104 pp, Hardback w/ slipcase; 59 b/w photographs 280 x 230 mm / 11 x 9 in.

- 48 - - 49 - THE RAT PACK Tony Nourmand & Shawn Levy

FRANK SINATRA The tough guy who played like a devil and sang like an angel.

He was born scrawny, and the doctor’s forceps mashed his ear and his cheek. He His torrid affair with Gardner cost him his marriage – and a portion of his following was spoiled and lonely and stood watching from his front steps as the rougher boys at a time when he couldn’t afford it. Columbia Records, for whom he’d had so many played. He was embarrassed by his preening, bossy mother, yet he took after her hits, suddenly didn’t know what to do with him and let his contract run out. Ditto more than he did his affable, loaf-about dad. He never fit in. his movie studio and TV and radio networks. The nightclub scene still had a spot But he possessed steel and drive and charm and a talent unlike anyone’s ever, for him, but he lost that, too, when his voice started, queerly, to fail. And Ava, and he was fortunate in his opportunities and in his timing, and eventually the who married him, continued to follow her lust where it led her, making a cuckold skinny little kid with the strange last name became a giant bestriding the earth on of him in the face of the world. the strength of his nerve and instincts and taste and connections and, above all, He was finished...and then he rose from his self-immolation in a form more his magisterial voice and manner. potent and dazzling than he, or anyone, had ever taken before. He learned to sing For more than fifty of his eighty-two years, Frank Sinatra stood atop the Mount differently, and he sang a new kind of song – the same great American tunes he’d Olympus of American popular entertainment, as singer, actor, entrepreneur, always adored (Gershwin, Berlin, Porter, Kern, Rogers and Hammerstein or Hart) personality, and icon of masculinity and cool. And it was entirely unlikely that but with saucy up-tempo beats or moody, suicidal textures (there were rumours such a thing should happen. circulating around those last ones, that his grief over Ava had driven him to He had been born, without any special promise, to working-class Italian pills or a razor...). He quit appearing in musical fluff and became a convincing immigrant stock in Hoboken, New Jersey, in 1915, and by the time he gathered dramatic actor: winning an Academy Award for From Here to Eternity (1953), around him the claque known as the Rat Pack he was a millionaire many times then playing with convincing power in The Man with the Golden Arm (1955), over who conquered the musical, film and concert worlds, ran businesses including Young at Heart (1954), Suddenly (1954), The Joker is Wild (1957) and casinos and movie and record companies, bedded the most desirable women alive Some Came Running (1958). (and scores, hundreds, of others), and consorted openly with the President of the Most of all, he came to embody a knowing, confident, modern, nonconformist, United States and the boss of the Chicago Mafia, practically at the same time. elegant male sexuality. All the liaisons he’d kept hidden during his marriages It was a great American saga. No one had ever had such power, let alone a singer could now be flaunted publicly. All the boozing and gambling and pugnacity of popular songs. Frank Sinatra was utterly one-of-a-kind. and outrageousness that drove people away from him just after the war He began as a boy singer on amateur nights, then a singing waiter who had to pay seemed somehow magnetic and right in the age of tailfins, rock-and- for his own equipment and air time to get his voice out on the radio. The bandleader roll, Sputnik and the Bomb. Harry James heard him and hired him, and suddenly the kid with no friends had a By 1959, when he was within sight of a half-century, he was on top of the world, big band full of instant brothers. Presently, a bigger band, Tommy Dorsey’s, came very nearly literally, and selected from among his showbiz friends a small, tight calling, and fronting this chart-topping outfit brought Sinatra to national attention. circle of like-minded and like-styled fellows with whom he would form a supergroup And the audience that was drawn to him was brand new: girls – bobby-soxers they of talent. Together they could sing and dance and joke and get serious and make were called, for a fashion affectation round the ankles – who saw in the lanky singer movies and stage wild shows and use their contacts in the world of power to with the blue eyes and wavy hair and bow ties an emblem for the boys off fighting introduce political authority to its illegitimate cousin in crime. They would knit in Europe and the Pacific. They turned him into such a star that he bought himself entertainment, government and mobsterism almost as an afterthought in their out of his contract to Dorsey so as to make himself available to his explosive and movie-making, music-making, and, chief of all, money-making endeavours. And devoted public on records and radio and in movies. they would have the clout and the moxie to do it all not in dark smoky rooms As it happened, though, in real life they couldn’t have him: He was married to but out in the sun of Las Vegas with the press and its cameras sitting ringside. his own neighbourhood sweetie, Nancy, who bore him two daughters and a son and Only Frank Sinatra was big enough to orchestrate it all. He was the nation’s best abided, knowingly or not, her man’s heroic womanizing. On the road as a singer, in and most popular singer, one of its top box office movie attractions, a tycoon of Hollywood making films, Frank slept his way through the ranks of famous and not so the entertainment industry, a symbol of male virility and allure, and the sort of. famous ladies, master of his appetites and his heart – until, that is, he completely lost it to Ava Gardner, whose sexual thirst equaled, if it didn’t exceed, his own.

Opposite: Mr. Everything. A ge 47.

SAMMY DAVIS He could do it all, but not on his own.

He was the Little Engine That Could of showbiz, the Jackie Robinson of showbiz, He was on the verge of great things when, again, fate slapped him. Driving home the Sputnik of showbiz – choose your metaphor. A tiny bit of a man stuffed to to Los Angeles from Las Vegas one night, he was hit by an oncoming car and had brimming-over with talent, drive and verve, Sammy Davis Jr. was going to break into his eye impaled on the steering wheel. His celebrity friends rallied to his side, and, the consciousness of the world and make sure it remembered him if it killed him, a few months later, he made a comeback in front of a star-studded Hollywood crowd which, quite often, it seemed very nearly capable of doing. who wore eye patches in solidarity with him; Frank, naturally, orchestrated it all. He was small and uneducated and raised in the dressing rooms of low-rent But some things even Frank couldn’t help him with. Sammy loved the ladies, theatres and the segregated sections of buses and trains and dingy towns, and the feeling was mutual, and among those he loved was Kim Novak, the blonde and subjected for most of his life to the most degrading and debasing racism. bombshell being shaped for stardom by Columbia Pictures. Sammy and Kim were But for all the curses he was born with – and those that came to him later, like an item – their dalliance splashed onto the lurid pages of Confidential magazine – his choice of religion or of women to love, or the awful car accident which cost him and Harry Cohn, the mob-connected boss of her movie studio, didn’t like it. Cohn’s an eye and nearly his life – he had more gifts and more energy with which to express tough friends leaned on Sammy, and he was so spooked by their pressure that he them than any man whom any audience had ever seen. entered into a quickie marriage to a black showgirl just to make his willingness to As a child and as a teen, he dazzled the Chitlin’ Circuit, as the institutions of comply with their wishes a public matter. popular Black American entertainment were known, as the youngest and most That sham fooled no one, and it didn’t last long, but nobody except for the popular gifted member of the Will Mastin Trio, a flash-dance outfit composed of Sammy, black press seemed to mind or hold it against him. He made movies and he made his father, Sammy Sr., and Mastin, a gentleman in a business that nurtured few. records and he dazzled, night after night, on stages all over the country and in Among the showfolk who admired the Mastin Trio’s act – and was catholic and Europe. He was a quintessential entertainer, one of those for whom such sobriquets democratic and brave enough to foster it – was Frank Sinatra, who made a point of as ‘Mr. Entertainment’ or ‘The Hardest Working Man in Showbiz’ were coined. befriending Sammy, who was ten years his junior, and of booking the trio on bills His talent and the awe it commanded seemed to make him answerable to no with him, at top wages, whenever he could. Before he could enjoy some of the fruit one – no one, that is, but Frank, whom he adored and even emulated. And so when of Frank’s patronage, though, Sammy had to serve time in the Army, where he was Frank tapped him on the shoulder and summoned him to the combination of work abused horribly by racist bullies whose beatings and jeerings only bolstered his and play that became the Rat Pack, Sammy readily complied. desire to push himself further in his life and his art. But he had one more thing to do, and that was to fall in love, once again and truly, After the War, Sammy led the Will Mastin Trio to unprecedented and unlikely and to marry. Again he chose a beautiful blonde, the Swedish actress Mai Britt. success. They were embraced by the old guard of showbiz, many of whom compared Unlike Novak, who aspired to a big career of her own, Britt was a home-minded girl Sammy, with his beseeching energy and limitless talent, to the young Al Jolson – the who wanted a husband and a family, not fame. And Sammy, or at least part of him, greatest compliment that any of them could muster. Like Jolson, Sammy had a wanted those same things and with her. Broadway hit built around him; he was a rocket to the moon. This time, no studio boss or Mob goons would stand in the way: Mai would But he was always respectful of the authority of his father and Mastin, whom he rather not work than put a price on her heart. But this time Frank served the considered an uncle, and would only allow himself to be pried out of the trio slowly, role of bad guy: the Rat Pack were active supporters of the presidential campaign and not too far, and only intermittently. He was, it was whispered to him, letting of John F. Kennedy, and in the pre-Civil Rights era, no national candidate could his heart hold him back. But he was all heart; he had no choice in the matter. afford to alienate Southern voters by associating his name with miscegeny. Sammy Slowly, though, he separated himself and emerged as a recording artist – Big Sam would have to hide his love – to postpone marrying Mai – until after the and Mastin didn’t sing, so no conflict there – and as a solo performer in nightclubs. November, 1960 election. He appeared in New York and Hollywood and Las Vegas, where black performers And, chillingly, such was Sammy’s love of fame, of the spotlight, of the love weren’t allowed to sleep or gamble or dine in the best casinos. And, slowly, and of being loved, that he agreed. with no little help from Frank, he nudged some of those barriers aside, a one-man He was, in sum, a pure creature of showbiz, and his heart would take second Civil Rights campaign marching not on the Jim Crow South but on the Vegas Strip. place, forever, to his talent.

Previous pages: Two-martini breakfast, 1961 Opposite: Mr. Everything. Sammy at the segregated Moulin Rouge, 1956.

“The Rolls-Royce of Sinatra Memorabilia.” - LA Times

The most luxurious book ever made on the Rat Pack. This exquisite, 448-page tome is a deluxe, limited edition. Over 80 percent of the images have never been published before and are reproduced for the first time here in breathtaking quality. “Things you’ve never seen before no matter how many of these Rat Pack books you’ve read or how into it you think you are.” (GQ). Frank Sinatra’s legendary clique defined life in the fast lane throughout the late fifties and early sixties, dominating American culture and epitomizing a life of cocktails, love affairs and Hollywood glamour. This is the definitive book on Frank, Dean, Sammy and co. tearing up Hollywood and Las Vegas with an extended cast including Marilyn Monroe and JFK. A select group of photographers, including Sid Avery and Bob Willoughby, captured the Rat Pack in their heyday. Many of the images they produced have been largely stored away, many even undeveloped. For the first time, access to these shots has been made possible to produce one deluxe, collector’s edition. With in-depth text by author and leading Rat Pack aficionado Shawn Levy, The Rat Pack is the first collectable photographic book on the men whose appeal transcends generations and who remain the epitome of cool.

Master Edition: 2000 copies (of 2250 print-run). Presented in a bespoke black slipcase.

ISBN: 978-0-9566487-0-9 Master Edition: £650 / $950 448 pp, Hardback w/ slipcase; 400 colour and b/w photographs 400 x 340 mm / 16 x 13 in.

- 50 - - 52 - - 53 - BILL GOLD: POSTERWORKS Christopher Frayling & Tony Nourmand Foreword by Clint Eastwood

Dracula has Risen from the Grave 1968

“I put the pink colour on the sticking plaster. I’d just finished Bonnie and Clyde and maybe I had a lot of pink ink still lying around! It’s the same girl I used later on Casanova; the same shot maybe. The same bra even. If I remember right, I personally painted the tattoo on the girl for Casanova. I love that pink. It works so well. On the other poster, the slogan, ‘You can’t keep a good man down!’ – that was Dick Lederer again. Brilliant. It made something of a low-budget movie.”

LEFT: Final US (International) one sheet. RIGHT: Final design for the US one sheet.

125 125

54 377

A rich, visual compendium of Hollywood’s greatest poster designer, featuring a foreword by Clint Eastwood.

This breathtaking, limited edition tome is a unique 450-page collector’s opus. Bill Gold’s life’s work spans six decades and over two thousand films. He is the man behind campaigns for the greatest movies the world has ever seen. This stunning volume is a celebration of his extraordinary and prolific talent. With a foreword from long-time collaborator and friend, Clint Eastwood, Bill Gold details the artist’s creative process, his army days, early career, posters for films like Casablanca, Dial M for Murder, Bullitt, My Fair Lady, Get Carter, Dirty Harry, Unforgiven, and through to his final work in 2003 on Eastwood’s Mystic River. A notoriously cut-throat industry, Hollywood evolves with few constants yet Bill Gold’s talent endures. This is the first time that the world is invited to see the full scope of his work in one magnificent book.

Master Edition: 1250 copies (of 1500 print-run). Includes a hand-signed letter from Bill Gold; an art folio of six, numbered, limited edition prints of unseen Bill Gold poster designs; presented in a bespoke slipcase.

ISBN: 978-0-9566487-1-6 Master Edition: £650 / $950 448 pp, Hardback w/ slipcase; 400 colour illustrations 400 x 340 mm / 16 x 13 in.

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