New and Best-Selling Titles 2015

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 in Roadbook. 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
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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 of A Hard Day’s Night, Sean Connery in From Russia With Love and Jane Fonda in Barbarella. An incredibly wellrounded 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
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THE 2001 FILE: HARRY LANGE AND THE DESIGN OF
THE LANDMARK SCIENCE FICTION FILM
Christopher Frayling
THE 2001 FILE
HARRY LANGE AND THE DESIGN OF THE LANDMARK SCIENCE FICTION FILM
CLAVIUS MOON BASE
Landing pads
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
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CUBA 1959
Photographs by Burt Glinn
CU B A
C
A
11 995599
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.
DISCO
Burt 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
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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
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19/05/2015 22:18
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DISCO
THE BILL BERNSTEIN PHOTOGRAPHS
Foreword by James Hillard, Introduction by Nona Hendryx
DISCO
T H E B I L L B E R N S T E I N P H OTO G R A P H S
“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 floor where anyone could be a star, as long as they had the
right attitude and flair ... 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 fifteen years, he has
worked as Paul McCartney’s official photographer. His first professional job was for the Village Voice photographing the
new fad called ‘disco’.
THIS TITLE HAS AN ACCOMPANYING LIMITED EDITION: SEE PAGE 41.
DISCO
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
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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
quarters and the stories concealed there.” Hunter also shoots exclusively in black and white film, “In the end, film
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.
THIS TITLE HAS FOUR ACCOMPANYING LIMITED EDITIONS: SEE PAGE 39.
ROADBOOK
DISCO
ROADBOOK
HUNTER BARNES
Hunter 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
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BRIGID BERLIN POLAROIDS
Edited by Dagon James, Vincent Fremont and Anastasia Rygle
Foreword by John Waters, Introduction by Bob Colacello
Paul Morrissey
David Whitney
Brigid with Gerard Malanga and his Mother, Candy Darling and Gerard Malanga
Jackie Curtis
Christophe de Menil
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 selfindulgences, 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
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IN THE EYE OF THE ROCK‘N’ROLL HURRICANE
The Photography of Neal Preston
IN THE EYE OF THE ROCK‘N’ROLL HURRICANE
T H E P H OTO G R A P H Y O F N E A L P R E S TO N
33
“‘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
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?’”
26
27
18
“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
THE PHOTOGRAPHY OF NEAL PRESTON
„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 kann 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
someein
of theProzent
most memorable
ever made of rock’s most iconicein
stars. Prozent
theatralische
Licht,
Heldenverehrung,
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 THE EYE OF THE ROCK‘N’ROLL HURRICANE
32
“Shooting live music is something few photographers do really
well. I just discovered one day I was good at this because it felt
natural 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
of music, one part a love of theatre and theatrical lighting, one
part hero worship, one part timing and 95 parts instinct.”
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
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BACKLIST
BILLY NAME: THE SILVER AGE
BLACK & WHITE PHOTOGRAPHS FROM ANDY WARHOL’S FACTORY
Edited and designed by Dagon James
“Billy’s book will go down in history as the best book about Warhol.”
- Gerard Malanga
This is the definitive and comprehensive collection of Billy Name’s black and white photographs from Warhol’s Factory.
Billy’s photographs from this period (1964-68) are one of the most important photographic documents of any single
artist in history.
Billy lived in a tiny closet at the Factory. He was responsible for the legendary ‘silverizing’ of the space using
aluminium paint and aluminium foil to complete the instillation. When Andy gave Billy a Pentax Honeywell 35mm
camera, he took on the role of resident photographer and archivist.
This visual essay, produced in collaboration with Billy, offers an extensive trip through Warhol’s world. Billy
photographed the day-to-day happenings at the Factory with Andy, including visits from Lou Reed and the Velvet
Underground, Nico, Edie Sedgwick, Ivy Nicholson and Bob Dylan; filming Screen Tests and features like Chelsea Girls,
Vinyl and My Hustler. Featuring over 400 of Billy’s black and white photographs, this volume is not to be missed.
Dagon James is a New York based archivist, editor and curator. He is the publisher of limited edition books and prints;
and he works with museums and galleries worldwide.
ISBN:978-1-909526-17-4
£60 / $95
448pp; Hardback; 400 b/w photographs
290 x 245 mm / 11.4 x 10 in.
LIMITED EDITION
This title is also available in a limited edition
of 100 signed and numbered copies. It is
a must-have luxury item. It is presented in a
bespoke clamshell box. Please see page 46
for more details.
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BILLY NAME
THE SILVER AGE
ART KANE
Jonathan Kane & Holly Anderson
A breathtaking tribute to one of the most visionary and creative
photographers of the twentieth century.
Art Kane was one of the most profoundly influential photographers of the twentieth century. A bold visionary, his work
explored a number of genres – fashion, editorial, celebrity portraiture, travel, and nudes – with an unrelenting and
innovative eye. Like his contemporaries, Guy Bourdin (1928-1991) and Helmut Newton (1924-2004), Kane developed
a style that didn’t shy away from strong colour, eroticism and surreal humour.
In 1958, Kane assembled the greatest legends in jazz and shot what became his most famous image, Harlem
1958. In the 1960s and 1970s, he photographed, among others, the Rolling Stones, The Who, Janis Joplin, The Doors,
and Bob Dylan. While the battle for civil rights and the Vietnam War raged, Kane was refining a conscientious response
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
a fitting tribute to one of photography’s most original and creative forces.
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.
ISBN: 978-1-909526-12-9
£60/ $95
320pp; Hardback; 200 colour & b/w photographs
304 x 245 mm / 12 x 10 in.
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TOM KELLEY’S STUDIO
Tom Kelley, Jr. & Tony Nourmand, Text by Peter Doggett
WOODSTOCK
Baron Wolman, Michael Lang & Dagon James, Foreword by Carlos Santana
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 majority of images are completely unseen. With accompanying text featuring an interview with Wolman
and Woodstock creator, Michael Lang, and a foreword by musician Carlos Santana.
Wolman captured the experience and atmosphere of Woodstock like no other photographer. ‘I ended up
spending most of my time out in the wild with the crowd because what was happening “out there” was just
too interesting not to explore.’ More interested in the crowd than the performers, his photographs are hugely
evocative and offer an insight into this legendary event that is rarely seen. ‘The thing to remember about the
60s, even near the end in ‘69 was that everything was totally different, the behavior was new and unexpected.
Plus, the 1960s were simply wildly photogenic in every way imaginable ... the changes that were taking place in
the heads of the people were visually manifested. I mean, how could you not take pictures?’ This exceptional
volume is not to be missed.
I S B N : 978-1-909526-03-7
TONY NOURMAND
LIMITED EDITION
This title is also available in a limited edition
of 100 signed and numbered copies. It is
a must-have luxury item. It is presented in a
bespoke clamshell box. Please see page 44
for more details.
TOM KELLEY JR
ISBN: 978-1-909526-11-2
£29.95 / $49.95
192pp; Hardback; 100+ b/w photographs
290 x 245 mm / 11.4 x 10 in.
The Godfather of pin-up. In 1948, celebrity photographer Tom Kelley took a photograph of an out-of-work
actress; a nude posed with arm outstretched against a scarlet background. That actress was Marilyn Monroe.
In 1953, this photo became Playboy’s first ever centrefold in its inaugural issue. Kelley’s photograph has
become one of the most viewed nudes in history and, as Norman Mailer wrote, is ‘breathtakingly beautiful’.
This is but one image from a vast, previously unseen archive of Kelley’s visionary nude photography from the
1940s to 1970s, published for the first time by R|A|P.
This exquisite volume is accompanied by text from Peter Doggett. Describing the evolution of Kelley’s style,
he writes: ‘The 1940s portraits have an air of classicism … Next comes the era of the exotic: of leopard skins
and fur, French lingerie and exquisite furniture … And then, in the late 1960s and into the 1970s, the mood is
one of freedom … in keeping with the spirit of the age … And then there are the photographs that transcend
the genre for which they were intended, and veer towards experimental art – the almost eerie “doll” portraits,
for example, that seem to prefigure the later work of Cindy Sherman.’
TOM KELLEY JR
TONY NOURMAND
Tom Kellys Studio - PPC and End Pages 3rd draft.indd 1
SEPARATE CINEMA
THE FIRST 100 YEARS OF BLACK POSTER ART
JOHN DUKE KISCH
FOREWORD BY HENRY LOUIS GATES, JR.
AFTERWORD BY SPIKE LEE
ISBN: 978-1-909526-03-7
£45/ $75
288pp; Hardback; 250 colour photographs
290 x 245 mm / 11.4 x 10 in.
TOM KELLEY’S STUDIO
22/09/2014 21:58
SEPARATE CINEMA: THE FIRST 100 YEARS OF BLACK POSTER ART
John Duke Kisch, Foreword by Henry Louis Gates, Jr., Afterword by Spike Lee
DENNIS STOCK: AMERICAN COOL
Tony Nourmand & Graham Marsh, Introduced by Michael Pritchard
This magnificent volume is a celebration of the first 100 years of black film poster art. A visual feast, these
images recount the diverse and historic journey of the black film industry from the earliest days of Hollywood
to present day. Accompanied by insightful accompanying text, a foreword by black history authority and
renowned academic, Henry Louis Gates, Jr. and an afterword by Hollywood director, Spike Lee.
Part aesthetic, part nostalgic, the posters have meaning to young and old alike, and possess the power
to transcend ethnicity. From early independents to 12 Years a Slave, these posters represent a journey:
they remind people of the pioneers of the past, those courageous and daring African-American filmmakers,
entertainers and artists whose dreams and struggles paved the way for future generations.
The wealth of imagery on these pages is taken from The Separate Cinema Archive, maintained by archive
director John Kisch. The most extensive private holdings of African-American film memorabilia in the world, it
contains over 35,000 authentic movie posters and photographs from over 30 countries. This stunning coffee
table book represents some of the archive’s greatest highlights.
Dennis Stock had an extraordinary ability to capture the essence of the American experience. This magnificent
volume is the first anthology dedicated to him during his celebrated period of the 1950s to 1970s. Complete
access to Stock’s archive has been granted and several of the images are never-before-seen. Included are
his iconic photo-essay on James Dean; celebrity portraits including Audrey Hepburn resting her head on a car
window on the cusp of fame; Miles Davis playing jazz; JFK on the campaign trail; corporate America; Stock’s
California road trip and the alternative lifestyle of the burgeoning hippie movement. Stock’s photographs
are introduced by an essay by world-leading photography authority Dr. Michael Pritchard and a foreword from
Stock’s friend and colleague at Magnum, Michael Shulman.
For a man who once said that “every picture should be a masterpiece”, this stunning coffee table tome is
witness to Stock’s ability to manage just that.
ISBN: 978-1-909526-06-8
£45 / $75
320pp; Hardback; 260+ images
290 x 245 mm / 11.4 x 10 in.
DENNIS
STOCK
AMERICAN COOL
TONY NOURMAND AND GRAHAM MARSH
INTRODUCED BY MICHAEL PRITCHARD
ISBN: 978-1-909526-02-0
£45 / $75
288pp; Hardback; 260 b/w photographs
290 x 245 mm / 11.4 x 10 in.
HOLLYWOOD AND THE IVY LOOK
Graham Marsh & Tony Nourmand
PHOTOGRAPHERS
Michael Pritchard & Tony Nourmand
Back by popular demand, this stunning new Evergreen Edition of the worldwide best seller delivers a pictorial
celebration of the look and attitude of ‘Ivy’.
In the decade between 1955 and 1965 a coterie of discerning Hollywood hipsters appropriated the
incomparable Ivy League clothing of America’s East Coast elite. These West Coast actors elevated The Ivy
Look to the height of cool and defined a quintessentially American male dress code for a new generation of
movie audiences. From the button-down hip of Steve McQueen, Paul Newman and Anthony Perkins to the
preppy sensibilities of Woody Allen and Dustin Hoffman; the understated but carefully selected components
of The Ivy Look didn’t shout ‘look at me’ but instead gave off an image of approachable correctness and laid
back confidence.
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.
Featuring over a century of striking images, this beautiful volume celebrates the men and women behind
the lens. It showcases known, unknown and celebrity photographers with their cameras: at work, in candid
snaps, and posed self-portraits. An array of photographic styles and influences are represented, capturing
some of the most celebrated names in photography, including Robert Capa, Weegee, Margaret BourkeWhite, Philippe Halsman, Dennis Stock, David Bailey, Bill Cunningham, and Annie Liebovitz. This magnificent
tome includes many unseen images and all are reproduced to the very finest quality yet seen in print. The
book has been produced in collaboration with Getty Images: one of the world’s leading and most respected
photographic archives. The photographs and details of the different cameras used are brought alive by
accompanying text from one of the world’s leading photographic specialists, Dr. Michael Pritchard.
Evergreen Edition
ISBN: 978-1-909526-20-4
£24.95 / $39.95
288 pp; Hardback; 260 colour and b/w photographs
280 x 235mm / 11 x 9 in.
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PHOTOGRAPHERS
MICHAEL PRITCHARD AND TONY NOURMAND
ISBN: 978-0-9566487-7-8
£45 / $75
288pp; Hardback; 260 colour & b/w photographs
290 x 245mm / 11.4 x 10 in.
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VANITY: PHOTOGRAPHS BY SCOTT CAAN
Edited and designed by Howard Nourmand
Over the past few decades, actor Scott Caan has quietly garnered a reputation as an outstanding
photographer. This exceptional volume is a celebration of his most recent work.
Shooting with a photojournalist’s eye, Caan captures moments that have a quiet honesty to them and a
documentary feel. Caan’s images also have a unique insight into life as a celebrity – such as the book’s
cover image, taken from the top of the red carpet at Cannes (where no photographer has ever been allowed)
looking back at the hive of paparazzi below.
The title of the book is another subtle nod to his fame. Countering claims that he is simply indulging in
“a vanity project”, Caan has reclaimed the word in full force with this exquisite demonstration of his talent.
“To me, Vanity was the perfect title. Photography is the one thing I can do where I don’t have to answer to
anybody. … In a sense, it is my selfish way of saying; ‘these are the photographs that I like.’”
ISBN: 978-1-909526-16-7
£29.95 / $49.95
192pp; Hardback; 160+ b/w photographs
290 x 245 mm / 11 x 10 in.
100 Movie Posters
The E ssential C ollection
Tony Nourmand
Introduced by Christopher Frayling
100 MOVIE POSTERS: THE ESSENTIAL COLLECTION
Tony Nourmand, Introduced by Christopher Frayling
For the first time ever, world vintage movie poster authority, Tony Nourmand, shares his long-awaited ‘Best Of’
list in this beautifully curated, definitive volume. For 30 years, Nourmand has been instrumental in redefining
twentieth century movie posters as an art form and a valuable collectible. He brings his wealth of knowledge
to these pages – defining a great or ‘essential’ movie poster as the most effective in terms of design and
impact.
It features a century of inspiring images from famous designers like Saul Bass and Bill Gold; renowned
photographers like Philippe Halsman and George Hurrell; and celebrated artists like Al Hirschfeld and Alberto
Vargas. It features classic posters like King Kong, Breakfast at Tiffany’s, and Metropolis, as well as more
unusual works from Eastern Europe or the silent-era. The magnificent and diverse imagery from around the
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: 978-0-9572610-8-2
£29.95 / $49.95
224pp; Hardback; 100+ colour & b/w illustrations
290 x 245 mm / 11.4 x 10 in
UNSEEN McQUEEN: BARRY FEINSTEIN
Dagon James & Tony Nourmand, Introduced by Dave Brolan
AUDREY HEPBURN IN HATS
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
has become as synonymous with her fame as her films. This book celebrates Audrey Hepburn wearing a
selection of her most beautiful, stylish and outrageous hats – from exquisite designers such as Givenchy
and Dior. It features an extended section dedicated to Cecil Beaton’s outstanding costumes and hats in My
Fair Lady.
This stunning volume features portraits of one of Hollywood’s most fashionable icons, taken by leading
photographers including Cecil Beaton, Terry O’Neill, Howell Conant, and Bob Willoughby, and accompanying
text from renowned fashion writer, June Marsh.
These images of Steve McQueen taken by photography legend Barry Feinstein between 1960-68 – at the
race track, on the set of Bullitt, relaxing with friends – have all remained completely unseen until now and are
reproduced for the first time in magnificent quality in this volume. Feinstein was a close personal friend of
McQueen’s and the two shared a similar laid-back approach to life, an innate cool and a passion for fast cars
and motorcycles. Feinstein’s friendship with McQueen infused his photos with an intimacy rarely experienced
in shots of the star. Tremendous photography. Not to be missed.
ISBN: 978-1-909526-04-4
£19.95 / $29.95
128pp; Hardback; 100+ b/w photographs
280 x 235 mm / 11 x 9 in.
LIMITED EDITION
This title is also available in a limited edition
of 100 signed and numbered copies. It is
a must-have luxury item. It is presented in a
bespoke clamshell box. Please see page 42
for more details.
ISBN: 978-1-909526-00-6
£19.95 / $29.95
128pp; Hardback; 60+ colour and b/w photographs
280 x 235 mm / 11 x 9 in.
50 SHADES
Lauren Goldstein Crowe
This unique book immortalises 50 of the coolest icons from the worlds of film, music, politics, literature,
and fashion. They are some of the most glamorous and infamous people in public life from the most stylish
decades of modern history. Photographed wearing their own shades, the images speak volumes about
how celebrities see themselves and how they want us to see them. From Jackie O, who kept a large bowl
of sunglasses by the front door so that she could throw on a pair whenever she left the house, to Debbie
Harry, who wore mirrors so that the corporate executives from her label saw only themselves reflected in her
shades, this beautiful 120-page edition looks at the ways some of the most fascinating figures in
popular culture dealt with public scrutiny.
From Steve McQueen to Marilyn Monroe, Andy Warhol to Brian Jones, Elvis Presley to Yves Saint Laurent,
Clint Eastwood to Catherine Deneuve, this volume features stunning photography reproduced to the highest
quality, with text from leading fashion writer, Lauren Goldstein Crowe.
ISBN: 978-0-9572610-6-8
£19.95 / $29.95
128pp; Hardback; 50+ b/w photographs
280 x 235 mm / 11 x 9 in.
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SID AVERY: THE ART OF THE HOLLYWOOD SNAPSHOT
Ron Avery & Tony Nourmand
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
Brando taking out the garbage; Elizabeth Taylor soaking up the sun. These are just a few of the iconic images
for which Sid Avery is responsible. This sumptuous volume is a long overdue tribute to his prolific talent.
Sid worked in Hollywood from the 1940s to 1960s and became known for his candid portraits of the
stars. He made history as the only photographer to shoot both the original 1960 cast of Ocean’s Eleven
and the 2001 remake, recreating his iconic group shot around the pool table. Avery was also responsible
for establishing mptvimages: the Motion Picture and Television Photo Archive. This complete anthology of
Avery’s work includes outtakes and contact sheets, with over half of the material never-before-seen. All
images are reproduced to the finest quality yet seen in print.
ISBN: 978-0-9572610-0-6
£45 / $75
288pp; Hardback; 250+ colour & b/w photographs
290 x 245 mm / 11.4 x 10 in.
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MICHAEL CAINE: 1960s
Graham Marsh
GIL ELVGREN’S PRIVATE STOCK
Tony Nourmand
Revel in the sixties cigarette cool, stylish suits and sex appeal of the original British working class hero. With
his no-nonsense, laconic delivery, horn-rimmed glasses and sharply cut suits, Michael Caine epitomised a
new class of cool that has since become intractable from the iconography of the Swinging Sixties. This is
the first coffee table book dedicated to Caine in his most iconic decade. This eye-catching volume contains
more than 100 images catching the mood, manner and method of a man as at ease among movie stars as
he is on the street.
Collected in this splendid book is a wealth of rare and never-before-seen photographs capturing Caine’s
on-set preparations and off-screen life as well as stills taken while he worked on many of his greatest films
including Zulu, The Ipcress File, Alfie, and The Italian Job. These stylish photographers are accompanied by
design and text from the renowned Graham Marsh.
Previously unseen personal nude collection from ‘The Norman Rockwell of Cheesecake.’ The illustrated
pin-up was the most popular girl in mid-twentieth century America. Long, slender legs, an impossibly small
waist, bursting curves and a wide-eyed innocence felled hearts across the country. This ubiquitous vision
of feminine perfection was ‘The Elvgren Girl’, named for her creator, Gilette A. Elvgren (1914-1980). An
immensely talented artist who enjoyed a prolific, 40-year career, Gil Elvgren was a master of the female form,
combining technical proficiency as a painter with an innate ability to capture a sensuous yet naive beauty
in his subjects. Elvgren’s name ranks alongside Alberto Vargas and George Petty as one of the greatest
maestros of the pin-up to have ever lived.
This volume features Elvgren’s previously unseen photographic nude slide collection. It helps us build a
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
£19.95 / $29.95
128pp; Hardback; 100+ colour & b/w photographs
280 x 235 mm / 11 x 9 in.
ISBN: 978-0-9572610-5-1
£29.95 / $49.95
192pp; Hardback; 160+ colour photographs
237 x 237 mm / 9 x 9 in.
MARIO CASILLI
Tony Nourmand & Peter Doggett, Foreword by Joan Collins
HURRELL: THE KOBAL COLLECTION
Phil Moad & Tony Nourmand
Mario Casilli’s photographs defined the fabulous and outrageous entertainment industry in the 1980s. His
larger-than-life portraits, featuring his trademark backlighting and bright colour palette, captured everyone
from Joan Collins in glittering jewels, Dolly Parton in perfectly coiffed grandeur and the Bee Gees in sleeveless
leather. Also full cast shots of iconic television shows like Dynasty, Dallas, Knight Rider and Miami Vice.
Casilli was a magnificently talented photographer who captured this exciting, fun and over-the-top decade
like no other.
This wonderful coffee table volume brings Casilli’s 1980s portraits alive for the first time. The crisp, clean
design is accompanied by a foreword by Joan Collins, text by best-selling author, Peter Doggett, and an essay
on 1980s style by fashion writer, June Marsh.
“A Hurrell portrait is to the ordinary publicity still about what a Rolls-Royce is to a roller-skate.” (Esquire, 1936.)
George Hurrell was one of the greatest portrait photographers of Hollywood’s Golden Age. His strong
contrast black and white images and groundbreaking use of negative retouching revolutionized the medium
of Hollywood portraiture during the 1930s and 1940s.
This lavish book captures the enduring glamour of Hurrell’s photography and presents the very finest
reproductions of his work yet seen in print. All images have been taken from The Kobal Collection. One of the
most distinguished archives of classic Hollywood imagery in the world, it has the largest collection of Hurrell
material in existence. It features several unseen images of cinema’s most iconic faces. Hurrell photographed
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
Price: £29.95 / $49.95
192pp; Hardback; 100+ colour photographs
304 x 240 mm / 12 x 9 in.
ISBN: 978-0-9566487-5-4
£45 / $75
288pp; Hardback; 260 b/w photographs
290 x 245 mm / 11 x 10 in.
HOLLYWOOD BOUND
Peter Doggett & Tony Nourmand
THE KENNEDYS: PHOTOGRAPHS BY MARK SHAW
Tony Nourmand
THE KENNEDYS
PHOTOGRAPHS BY MARK SHAW
Researched and collated with typical stylish flair by editor Tony Nourmand and featuring insightful text by
author Peter Doggett, Hollywood Bound is a tremendous photographic guide to the history of movie bondage.
It includes over 100 photographs reproduced to the highest quality, and stars some of the twentieth century’s
greatest names, including Elizabeth Taylor, James Dean, Cary Grant, Lauren Bacall, Sean Connery and
Woody Allen.
Hollywood was a city of extremes: not for Tinseltown the carefully judged subtleties of shot and tone that
were the hallmark of the art-house auteurs. It demanded passion, thrills, suspense, violent outbursts of
emotion and movement – and so for every protagonist sweeping his way across the screen with a silvery
rapier or a sensuous leer, there had to be a victim, waiting to be tossed aside with contemptuous ease or
devoured whole in a paroxysm of lust. ... And so it was that innocent maidens were pinned down by rapacious
seducers; monstrous villains chained to receive their just desserts; valiant heroes manacled or trussed or
viciously tied, awaiting the cruellest of tortures, physical or psychological – only to free themselves in the final
reel, and carry off the equally endangered heroines to safety and starry-eyed romance.
This stunning publication is the definitive collection of Mark Shaw’s renowned photographs of the Kennedys.
More than 50 percent of the images have never been seen before and are the finest reproductions of Shaw’s
work yet seen in print. For the first time ever, complete access was granted to The Mark Shaw Photographic
Archive in order to produce this fresh and expanded take on Shaw’s classic 1964 work, The John F. Kennedys:
A Family Album. Not only is this beautiful tome a tribute to the Kennedy Family, but it pays homage to the
extraordinary talent of Mark Shaw himself.
Shaw shot the Kennedys for the first time for Life magazine in 1959. He developed a close friendship
with the family that gave him extraordinary and informal access to their inner circle. His stunning shots
from this time capture some of their most intimate and candid moments. Photographs include Kennedy’s
favourite ever shot of himself, walking alone on the dunes at Hyannis Port, plus images on the campaign trail,
relaxing at home with friends, entertaining at the White House, and the sombre days immediately following
the assassination.
ISBN: 978-0-9572610-7-5
£19.95 / $29.95
128pp; Hardback; 100 b/w photographs
280 x 235 mm / 11 x 9 in.
ISBN: 978-0-9566487-6-1
£45 / $75
288pp; Hardback; 260 colour & b/w photographs
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 1960 s
THE 1960 s
PHOTOGRAPHED BY DAVID HURN
PHOTOGRAPHED BY DAVID HURN
THE 1960 s
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.
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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
ROADBOOK
ROADBOOK
HUNTER BARNES
HUNTER BARNES
BRUCE SPRINGSTEEN
& THE E STREET BAND 1975
PHOTOGRAPHS BY BARBARA PYLE
This is a special, Vintage Deluxe edition of Bruce Springsteen & The E Street Band 1975. Each edition features a unique
vintage test print, printed by Barbara Pyle in 1975. Each photograph and book is also signed by Pyle. The Vintage
Deluxe edition is limited to 150 signed and numbered copies only. This luxury collector’s item is also presented in a
bespoke slipcase. For details and images of each unique edition, please visit www.reelartpress.com
Roadbook is available as four separate Deluxe editions: Lowriders; Redneck Roundup; The People; and Opa Locka.
Each edition is limited to 4 copies only and all are signed and numbered by photographer Hunter Barnes. These
luxury collector’s items are each presented in a bespoke slipcase. Each edition includes a limited edition, numbered
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);
978-1-909526-18-1 (The People); 978-1-909526-41-9 (Opa Locka)
£750.00 / $1200.00
October 2015. Special Order Only.
ISBN: 978-1-909526-38-9
From £500-£5000 / $800-$8000
October 2015. Special Order Only.
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- 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
T H E B I L L B E R N S T E I N P H OTO G R A P H S
The Deluxe edition of Brigid Berlin Polaroids is limited to 100 signed and numbered copies only. This luxury, collector’s
item is presented in a bespoke slipcase. It includes a limited edition, numbered photograph of Andy Warhol, exclusive
to this edition. The book is numbered and signed by Brigid Berlin.
The Deluxe edition of Disco: The Bill Bernstein Photographs is limited to 100 signed and numbered copies only. This
luxury collector’s item is presented in a bespoke slipcase. It includes a limited edition, numbered silver gelatin
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
£650.00 / $950.00
October 2015. Special Order Only.
ISBN: 978-1-909526-23-5
£650.00 / $950.00
October 2015. Special Order Only.
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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.
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- 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.
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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
87
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 finds 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 reflections 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 film 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.
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- 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
hits, suddenly didn’t know what to do with him and let his contract run out. Ditto
played. He was embarrassed by his preening, bossy mother, yet he took after her
his movie studio and TV and radio networks. The nightclub scene still had a spot
more than he did his affable, loaf-about dad. He never fit in.
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
differently, and he sang a new kind of song – the same great American tunes he’d
For more than fifty of his eighty-two years, Frank Sinatra stood atop the Mount
always adored (Gershwin, Berlin, Porter, Kern, Rogers and Hammerstein or Hart)
Olympus of American popular entertainment, as singer, actor, entrepreneur,
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
pills or a razor...). He quit appearing in musical fluff and became a convincing
He had been born, without any special promise, to working-class Italian
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
could now be flaunted publicly. All the boozing and gambling and pugnacity
It was a great American saga. No one had ever had such power, let alone a singer
and outrageousness that drove people away from him just after the war
of popular songs. Frank Sinatra was utterly one-of-a-kind.
He began as a boy singer on amateur nights, then a singing waiter who had to pay
seemed
for his own equipment and air time to get his voice out on the radio. The bandleader
somehow
magnetic
and
right
in
the
age
of
tailfins, rock-and-
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
introduce political authority to its illegitimate cousin in crime. They would knit
with the blue eyes and wavy hair and bow ties an emblem for the boys off fighting
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
they would have the clout and the moxie to do it all not in dark smoky rooms
devoted public on records and radio and in movies.
but out in the sun of Las Vegas with the press and its cameras sitting ringside.
As it happened, though, in real life they couldn’t have him: He was married to
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 . Age 47.
50
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
his eye impaled on the steering wheel. His celebrity friends rallied to his side, and,
brimming-over with talent, drive and verve, Sammy Davis Jr. was going to break into
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.
50
“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
54
125
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.
- 54 -
- 55 -
- 56 -
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