SCARCE OPPORTUNITY to purchase this true ORIGINAL FIRST PRINTING of this legendary German photobook title by Michael Schmidt - in EXCELLENT, VERY FRESH CONDITION. - Martin Parr, The Photobook, vol 2, page 65 - The Open Book, Hasselblad Center, page 336/337 - 802 photo books from the M.+M. Auer collection, page 673 Not to mix with the reprint, published in 2017 and 2018. Most important and most famous series of the artist who got the first solo exhibition of a German photographer at the Museum of Modern Art (MOMA), New York in 1987 (with "U-ni-ty"). Welcome to the "GERMAN PHOTOBOOKS" auction by Ecki Heuser (5Uhr30.com, Cologne) - with more than 100 fantastic lots. IF YOU WIN MORE THAN 1 OF MY BOOKS IN THIS AUCTION, YOU WILL PAY ONLY 1 X SHIPPING COSTS - WORLDWIDE. Dirk Nishen Verlag, Berlin, 1987. First edition, first printing Paperback with dustjacket (as issued). 265 x 300 mm. 84 pages with 39 black&white photos, including 1 gatefold. Essay by Einar Schleef; afterword by Janos Frecot. Text in German. Condition: Inside excellent, super fresh and flawless, like new and unread; clean with no marks and with no foxing. Dustjacker very fresh with very light trace of use only, so with no remarkable defects; complete with no tears and with no missing parts. Overall very fine condition. Scarce first printing - in fantastic fresh condition. Michael Schmidt was born in Berlin and has photo-graphed there since the 1960s. In the 1980s he established the Werkstatt für Fotographie, a collective led based at the Volkshochschule, Kreuzberg in Berlin which invited a number of American photographers such as William Eggleston, Larry Clark, Lewis Baltz, and John Gossage to Berlin where they made work and gave workshops. The resulting cross-fertilisation of ideas resulted in several key books of the late 1980s, including Schmidt's own Waffenruhe, a portrait of the city made a few years before the fall of communism. He focuses on scenes of urban decay around the Wall and the surrounding Kreuzberg district. Schmidt intersperses these photographs with portraits of young Berliners, emphasizing the psychological impact of the city's division. Frecot refers to Waffenruhe as a cri de coeur that could only have eminated from a Berliner.