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Sebastian Hau

SCARCE Danish photobook about Paris - with the VERY SCARCE original dustjacket.

Mentioned here:
Hans-Michael Koetzle, "Eyes on Paris. Paris im Fotobuch. 1890 bis heute" ("Paris in 
Photobooks. 1890 until today"), pages 338 and 339.

Welcome to the second auction by Anatole Desachy (France) and Ecki Heuser (Germany) in celebration of Paris. At the occasion of ‘’Paris Photo’’ fair, we have gathered a new selection of classical & uncommon Photobooks about the city of light. Enjoy and good luck with your bids !

"Birgit Hvidkjaer travelled to Paris for the first time in 1959. She came to the Seine as an au pair - and was immediately captivated by the city. She spontaneously searched for a means of expression to artistically appropriate her new surroundings. She didn't want to write. She couldn't draw, says Birgit Hvidkjaer: ‘What remained was photography, the basics of which the artist, born in Aarhus (Denmark), essentially taught herself.
She took her first photographs in 1959 with a modest retina. The young woman began to photograph intensively in 1963, the year she moved permanently to Paris, where she still lives and works today under the more recognisable name Anna Birgit."
(Hans-Michael Koetzle)

This is a lot by 5Uhr30.com (Ecki Heuser, Cologne, Germany).
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Rhodos, Copenhagen. 1970. First edition, first printing. 

Hardcover with dustjacket. 225 x 280 mm. 64 pages. 37 photos in black and white. Photos: Birgit Hvidkjaer (Anna Birgit). Text: Jacques Berg. Text in Danish. 

Condition: 
Book inside excellent, fresh and flawless; clean with no marks and with no foxing. Book outside sunned at the top and at the bottom of the front and of the rear side; otherwise fresh and flawless. Dustjacket quite fresh, better than usual, complete with no missing parts; excellent spine and rear side, bigger triangle crease and tear at the top lefter corner of the front (partly taped from behind). Overall fine condition.

Wonderful Danish photobook - with the very scarce original dustjacket.

"Birgit worked as a secretary, kept her head above water with laboratory work and took on all kinds of jobs in order to be able to afford her simple ‘Chambre de bonne’, her servant's room. After all, she had arrived in Paris - still a dream destination for many, even if in the 1960s, with New York and ‘Swinging London’, more and more Anglophone competition was making itself felt.
From 1964 to 1968, she found work in an advertising agency. At the same time, she accompanied the partial demolition of the historic Théâtre Sarah Bernhard on her own account, which did not go unnoticed and opened the doors of the Théâtre de la Ville de Paris to her. She worked there as in-house photographer until 2002. Anna Birgit exhibits, most recently in her favourite café - Le Verre à pied - in Rue Mouffetard, photographs of Pina Bausch. And she publishes books, the first in 1970 as a tribute to the city that had become her new home.
‘Paris uden Eiffeltärn‘ (’Paris without the Eiffel Tower") was published in a small edition by Rhodos Verlag (Copenhagen) and is one of the insider tips among photo books on Paris. The volume was not planned, at least not from the outset, and so the title, with its unorthodox pairings and wide-ranging programme of images, ultimately brings together all the possible aspects that have come to the attention of the alert and committed photographer over the years.
In fact, Anna Birgit's work continues the great tradition of Paris books in which photographing foreigners, stranded immigrants and Francophile artists tried to express their amazement at the metropolis in pictures.
Paris was always - at least in modern times - a multicultural, multiethnic city. An aspect that surprisingly received no attention whatsoever in the humanist photography of the 1950s and ‘60s. Birgit pays tribute to this phenomenon in several portraits.
Birgit pays tribute to the phenomenon with several portraits, which later earned her the accusation that there were too many people of colour in the book.
Paris, says the photographer, is a city with lots of entertainment for free. This is another aspect that locals may hardly have noticed.
Birgit makes it a subject, for example when she accompanies Marcel Marceau with her camera - the mime artist during a guest performance on the street. Towards the end of the decade, she makes a selection and sticks a maquette whose decidedly airy design with lots of white space and a bright, friendly visual language - high-key would be the technically correct term - lends the company a freshness, almost a Nordic touch, which is most reminiscent of Tore Johnson.
Above all, the unusual, constantly surprising juxtapositions of motifs give the whole a conceptual flavour and point to an author who relies entirely on her subjective view. Not only is the Eiffel Tower missing here, as the title promises, but many of the usual Paris clichés have also been deliberately and elegantly avoided.
Last but not least, the dust jacket, inspired by the poster art of the time, owed to the use of lith or line film? with the motif of a dancing priest (who is actually playing football, as the unscreened, full-format picture reveals) tending towards abstraction, is courageous. But the images in the inner section with their blurring, out-of-focus, close-ups or unusual juxtapositions also point to the photographer's love of experimentation. Poems penned by the then well-known Danish television journalist Jacques Berg accompany Anna Birgit's view of Paris, a view that, for all its formal and aesthetic finesse, also exudes great humanity and warmth."
(Hans-Michael Koetzle)

Arte, Fotografia - Quantità: 1 - Sovracoperta - Libro fotografico

Birgit Hvidkjaer, Jacques Berg - Paris uden Eiffeltarn ("Paris without the Eiffel Tower", WITH ORIGINAL DUSTJACKET) - 1970

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Birgit Hvidkjaer, Jacques Berg - Paris uden Eiffeltarn ("Paris without the Eiffel Tower", WITH ORIGINAL DUSTJACKET) - 1970

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