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 ! EXTREM SCARCE, STRONGLY LIMITED 'PHOTOBOOK' OBJECT about Paris, limited to 500 copies only - here No. 344. WITH PHOTOS BY ROGER SCHALL. Michael Koetzle, Eyes on Paris, pages 182 and 183. COMPLETE... - WITH THE PORTFOLIO - WITH ALL 100 ORIGINAL (!) STEROSCOPIC SLIDES (with a total of 200 motifs). .- WITH THE ORIGINAL (!) METAL STEREOSCOPE - WITH THE ORIGINAL (!) TEXT SHEET WITH THE INSTRUCTION FOR THE STÉREOSCOPE (with 4 illustrations), often missing - WITH THE ORIGINAL (!) MAP OF PARIS (by Grimault) - WITH THE INTRODUCTIONAL TEXT SHEET, looks like a photocopy, but i am not sure (often missing) Published in different editions (colors), here the extrem scarce edition in yellow-grey (!). This is a lot by 5Uhr30.com (Ecki Heuser, Cologne, Germany). We guarantee detailed and accurate descriptions, 100% transport protection, 100% transport insurance and of course combined shipping - worldwide. Editions Chantecler, Paris. 1945. First edition, first printing. Original portfolio with original metal stereoscope and with original slipcase. 210 x 290 mm. 88 pages. 100 original photos (130 x 60 mm), bromide silver gelatine prints plus 4 extra photos. Photos: Roger Schall. Introduction sheet (probably a photocopy), instruction sheet (looks original), Paris map (probably a photocopy). Text: Pierre d'Espezel. Text in French. Condition: Book inside red inner part of the portfolio (so the rear sides of the portfolio covers) and all pages fresh and flawless, clean with no marks and with no foxing; metal stereoscope and all photos well-preserved. Book outside with little trace of use, but not foxed (like so often), partly a bit darkened, rubbed at the spine. All extra sheets well-preserved. Slipcase excellent; fresh and flawless. Overall fine condition. 'Roger Schall's fourth Paris book after “Paris de jour”, “Paris” and “À Paris sous la botte des nazis” takes up a model that Heinrich Hoffmann had already tried out with his contribution to the 1937 World Exhibition, namely that of a book publication entirely dedicated to the spatial image. book publication. According to the imprint, ‘Paris relief’ was published in 1945 by Éditions Chantecler (5, Boulevard Poissonnière) in a comparatively modest edition of 500 copies. The text and colour plates were printed by G. Blanchong & Cie. was responsible for printing the text and colour plates, while Magnier Frères took care of the binding. The title page names Pierre d'Espezel as the author of a ‘Histoire de Paris des origines à nos jours’, spread over no less than 82 pages, while the author of the 100 palm-sized plates included in the book of the 100 pairs of palm-sized pictures included in the book has to make do with a brief mention on the last page: ‘La prise de vue stéréoscopique est l'œuvre de Roger Schall’, it says, as succinctly as it is printed in small print, which is somewhat surprising when one considers Roger Schall's importance as a ‘photographe illustrateur’ and photojournalist in the period between the world wars. Could it be that Schall's name was deliberately kept small here? After all, Schall had cultivated contacts with the German occupying forces and, like Sougez, the Seeberger brothers and the recently rediscovered André Zucca', was able to secure accreditation and thus work more or less unhindered as a press photographer between 1940 and 1944. One thing is certain: Schall remains controversial to this day, museums and publishers seem to steer clear of the artist, and as far as the only monograph on Schall published to date in 2005 is concerned, it does not really address his role during the occupation - at least in the text and biography - and also leaves this book completely unmentioned. Even a cursory glance at ‘Paris relief’ reveals its conceptual proximity to Heinrich Hoffmann's book, or rather to the products of the Raumbild-Verlag publishing house founded by Otto Schönstein in Diessen am Ammersee, whose publications focussed entirely on the appeal of stereo photography, which had been technically possible since the middle of the 19th century. Paris relief’ also features a foldable stereo viewer. The Schall book also operates with original silver gelatine prints, whose raster-free surface promised a special viewing pleasure. And the enclosed instructions for use also clearly point to Otto Schönstein. It is therefore almost certainly a work whose publication was prepared by Schönstein, as Dieter Lorenz states, and indeed as early as 1943, but which could no longer be published due to the events of the war ‘and was therefore published by another hand, whereby it can be assumed that this “other hand was a friend of Schönstein”. As Lorenz emphasises, the connection to Paris is also plausible, as Schönstein repeatedly placed printing orders in occupied France. According to the historian, a copy of the Paris volume has recently turned up there, in which the last stereo images do not show General de Gaulle, but Adolf Hitler under the Eiffel Tower. So there was apparently at least one sample copy of this stereoview volume before the end of the war. The present copy bears the stamped number 137 and contains all 100 pairs of pictures, beginning with the Roman arenas in the Rue Monge (‘Photo N° 1’) and ending with a ‘Défilé de l'armee devant le Général de Gaulle et H.M. le Sultan du Maroc, place de la Concorde’ (‘Photo N° 100’). In between, the politically unsuspicious compulsory programme of any visit to Paris with the Opéra Garnier, Eiffel Tower, Arc de Triomphe, but also a view of the Cité Universitaire in Montsouris as well as pitto-resque, somewhat run-down alleyways, as Atget had already explored them. Formally and aesthetically, the 6 x 13 cm original prints offer no real surprises. Only in the way Schall staggers his views into a spatial depth does he prove himself to be a craftsman who is aware of the requirements of stereo technology. It is not known how many copies of the elaborate title with its embossed base binding, the oiled paper as an endpaper and the cut-outs for stereo images and viewers were actually delivered. From today's perspective, this extremely rare book or book object is more of a curiosity - an illustrated book on Paris that is completely apolitical and yet must be read against the backdrop of contemporary history and the life of a photographer.' (Hans-Michael Koetzle)