VERY BEAUTIFUL, HIGHLY UNDERRATED (PHOTO)BOOK from the 60ties by the well-known German photographer Evelyn Hofer about "Dublin", capital of Ireland - with the very scarce original dustjacket. With 16 pages of photographs in full colour, 78 in monochrome gravure. WITH ORIGINAL DUSTJACKET IN COMPLETE CONDITION. You visit the SUPER POPULAR SINGLE-SELLER-AUCTION by 5Uhr30.com (Ecki Heuser, Cologne, Germany) - with INTERNATIONAL PHOTOBOOKS from my PRIVATE COLLECTION and from RECENT ACQUISITATIONS. "Evelyn Hofer was born in Marburg, Germany in 1922 and died in 2009 in Mexico City. In the years in between, Hofer created a body of work that both looked back to the tradition of August Sander and anticipated the color work of William Eggleston, causing her to be called "the most famous unknown photographer in America" by New York Times art critic Hilton Kramer – a devout supporter of her work. Hofer's work has influenced such photographers as Thomas Struth, Joel Sternfeld, Adam Bartos, Rineke Dijkstra, Judith Joy Ross, and Alec Soth." (Wikipedia) 5Uhr30.com guarantees detailed and accurate descriptions, 100% protection, 100% insurance and combined shipping worldwide. The Bodley Head, London, Syndney, Toronto. 1967. First English edition, first printing. Hardcover with dustjacket. 225 x 290 mm. 100 pages. Photos: Evelyn Hofer. Printing: Conzett & Zürich, Switzerland. Text: V.S. Pritchett. Text in English. Condition: Book inside and outside clean with no previous owner marks and with no foxing; pages smell like dampstain, no other remarkable flaws or defects. Dustjacket very fresh and still very impressive, complete with complete flaps, with no tears, with no taped tears and with no missing parts; light trace of use only, discoloured along the spine at the front and at the rear side, no other remarkable flaws or defects. Overall fine, much better than usual condition. Excellent, scarce book by Evelyn Hofer - with the very scarce original dustjacket. "Evelyn Hofer moved to Switzerland with her family in 1933. After an apprenticeship as a photographer, she took private lessons with Hans Finsler. She then made an interim stop in Mexico before moving to New York, where she has lived since 1946. In the 1970s she worked in fashion photography for Harper’s Bazaar, Vogue, Vanity Fair, Life and The New York Times Magazine, to name a few. Together with the writers V.S. Pritchett and Mary McCarthy, she published several books about major cities during the 1950s and 60s. 'When Hofer was eleven her family fled Nazi Germany for Switzerland. She decided she wanted to be a photographer and set about it methodically. She began with an apprenticeship at the Studio Bettina, a portrait studio, and took private lessons with Hans Finsler, one of the pioneers of the 'New Objectivity' movement. Hofer's studies covered everything from photographic technique to art theory. She didn't just learn composition and the underlying theories of aesthetics, she also learned the chemistry involved in producing prints. Beginning in the early 1960s she became one of the first fine art photographers to adopt the use of color film and the complicated dye transfer printing process as a regular practice. Throughout her long career, Hofer continued to shoot in both color and black and white – determining which was the more apt for the picture at hand. In the middle 1950s Hofer's career took an important turn when the writer Mary McCarthy asked her to provide the photographs for The Stones of Florence, a literary exploration of the history and culture of that city. Over the next forty years Hofer collaborated with writers including V.S. Pritchett and Jan (James) Morris to produce books on Spain, Dublin, New York City, London, Paris, Switzerland, and Washington, D.C. in which she mixed portraits and land or cityscapes. Working with a cumbersome 4 x 5 inch viewfinder camera, Hofer always photographed her subjects where she found them, but favored carefully composed scenes with a still, timeless aura. Almost in opposition to the on-the-fly work of her contemporaries Eggleston and William Klein, Hofer used extraordinary patience to slow the world down, examine its conditions, and capture the exact image that she envisioned, searching for an "inside value, some interior respect" in the people she photographed. Hofer's goal was to go beyond documentary photography to create a subjective interpretation of the world, conveying both the spirit of the time and a timeless message. A street photographer of a different stripe, Hofer's street pictures convey the artist's concern with sociological connections and offer a pointed look at society and its conditions. Her trades-people and toffs, her families and social groups are more than just intimate portraits – they epitomize the possibilities and restrictions of the human condition. Late in her life, when asked for her thoughts on being called "the most famous unknown photographer in America." she said she liked it. She understood that what mattered was the work, not personal fame." (Wikipedia)