Robert Mapplethorpe - The Black Book (HC, DJ, VERY FRESH COPY) - 1992

FANTASTIC MALE NUDE PHOTOBOOK 由 Robert Mapplethorpe 著作 - 其流派的经典之作。

RARE HARDCOVER EDITION WITH SEPARATE DUSTJACKET (the paperback edition is much more common).

罕见的精装版本，附独立保护套（平装本更为常见）。

EXCELLENT, VERY FRESH CONDITION.

Excellent、全新如新之状。

After the big success of the first two auctions, 5Uhr30.com (Ecki Heuser, Cologne) now proudly presents the third and last edition for this year of “Masters of Erotic Photobooks".

在前两场拍卖取得巨大成功之后，5Uhr30.com（科隆的 Ecki Heuser）现骄傲地推出本年度第三版也是最后一版的“Masters of Erotic Photobooks”（色情摄影书大师）。

Enjoy another very personal selection of books dedicated to eroticism in all its beautiful facets - drawn from my private library and from various acquisitions over the past years.

再次欣赏一批极具个人风格、致力于情色之美各方面的书籍精选—来自我的私人藏书以及近年多次收购所得。

"Robert took areas of dark human consent and made them into art. He worked without apology, investing the homosexual with grandeur, masculinity, and enviable nobility. Without affectation, he created a presence that was wholly male without sacrificing feminine grace. He was not looking to make a political statement or an announcement of his evolving sexual persuasion. He was presenting something new, something not seen or explored as he saw and explored it. Robert sought to elevate aspects of male experience, to imbue homosexuality with mysticism. As Cocteau said of a Genet poem, "His obscenity is never obscene."

— Patti Smith —

“罗伯特把人类黑暗的一面转化为艺术。他毫不道歉地工作，让同性恋者显现出宏伟、男子气概与令人羡慕的高贵。毫不矫揉造作地，他塑造出一种完全男性的存在，同时不牺牲女性的优雅。他并非意在作出政治宣言或宣布自己性倾向的演变，而是在呈现新事物、他所看到、所探索的未曾见过的东西。罗伯特试图提升男性经验的某些方面，为同性恋注入神秘主义。正如科克托说戈特的诗所言：‘他的猥亵从不猥亵。’
— 帕蒂·史密斯 —

5Uhr30.com guarantees detailed and accurate descriptions, 100% protection,
100% insurance and combined shipping worldwide.

5Uhr30.com 保证描述详尽准确，100% 保障，100% 保险，并提供全球合并运送。

Schirmer and Mosel, Munich. 1992. Second edition (originally published in 1986).

Schirmer 与 Mosel，慕尼黑。1992。第二版（1986 年初版）。

Hardcover with dustjacket. 290 x 290 mm. 108 pages. 96 photos in duotone. Photos: Robert Mapplethorpe. Selection and layout: Dimitri Levas, New York. Foreword and poem: Ntozake Shange. Text in German.

精装，附罩套。尺寸 290 x 290 毫米。108 页。96 张双调照片。摄影：Robert Mapplethorpe。选图与排版：Dimitri Levas，纽约。前言及诗作：Ntozake Shange。文字为德文。

Condition:
Book inside and outside fresh and flawless, clean with no marks and with no foxing; marginal trace of use. Dustjacket very fresh and complete with no tears, with no taped tears and with no missing parts; very light trace of use, no remarkable defects. Overall very fine condition.

状态：书内外崭新无瑕，干净无污渍无 marks，边角仅有轻微使用痕迹。护封极新完好无撕裂、无粘贴痕迹、无缺件；使用痕迹极轻，整体极为良好。

Great male nude photo publication by Robert Mapplethorpe with original dustjacket - in great condition.

由 Robert Mapplethorpe 所著、附原装护封的优秀男性裸照出版物——状态极好。

"Robert Michael Mapplethorpe (1946-1989) was an American photographer, best known for his black-and-white photographs. His work featured an array of subjects, including celebrity portraits, male and female nudes, self-portraits, and still-life images. His most controversial works documented and examined the gay male BDSM subculture of New York City in the late 1960s and early 1970s. A 1989 exhibition of Mapplethorpe's work, titled Robert Mapplethorpe: The Perfect Moment, sparked a debate in the United States concerning both use of public funds for "obscene" artwork and the Constitutional limits of free speech in the United States.

“罗伯特·迈克尔·马普瑟霍普（1946-1989）是一位美国摄影师，以黑白照片最为著名。他的作品题材丰富，包括名人肖像、男女裸照、自画像以及静物。其最具争议的作品记录并审视了纽约市在1960年代末至1970年代初的同性恋男 BDSM 子文化。1989 年以《Robert Mapplethorpe: The Perfect Moment》为题的展览在美国引发了关于公共资金用于“猥亵”艺术品的争论，以及美国宪法第一修正案关于言论自由的界限之讨论。”

Mapplethorpe was born in the Floral Park neighborhood of Queens, New York, the son of Joan Dorothy (Maxey) and Harry Irving Mapplethorpe, an electrical engineer. He was of English, Irish, and German descent, and grew up as a Catholic in Our Lady of the Snows Parish. Mapplethorpe attended Martin Van Buren High School, graduating in 1963. He had three brothers and two sisters. One of his brothers, Edward, later worked for him as an assistant and became a photographer as well. He studied for a Bachelor of Fine Arts from the Pratt Institute in Brooklyn, where he majored in Graphic Arts, though he dropped out in 1969 before finishing his degree.

马普瑟霍普出生于纽约皇后区花园公园（Floral Park）街区，父母为 Joan Dorothy（Maxey）和电气工程师 Harry Irving Mapplethorpe。他拥有英国、爱尔兰和德国血统，在Snow 桑女修道院担任天主教徒成长。就读于马丁·范·布伦高中，1963 年毕业。他有三个兄弟和两个姐妹。其中一位兄弟 Edward 后来成为他的助手，也成为摄影师。他在布鲁克林的 Pratt Institute 攻读美术学士，主修图形艺术，但在1969年退学未完成学位。

Mapplethorpe lived with his girlfriend Patti Smith from 1967 to 1972, and she supported him by working in bookstores. They created art together, and maintained a close friendship throughout Mapplethorpe's life.

Mapplethorpe 与女友 Patti Smith 同居生活自 1967 年至 1972 年，她靠在书店工作来支持他。他们共同创作艺术，在 Mapplethorpe 一生中保持着密切的友谊。

Mapplethorpe's studio at 24 Bond Street in the NoHo neighborhood of Manhattan, later kept by him for use as a darkroom

Mapplethorpe 在曼哈顿诺豪区 Bond Street 24 号的工作室，后来由他保留作为暗房使用。

Mapplethorpe took his first photographs in the late 1960s or early 1970s using a Polaroid camera. He also designed and sold his own jewelry, which was worn by Warhol superstar Joe Dallesandro.

Mapplethorpe 在60年代末至70年代初首次使用宝丽来相机拍摄照片。他还设计并销售自己的珠宝，被 Warhol 明星 Joe Dallesandro 等使用。

During this period Mapplethorpe also produced drawings, collages, and found object sculptures.

在此期间，Mapplethorpe 还创作了绘画、拼贴和拾得物雕塑。

In 1972, Mapplethorpe met art curator Sam Wagstaff, who would become his mentor, lover, patron, and lifetime companion. In the mid-1970s, Wagstaff acquired a Hasselblad medium-format camera and Mapplethorpe began taking photographs of a wide circle of friends and acquaintances, including artists, composers, and socialites. During this time, he became friends with New Orleans artist George Dureau, whose work had such a profound impact on Mapplethorpe that he restaged many of Dureau's early photographs. From 1977 until 1980, Mapplethorpe was the lover of writer and Drummer editor Jack Fritscher, who introduced him to the Mineshaft (a members-only BDSM gay leather bar and sex club in Manhattan). Mapplethorpe took many pictures of the Mineshaft and was at one point its official photographer (… "After dinner I go to the Mineshaft.")

1972 年，Mapplethorpe 遇到艺术策展人 Sam Wagstaff，他成为他的导师、情人、资助人和终身伴侣。70 年代中期，Wagstaff 购入 Hasselblad 中画幅相机，Mapplethorpe 开始拍摄一群广泛的朋友和熟人，包括艺术家、作曲家和社交名流。在此期间，他与新奥尔良艺术家 George Dureau 成为朋友，Dureau 的作品对 Mapplethorpe 产生深远影响，以至于他重拍了许多 Dureau 早期的照片。1977 年至 1980 年，Mapplethorpe 是作家兼 Drummer 编者 Jack Fritscher 的情人，Fritscher 向他介绍了 Mineshaft（曼哈顿的一个仅限会员的 BDSM 男同性恋皮革酒吧及性俱乐部）。Mapplethorpe 拍摄了许多 Mineshaft 的照片，并一度成为其官方摄影师（…“晚饭后我就去 Mineshaft。”）

By the 1980s, Mapplethorpe's subject matter focused on statuesque male and female nudes, delicate flower still lifes, and highly formal portraits of artists and celebrities. Mapplethorpe's first studio was at 24 Bond Street in Manhattan. In the 1980s, Wagstaff bought a top-floor loft at 35 West 23rd Street for Robert, where he resided, also using it as a photo-shoot studio. He kept the Bond Street loft as his darkroom. In 1988, Mapplethorpe selected Patricia Morrisroe to write his biography, which was based on more than 300 interviews with celebrities, critics, lovers, and Mapplethorpe himself.

到了 1980 年代，Mapplethorpe 的题材聚焦于高挑的男性和女性裸体、细腻的花卉静物，以及极为正式的艺术家和名人肖像。他的第一间工作室在曼哈顿 Bond Street 24 号。80 年代，Wagstaff 为他在 West 23rd Street 35 号购买了顶层公寓，作为居住之地，同时也用作摄影工作室。他将 Bond Street 的公寓保留作为暗房。1988 年，Mapplethorpe 选定 Patricia Morrisroe 为他撰写传记，该传记基于对超过 300 位名人、批评家、情人以及 Mapplethorpe 本人本人的访谈。

Mapplethorpe died at the age of 42 due to complications from HIV/AIDS in a Boston hospital on March 9, 1989. His body was cremated. His ashes are interred at St. John's Cemetery, Queens in New York City, at his mother's grave-site, etched "Maxey".

Mapplethorpe 于 1989 年 3 月 9 日因 HIV/AIDS 相关并发症在波士顿的一家医院去世，享年 42 岁。遗体火化，其骨灰安葬在纽约市皇后区圣约翰公墓母亲墓地，墓碑刻着“Maxey”。

Nearly a year before his death, the ailing Mapplethorpe helped found the Robert Mapplethorpe Foundation, Inc. His vision for the Foundation was that it would be "the appropriate vehicle to protect his work, to advance his creative vision, and to promote the causes he cared about". Since his death, the Foundation has not only functioned as his official estate and helped promote his work throughout the world, but has also raised and donated millions of dollars to fund medical research in the fight against AIDS and HIV infection. In 1991, the Foundation received the Large Nonprofit Organization of the Year award as part of the Pantheon of Leather Awards. The Foundation donated $1 million towards the 1993 establishment of the Robert Mapplethorpe Residence, a six-story townhouse for long-term residential AIDS treatment on East 17th Street in New York City, in partnership with Beth Israel Medical Center. The residence closed in 2015, citing financial difficulties. The Foundation also promotes fine art photography at the institutional level. The Foundation helps determine which galleries represent Mapplethorpe's art. In 2011, the Robert Mapplethorpe Foundation donated the Robert Mapplethorpe Archive, spanning from 1970 to 1989, to the Getty Research Institute.

在他去世前一年左右，体弱多病的 Mapplethorpe 协助创办了 Robert Mapplethorpe Foundation, Inc.。基金会的愿景是成为“保护他的作品、推进其创作愿景、以及推动他关心的事业的合适载体”。自他去世以来，该基金会不仅作为他的官方遗产，帮助全球推广他的作品，还筹集并捐赠了数百万美元资助抗击艾滋病与 HIV 感染的医学研究。1991 年，基金会因 Leather Awards 园地的评选而获得年度大型非营利机构奖。基金会向 1993 年在纽约市东 17 街由 Beth Israel Medical Center 合作建立的 Robert Mapplethorpe 住宅捐赠了 100 万美元，该住宅是一栋六层的长期开 AIDS 治疗住宅。该住宅于 2015 年因财政困难而关闭。基金会亦在机构层面推动美术摄影。基金会帮助决定哪些画廊代理 Mapplethorpe 的艺术。2011 年，Robert Mapplethorpe Foundation 将从 1970 年至 1989 年的 Robert Mapplethorpe 档案捐赠给 Getty Research Institute。

Nearly a year before his death, the ailing Mapplethorpe helped found the Robert Mapplethorpe Foundation, Inc. His vision for the Foundation was that it would be "the appropriate vehicle to protect his work, to advance his creative vision, and to promote the causes he cared about". Since his death, the Foundation has not only functioned as his official estate and helped promote his work throughout the world, but has also raised and donated millions of dollars to fund medical research in the fight against AIDS and HIV infection. In 1991, the Foundation received the Large Nonprofit Organization of the Year award as part of the Pantheon of Leather Awards. The Foundation donated $1 million towards the 1993 establishment of the Robert Mapplethorpe Residence, a six-story townhouse for long-term residential AIDS treatment on East 17th Street in New York City, in partnership with Beth Israel Medical Center. The residence closed in 2015, citing financial difficulties. The Foundation also promotes fine art photography at the institutional level. The Foundation helps determine which galleries represent Mapplethorpe's art. In 2011, the Robert Mapplethorpe Foundation donated the Robert Mapplethorpe Archive, spanning from 1970 to 1989, to the Getty Research Institute.

（重复段落，略去重复翻译）

Mapplethorpe worked primarily in a studio, and almost exclusively in black and white, with the exception of some of his later work and his final exhibit "New Colors". His body of work features a wide range of subjects and the greater part of his work is on erotic imagery. He would refer to some of his own work as pornographic, with the aim of arousing the viewer, but which could also be regarded as high art. His erotic art explored a wide range of sexual subjects, depicting the BDSM subculture of New York in the 1970s, portrayals of black male nudes, and classical nudes of female bodybuilders. One of the black models he worked with regularly was Derrick Cross, whose pose for the self-titled image in 1983 has been compared to the Farnese Hercules. Mapplethorpe was a participant observer for much of his erotic photography, participating in the sexual acts which he was photographing and engaging his models sexually.

马普瑟霍普的作品大多在工作室完成，几乎全部为黑白，只有他晚期的一些作品及最后展览《新色彩》有所例外。他的作品涵盖广泛主题，情色图像占据大部分。他曾将自己的一些作品称为色情作品，旨在挑逗观者，但也可被视为高水平艺术。他的情色艺术探讨了广泛的性主题，描绘了 1970 年代纽约的 BDSM 子文化、黑人男性裸照以及女性身材雕塑家的经典裸体。他经常合作的黑人模特之一是 Derrick Cross，1983 年该模特在自题图中的姿势被比作 Farnese Hercules。Mapplethorpe 在大部分情色摄影中是参与者观察者，参与他所拍摄的性行为并与模特发生性关系。

Other subjects included flowers, especially orchids and calla lilies, children, statues, and celebrities and other artists, including Andy Warhol, Louise Bourgeois, Deborah Harry, Kathy Acker, Richard Gere, Peter Gabriel, Grace Jones, Amanda Lear, Laurie Anderson, Iggy Pop, Philip Glass, David Hockney, Cindy Sherman, Joan Armatrading, and Patti Smith. Smith was a longtime roommate of Mapplethorpe and a frequent subject in his photography, including a stark, iconic photograph that appears on the cover of Smith's first album, Horses.

其他题材包括花卉，尤其是兰花和马蹄莲、儿童、雕像，以及名人和其他艺术家们，包括安迪·沃霍尔、路易丝·布尔乔亚、Deborah Harry、Kathy Acker、Richard Gere、Peter Gabriel、Grace Jones、Amanda Lear、Laurie Anderson、Iggy Pop、Phillip Glass、David Hockney、Cindy Sherman、Joan Armatrading，以及 Patti Smith。Smith 与 Mapplethorpe 是长期室友，也是他摄影中的常见对象，其中有一张在 Smith 首张专辑 Horses 的封面上出现的鲜明、标志性照片。

His work often made reference to religious or classical imagery, such as a 1975 portrait of Patti Smith from 1986 which recalls Albrecht Dürer's 1500 self-portrait. Between 1980 and 1983, Mapplethorpe created over 150 photographs of bodybuilder Lisa Lyon, culminating in the 1983 photobook Lady, Lisa Lyon, published by Viking Press and with text by Bruce Chatwin.

他的作品常引用宗教或古典意象，例如 1975 年为 Patti Smith 拍摄的一幅 1986 年的肖像，让人联想到阿尔布雷希特·丢勒 1500 年的自画像。1980 年至 1983 年间，Mapplethorpe 创作了超过 150 张健美运动员 Lisa Lyon 的照片， culminating 于 1983 年由 Viking Press 出版的图书《Lady, Lisa Lyon》，文本由 Bruce Chatwin 撰写。

In the summer of 1989, a traveling solo exhibit by Mapplethorpe brought national attention to the issues of public funding for the arts, as well as questions of censorship and the obscene. The Corcoran Gallery of Art in Washington, D.C., had agreed to be one of the host museums for the tour. Mapplethorpe decided to show his latest series that he explored shortly before his death. Titled Robert Mapplethorpe: The Perfect Moment, the show included photographs from his X Portfolio, which featured images of urophagia, gay BDSM and a self-portrait with a bullwhip inserted in his anus. It also featured photos of two children with exposed genitals. The show was curated by Janet Kardon of the Institute of Contemporary Art (ICA). The ICA was awarded a grant from the National Endowment for the Arts to support Mapplethorpe's exhibit at the Corcoran Gallery of Art. The Corcoran cancelled the show, terminating its contract with the ICA, because it did not want to get involved in the political issues that it raised, but instead the gallery was pulled into the controversy, which "intensified the debate waged both in the media and in Congress surrounding the NEA's funding of projects perceived by some individuals...to be inappropriate." The hierarchy of the Corcoran and several members of the United States Congress were upset when the works were revealed to them, due to the homoerotic and sadomasochistic themes of some of the work. Though much of his work throughout his career had been regularly displayed in publicly funded exhibitions, conservative and religious organizations such as the American Family Association seized on this exhibition to vocally oppose government support for what they called "nothing more than the sensational presentation of potentially obscene material."

1989 年夏季，Mapplethorpe 的巡回个人展引发全国性关注，聚焦公共资金支持艺术的问题，以及审查与猥亵的争议。华盛顿的科科伦艺术馆同意成为此次巡展的其中一家主办博物馆。Mapplethorpe 决定展出他去世前不久创作的最新系列，展名为 Robert Mapplethorpe: The Perfect Moment，展出自 X Portfolio 的作品，其中包括排尿性崇拜、同性恋 BDSM 以及他自画像中肛门处插入小皮鞭的照片，还包括两张露出生殖器的儿童照片。展览由当代艺术研究所 ICA 的 Janet Kardon 策展。ICA 获得了美国国家艺术基金会的资助，用以支持 Mapplethorpe 的科科伦展览。科科伦取消了展览，终止了与 ICA 的合同，因为他们不愿介入所提出的政治议题，而画廊却被卷入争议之中，这进一步加剧了媒体与国会对 NEA 资金资助被某些人视为“不当”的讨论。科科伦的等级制度以及部分美国国会议员对展出的作品中的同性恋与性虐待主题感到不满。尽管他的大部分作品在其职业生涯中经常在公款资助的展览中展出，保守与宗教组织如美国家庭协会等却借此展览公开反对政府对他们所称的“只不过是对潜在猥亵材料的轰动性呈现”的资助。）

In June 1989, pop artist Lowell Blair Nesbitt became involved in the censorship issue. Nesbitt, a long-time friend of Mapplethorpe, revealed that he had a $1.5-million bequest to the museum in his will, but publicly promised that if the museum refused to host the exhibition, he would revoke the bequest. The Corcoran refused and Nesbitt bequeathed the money to the Phillips Collection instead. After the Corcoran refused the Mapplethorpe exhibition, the underwriters of the exhibition went to the nonprofit Washington Project for the Arts, which showed all the images in its space from July 21 to August 13, 1989, to large crowds. In 1990, the Contemporary Arts Center in Cincinnati, which had also shown the exhibit, and Dennis Barrie, were charged with obscenity; photographs that depicted men in sadomasochistic poses were the basis of charges that the museum and its director had pandered obscenity. They were found not guilty by a jury.

1989 年 6 月，流行艺术家 Lowell Blair Nesbitt 介入了审查事件。Nesbitt 是 Mapplethorpe 的长期朋友，他在遗嘱中向博物馆捐赠了 150 万美元，但公开承诺若博物馆拒绝展出，他将撤销捐赠。科科伦拒绝后，Nesbitt 将钱捐给Phillips Collection。科科伦拒展后，展览的承销商转至非营利组织华盛顿艺术项目（Washington Project for the Arts），在 1989 年 7 月 21 日至 8 月 13 日在其空间展出全部影像，吸引大量观众。1990 年，辛辛那提当代艺术中心及 Dennis Barrie 因猥亵行为被起诉；展出的照片中有男性在性虐待姿势，被指控博物馆及馆长纵容猥亵。陪审团判决他们无罪。

According to the ICA, "The Corcoran's decision sparked a controversial national debate: Should tax dollars support the arts? Who decides what is 'obscene' or 'offensive' in public exhibitions? And if art can be considered a form of free speech, is it a violation of the First Amendment to revoke federal funding on grounds of obscenity? To this day, these questions remain very much at issue." Mapplethorpe became something of a cause célèbre for both sides of the American culture war. However, prices for many of the Mapplethorpe photographs doubled and even tripled as a consequence of all the attention. The artist's notoriety supposedly also helped the posthumous sale at Christie's auction house of Mapplethorpe's own collection of furniture, pottery, silver and works by other artists, which brought about $8 million."

据 ICA 表示，科科伦的决定引发了全国性的辩论：应否用税款来资助艺术？公众展览中谁来决定“猥亵”或“冒犯”之定义？如果艺术可以被视为一种言论自由的形式，因猥亵而撤销联邦资金是否违反第一修正案？直到今日，这些问题仍然存在。Mapplethorpe 因此成为美国文化战争双方的关注焦点之一。然而，因广泛的关注，许多 Mapplethorpe 照片的价格翻倍甚至翻三倍。艺术家的知名度据说也帮助他后来的拍卖行佳士得以 800 万美元成交出售他自己的一系列家具、陶器、银器以及其他艺术家的作品。