PHOTOGRAPH

First German edition, first printing. Signed by the author David Hockney. Inscribed presentation copy. Text in German. Publisher's original white paper-covered boards with black titles to the spine, in dustwrapper. Illustrated throughout with 96 photographs in colour and black and white. A fine copy, the binding square and firm, the spine toned with the slightly bumped tail. The boards are dust-marked, with two light yellowish stains and faint pencil traces to the rear board. The contents, with the recipient's note regarding the subsequent reproduction of a Kodak image on page 25, (and with and some rubbing to the blank fore-edge margin of the same page), are otherwise clean and fresh throughout. Complete with the bright, lightly creased dustwrapper, which has a tiny nick to the head of the spine.

Inscribed by David Hockney in blue ink on the title page "For Prof Steinorth / David Hockney". The recipient is Karl Otto Jacob-Steinorth, a German photographer, scholar of photographic history and executive at Kodak heading up the legal and public relations department. In addition to organising exhibitions on the history of photography, advertising photography, and photo pedagogy, he was also responsible for establishing the International Kodak Photo Calendar Prize (the predecessor of the German Camera Prize), and the Kodak Photobook Prize. This volume, featuring a selection from more than thirty thousand Hockney photographs, was produced to accompany the travelling exhibition organised by the Centre Georges Pompidou, Paris, together with the Maison de la Culture de France. With an introductory essay by Alain Sayag. The photographs are accompanied by excerpts from conversations with David Hockney, in which he comments on his photographic work and discusses its considerable influence on his painting. "Beyond their sensual appeal, these photographs provide extensive evidence of the artist's life and working methods. An intimate diary, on the one hand, in which his friends and models, his various homes and studios, memories of holidays, and chance occurrences all find a place; and, on the other, a collection of working materials: photographs as studies for projects, as models for portraits, as aids to memory when it comes to particular details, or as a means of capturing an atmospheric impression".