PARCO, Tokyo

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Peter Max

A strangely very scarce Peter Max book, published by PARCO in Tokyo, for a major exhibition held in Japan in 1976.

Spanning the 1960s-mid 1970s, this elegant publication is entirely made up of page after page of Max’s vibrant paintings, sketches, prints and collages, so many of which have not been reproduced in any other book. The sketches in here are of particular interest. Many figurative studies, as well as flowers, fantastic landscapes and his famed “Cosmic Jumper”, all in Max’s distinct style. A modest, yet very generous and handsomely designed Japanese book on Max’s iconic graphic and illustrative work.

“Peter Max (born Peter Max Finkelstein, October 19, 1937) is a German-born American illustrator and graphic artist, known for the use of psychedelic shapes and color palettes as well as spectra in his work. Max’s art work was first identified as having been a popular part of the counter culture and psychedelic movements in graphic design during the late 1960s and early 1970s – works in this style appeared on posters and were seen on the walls of college dorms across America. In 1962, Max started a small Manhattan arts studio known as “The Daly & Max Studio,” with friend Tom Daly. Daly and Max were joined by friend and mentor Don Rubbo, and the three worked as a group on books and advertising for which they received industry recognition. Much of their work incorporated antique photographic images as elements of collage. Max’s interest in astronomy contributed to his self described “Cosmic ’60s” period, which featured what became identified as psychedelic, counter culture imagery. Max’s art was popularized nationally through TV commercials such as his 1968 “un cola” ad for the soft drink 7-UP. He is known for using bursts of color, often containing much or all of the visible spectrum. His work was both influenced by, as well as widely imitated by, others in the field of commercial illustration. Max then became fascinated with new printing techniques that allowed for four-color reproduction on product merchandise. In 1970, many of Max’s products and posters were featured in the exhibition “The World of Peter Max,” which opened at the M.H. de Young Memorial Museum in San Francisco. The United States Postal Service commissioned Max to create the 10-cent postage stamp to commemorate the Expo ’74 World’s Fair in Washington, and Max drew a colorful psychedelic scene with a “Cosmic Jumper” and a “Smiling Sage” against a backdrop of a cloud, sun rays and a ship at sea on the theme of “Preserve the Environment.” Max’s work has since been recognised through work with everyone from the 1994 World Cup, Yes, The World Series between the New York Yankees and Mets, and Taylor Swift.”

* Condition: Very Good/Fine (almost as new, in illustrated protective wrap, pages clean and bright) – All care is taken to provide accurate condition details of used books, photos available on request. 

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Peter Max (1976)
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Harumi Yamaguchi
Harumi Gals (Parco View 2)

First printing of the great “Harumi Gals” from 1978. Legendary over-sized, glossy, and long out-of-print airbrush artbook from the incredible Harumi Yamaguchi, published by PARCO in Tokyo.

Airbrush illustrator Harumi Yamaguchi was one of the world’s leading commercial artbrush artists of the 1970’s. Born in Matsue in the Shimane prefecture, Yamaguchi graduated from Tokyo University of the Arts with a degree in oil painting. After working for the publicity department of Seibu Department Stores, Yamaguchi begun her career as a freelance illustrator, participating in the advertising production for PARCO with its opening in 1969. Since 1972 Yamaguchi has depicted female figures using airbrush techniques, instantly establishing herself as an illustrator that symbolized her era.

The encounter between Yamaguchi and PARCO was an inevitable one. Tsuji Masuda whom served as the president of PARCO had established plans for creating a department store that functioned as a cultural facility, collectively combining platforms such as museums, theater, and publishing in addition to retail, and as a result had headhunted Yamaguchi for this endeavor. As could be seen in Masuda’s decision of appointing Eiko Ishioka for the art direction, Kazuko Koike as copywriter, and Harumi Yamaguchi for the illustration, PARCO had soon focused on ‘women’ as a major driving source behind Japanese society of 1970s and onward, further succeeding in diverting this power to the business sector. Yamaguchi’s female figures are far from notions of eroticism as portrayed allegedly through male eyes in the form of pin-ups. On the contrary, the women themselves appear to joyously celebrate their own sexuality and existence. Furthermore, the images of women partaking in boxing, baseball, and skateboarding which Yamaguchi had illustrated in the 70s, could be interpreted as an ironic gesture towards a male-dominant society at a time prior to the establishment of the Equal Employment Opportunity Act in 1985; an era when women were unable to equally advance into society.

In the catalog published in correspondence to “Women of the 70s PARCO Poster Exhibition 1969-1986” that took place at the Tokyo Metropolitan Museum of Photography in 2001, Chizuko Ueno had critiqued Yamaguchi’s works stating, “while appearing to adhere to the scenario of male-tailored eroticism, Yamaguchi deconstructs male desire through her exaggerative depictions. As a consequence, the female body is idealized to a realm unreachable by male hands.” (‘The Idea of the Woman’)

Alberto Vargas, famous for his pin-ups for Esquire magazine and Playboy, is notably the international pioneer of airbrush illustrations. However, in the context of early ‘70s Japan there were no pre-eminent illustrators working with the airbrush medium with the exception Harumi Yamaguchi. It is certain that Yamaguchi’s achievements will continue to receive acclaim as an inaugural figure of super-real illustration that took Japan’s advertising industry of the 70s and 80s by storm.

Alongside her huge collection of women, Yamaguchi’s great staged reference photographs are included, with photgraphy by Michiko Matsumoto and Hideki Hosoya and Graphic Design by the Tadanori Yokoo!

* Condition: Good (Good, tight copy with original obi-strip, general wear and ageing/discolouring for over-sized book) – All care is taken to provide accurate condition details of used books, photos available on request.

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Harumi Gals
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Bernard Faucon
Les Idoles et les Sacrifices


First two-volume box edition of this scarce publication on the work of Bernard Faucon, issued only in Japan in 1991 by PARCO and dedicated entirely to Faucon’s major body of photographic work (accompanied by his writings) Les Idoles et les Sacrifices (1989–1991). Beautifully printed and bound in Japan.

“Idols and Sacrifices mark the end of a long cycle of abstraction, idealisation, that had led from the first pleasant times on the beach to the gold haze of the Chambers. The end also of an innocence, a magic confidence in the power of the image, in that ‘leibnitzian’ idea that every image contains all others, contains the world.

Dressed up as a sort of back-to-basics of photography, back to the classic genres, ‘the Portrait and the Landscape’. Idols and Sacrifices constitute a laying-bare, a radicalisation, a simplifying of the means that will take me to the End Of The Image. The wish to face, once at least, the body only, beauty without artifice. The wish to answer in my own way the question of the living: since the living cannot be photographed, we will try and photograph the gods!

The red landscapes imposed themselves later, because Idol and Sacrifice make up an inseparable couple, and also as a metaphor of the powerlessness of photography, of its incurable deficiency faced with the intensity of the living, the red of Sacrifices becomes the wound, the despair of photography itself.”
– Bernard Faucon

Bernard Faucon (b. 1950 in Provence) is a French photographer and writer.

Faucon was one of the first photographers in the second half of the 20th century to systematically create and master the constructed image, gaining fame worldwide in the late 1970s when he started a new trend of mise en scène photo.

His photographic work has a love of youth and dreamy beauty, using saturated colour, natural settings, rooms and often tableaux of mannequins.  For more than 20 years, his staged photographs have been exhibited in international galleries such as Leo Castelli in New York, and Agathe Gaillard and Yvon Lambert in Paris. Elsewhere, he has also been a part of collective exhibitions dedicated to staged photography. He has won numerous awards from his work, including the Grand Prix National (1989), and the Prix Leonard de Vinci (1991).

His major photographic series are, in date-order: Les Grandes Vacances (1977–1981); Evolution probable du Temps (1981–1984); Les Chambres d’amour (1987–1989); Les Idoles et les Sacrifices (1989–1991); Les écritures (1991–1993); and La Fin de L’image (1993–1995).

* Condition: Very Good-Fine (tight, clean volumes in original cardboard slipcase, protected in plastic wrap) – All care is taken to provide accurate condition details of used books, photos available on request.

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Bernard Faucon - Les Idoles et les Sacrifices
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Deborah Turbeville
Les amoureuses du temps passé


Very scarce, first edition of this lovely Japanese book on the work of iconic American fashion photographer Deborah Turbeville, published by PARCO, Tokyo in 1985.
Les amoureuses du temps passé features a wonderful cross-section of Turbeville’s moody and haunting photographic shoots, edited by Yasuo Kuboki and designed by Yasuo Ohmichi for the legendary PARCO fashion department store publishing imprint. Minimal English and Japanese text.

This copy comes in it’s original protective “PARCO Vision Contemporary” plastic jacket.

Deborah Turbeville was a famed American fashion photographer. She is widely credited with adding a darker, more brooding element to fashion photography, beginning in the early 1970s. Turbeville is one of just three photographers, together with Guy Bourdin and Helmut Newton, who essentially changed fashion photo shoots from traditional, well-lit images into something much more edgy. She was the only woman and only American among this trio. Her photographs appeared in numerous leading fashion magazines (including Nova and Vogue) and fashion advertisements, including ads for Bloomingdale’sBruno MagliNikeRalph Lauren and Macy’s.

* Condition: Very Good (still protected in original plastic wrap jacket, very minor wear to edging)  – All care is taken to provide accurate condition details of used books, photos available on request.

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Deborah Turbeville - Les amoureuses du temps passé
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