Excellent books from Germany

With Photo essays by Henri CARTIER-BRESSON, Walker EVANS, Nan GOLDIN, W. Eugene SMITH, Mary Ellen MARK, Sebastiao SALGADO and James NACHTWEY

Broschierte Ausgabe (ohne Schutzumschlag, wie erschienen), 22 x 27 x 1 cm., 109 S., S/W-Abb. (zumeist ganzseitig), deutsch-sprachig - TEXT ONLY IN GERMAN!

The out-of-print book 'Das Auge des Krieges' by Dieter KELLER follows a seemingly modern pictorial aesthetic, showing that the artistically trained photographer of the Bauhaus period knew how to use aesthetic perception as a key to processing reality.

In this photo volume, 'Bonkers! A Fortnight in London' by Bettina RHEIMS, the German fashion and advertising photographer indulges in the wild eccentricities of the British capital - a dim, surreal world of female self-expression and eroticism.

The out-of-print photo volume 'The Polaroids' by Sibylle BERGEMANN contains poetic and empathetic moments that document what basically cannot be captured. Dreamlike and delicate images against oblivion, which elude a temporal and spatial classification.

In German language 'Hinter der Kamera', Juliet Hacking portrays 38 of the most important personalities in the history of photography. By working out contexts, the portraits add to an overview of great innovations, trends and developments in photography.

At the 1937 World's Fair in Paris, Cologne was the only city in the world to be represented with its own pavilion at the Seine river, captured by Karl Hugo SCHMÖLZ. The photo book 'Cologne and the Seine' tells a forgotten episode of Franco-German history.

English ed., HC with dust jacket, 28 x 25 cm., 152 pp., 50ß b/w ills., text language: English (Amelunxen-essay & interview bilingual, in English and German)

Gebunden, mit Schutzumschlag, 22,5 x 30 cm., 360 S., 220 Abb., deutsch-sprachig - GERMAN TEXT ONLY!

The out-of-print volume 'Nein, Onkel: Snapshots From Another Front 1938-1945' contains snapshots of fun-loving, sexually inappropriate and work-shy elements of the German military machine, as well as the commonly accepted view of 'bad men in ankle boots'.