New York, New York
LÖRINCYZ, György
New York, New York
Budapest: Maygar Helikon, 1972
Large 4to., original publisher’s leatherette boards embossed with title inside gilt panel to the upper cover; lettered in gilt to backstrip; together in the original pictorial black and white dustwrapper; unpaginated, with 95 numbered black and white photographs (+1, unnumbered), two printed on blue tracing paper; folding title list to rear; corners slightly bumped, the leatherette just beginning to bubble along the spine, else a very good to near-fine example, in the like jacket which has just a slight crease to the lower panel.
First, limited edition, this number 1422, with text in Hungarian. Many of the photographs have been solarised, a technique which was uncommon in the late 1960s (when these examples were taken). In re-exposing photographic paper during the development process, the resulting image shows eerie silver light lines between the shadows and the highlighted areas.
A series of experimental images showing the people and street life of America’s most populous city. The Lörinczys had travelled to New York in 1968, at a particularly lively time in US history, and spent their days roaming around the city and attending parties. The photographer wrote of his work that it “is not about New York, nor the city nor the New York State. I have photographed the people amongst whom I have lived in 1968 and those places that interested me for some reason. In the book there are no images of famous buildings, machinated American households, bank associates, billionaires, female shop assistants, light, shade and many other things…I lived in the East Village amongst them: hippies, artists, students. The studio of Tom Wesselmann was in the neighbouring street, a few corners away Andy Warhol’s Factory, the greengrocery was opened at night as well and there was the smell of incense in the streets. I felt very well between them.”
New York, New York, with its rough, raw and uninhibited depictions of city life, went on to have a profound impact upon Hungary’s underground art scene.
LÖRINCYZ, György
New York, New York
Budapest: Maygar Helikon, 1972
Large 4to., original publisher’s leatherette boards embossed with title inside gilt panel to the upper cover; lettered in gilt to backstrip; together in the original pictorial black and white dustwrapper; unpaginated, with 95 numbered black and white photographs (+1, unnumbered), two printed on blue tracing paper; folding title list to rear; corners slightly bumped, the leatherette just beginning to bubble along the spine, else a very good to near-fine example, in the like jacket which has just a slight crease to the lower panel.
First, limited edition, this number 1422, with text in Hungarian. Many of the photographs have been solarised, a technique which was uncommon in the late 1960s (when these examples were taken). In re-exposing photographic paper during the development process, the resulting image shows eerie silver light lines between the shadows and the highlighted areas.
A series of experimental images showing the people and street life of America’s most populous city. The Lörinczys had travelled to New York in 1968, at a particularly lively time in US history, and spent their days roaming around the city and attending parties. The photographer wrote of his work that it “is not about New York, nor the city nor the New York State. I have photographed the people amongst whom I have lived in 1968 and those places that interested me for some reason. In the book there are no images of famous buildings, machinated American households, bank associates, billionaires, female shop assistants, light, shade and many other things…I lived in the East Village amongst them: hippies, artists, students. The studio of Tom Wesselmann was in the neighbouring street, a few corners away Andy Warhol’s Factory, the greengrocery was opened at night as well and there was the smell of incense in the streets. I felt very well between them.”
New York, New York, with its rough, raw and uninhibited depictions of city life, went on to have a profound impact upon Hungary’s underground art scene.
LÖRINCYZ, György
New York, New York
Budapest: Maygar Helikon, 1972
Large 4to., original publisher’s leatherette boards embossed with title inside gilt panel to the upper cover; lettered in gilt to backstrip; together in the original pictorial black and white dustwrapper; unpaginated, with 95 numbered black and white photographs (+1, unnumbered), two printed on blue tracing paper; folding title list to rear; corners slightly bumped, the leatherette just beginning to bubble along the spine, else a very good to near-fine example, in the like jacket which has just a slight crease to the lower panel.
First, limited edition, this number 1422, with text in Hungarian. Many of the photographs have been solarised, a technique which was uncommon in the late 1960s (when these examples were taken). In re-exposing photographic paper during the development process, the resulting image shows eerie silver light lines between the shadows and the highlighted areas.
A series of experimental images showing the people and street life of America’s most populous city. The Lörinczys had travelled to New York in 1968, at a particularly lively time in US history, and spent their days roaming around the city and attending parties. The photographer wrote of his work that it “is not about New York, nor the city nor the New York State. I have photographed the people amongst whom I have lived in 1968 and those places that interested me for some reason. In the book there are no images of famous buildings, machinated American households, bank associates, billionaires, female shop assistants, light, shade and many other things…I lived in the East Village amongst them: hippies, artists, students. The studio of Tom Wesselmann was in the neighbouring street, a few corners away Andy Warhol’s Factory, the greengrocery was opened at night as well and there was the smell of incense in the streets. I felt very well between them.”
New York, New York, with its rough, raw and uninhibited depictions of city life, went on to have a profound impact upon Hungary’s underground art scene.