Rarity 18.4/100 · Collector 0/100 · Deal 2/100 · Listings: 1 · Avg price: $9.43 · Min price: $9.43

These scores use the legacy monthly asking-price aggregate. They do not use the new exact-edition, condition, completeness, and destination-shipping rules.

Published by TASCHEN in 2008, *Brassaï, Paris* is a 192-page, German-language publication centered on Brassaï’s photographic engagement with the French capital. The title establishes its terms with unusual economy: one photographer, one city. Rather than presenting Paris as a general historical subject, the book places the city within the sustained vision of an individual artist, allowing place and authorship to remain closely bound.

Brassaï began making photographs in 1929, initially using a friend’s camera. In the years that followed, exhibitions of his work were held internationally. That early date gives the book’s focus historical resonance. Paris was not merely a name attached retrospectively to his career; it belonged to the period in which his photographic practice took shape and entered public view. The volume therefore offers a concentrated way to consider how an artist’s identity can become associated with a particular urban subject.

The book’s editorial character is also defined by the presence of Jean-Claude Gautrand, credited with Brassaï on the cover and identified as a contributor. This pairing places the photographs within an authored publishing context rather than presenting them as an anonymous survey. Open Library classifies the volume under photography, artistic photography, and pictorial works, accurately indicating its emphasis on photographs as both documents and composed images.

For a serious collector, the book merits attention through the coherence of its elements: Brassaï’s work, Paris as the organizing subject, Gautrand’s editorial contribution, and TASCHEN’s 2008 publication context. Its significance need not rest on scarcity or special-edition claims. The value of the volume lies instead in its focused presentation of a photographer whose career began at a consequential moment in twentieth-century image-making, and whose work reached an international exhibition audience. At 192 pages, it provides room for sustained looking rather than a cursory introduction.