Pécsi, József. – Carl Laszlo (ed.): Photo and Advertising: Text and Pictures / Photo und Publizität : Text und Bilder von J. Pécsi re-issue of 1930 original. Basel : Wiese, Stuttgart : Brockhaus Comm., Wien : Hora (Berlin Sosef Singer 1930) 1989. 4to in hardcover, no jacket as issued. 15, 32 pp with 32 illustrations printed in black and white and red. Some rubbing to corners of cover else a very good and clean copy

“József Pécsi (1889-1956) “was a Hungarian photographer, innovator, and educator. Born in 1889 into a middle-class family in Budapest (then part of the Austro-Hungarian Empire), Pécsi was schooled in German and maintained lifelong ties with an international photography community. He studied photography at the Lehr- und Versuchsanstalt (Training and research institute) in Munich from 1909 to 1911, and began receiving international recognition soon after graduation. In 1911 he returned to Budapest and opened his own studio, where he also offered instruction to apprentices. In 1913 he established the photography department at the Budapest School of Industrial Drawing, for which he is credited as the founder of photography education in Hungary. He was dismissed from teaching in 1920 due to conflicts with the conservative political regime but maintained his own studio, which served as a gathering place for students, including Eva Besnyö and her friend György Kepes. In 1922 Pécsi was elected vice president of the Budapest Industrial Guild of Photographers and served as editor of the guild’s journal, Magyar fotográfia (Hungarian photography). In 1930 he published the influential book Photo und Publizität (Photography and publicity) to promote the blending of typography, design, and photography in avant-garde advertising, with contributions from Kepes and others. The publication marks his crossover from the Pictorialist style of his early work to the ascendant international Bauhaus modernism of the interwar period. The World War II years took their toll: he hid in Romania for a brief period; his studio and negatives were destroyed by a bomb in 1945; and, upon his return to Budapest, in 1946, financial hardship and an unfavourable regime forced him to take passport photographs to make ends meet. The illustrations in Photo und Publizität show Pécsi’s modernist approach to advertising photography in everything from biscuits and soap to razor blades and book covers”