Catalog 1 – Miscellaneous

You may have known me as the associate curator of photographs at the Minneapolis Institute of Arts. However, in the Fall of 2011 I resigned from that position, after more than thirty years at the museum, to pursue writing independently in the history of photography and selling out-of-print photography books. This, my first catalog, is a general selection from my existing stock. I anticipate issuing about three catalogs a year, usually on particular themes and movements, such as nineteenth-century photography, pictorialism, and the Clarence H. White School. I, of course, am always interested in hearing about your specific interests and about books you may wish to sell.

 

  1. ABBOTT, C. Yarnall. John Luther Long, Madame Butterfly, New York: Grosset and Dunlap, 1903. Hardcover (green, white and black-stamped green cloth), 8 3/8 x 5 ¾ inches, 152 pages, 8 halftone illustrations.

Long’s tragic tale, that became popular as an opera, about a Japanese woman who is jilted by an American man and commits hari-kari. The vignetted images show Cho-Cho-San alone, with her child, and ultimately kneeling with a sword. The same year, the Century Company published a more elaborate edition, with twice as many illustrations and thicker paper. Both editions sport an attractive Art-Nouveau cover design of plants. C. Yarnall Abbott (1870-1938) was prominent in the Photographic Society of Philadelphia and also a member of Alfred Stieglitz’s Photo-Secession. One of his images from Madame Butterfly appeared as a halftone in the April 1905 issue of Camera Work. The edges and tips of the cover are lightly worn. $50

 

  1. ADAMS, Ansel. Ansel Adams, Hastings-on-Hudson, New York: Morgan and Morgan, 1972. Hardcover (silver-stamped gray paper over boards), 10 ¾ x 9 1/8 inches, unpaginated, 117 halftone illustrations, dust jacket. Stated second printing (October 1972), signed by Adams.

A standard selection of classic straight photographs by one of the few household names in fine photography. Edited by Liliane De Cock, with a foreword by Minor White. This copy signed in ink by Adams on the half-title page. Top and bottom of the spine and one corner are bumped, dust jacket has minor creases. $125

 

  1. ADAMS, Ansel. Ansel Adams: Images, 1923-1974, Boston: New York Graphic Society, 1974. Hardcover (gold-stamped black and gray cloth), 14 1/8 x 17 ¼ inches, 128 pages, duotone illustrations, dust jacket, in original slipcase, with ephemera. Stated first printing, signed by Adams.

This large-scale book includes an introduction by Adams, a foreword by Wallace Stegner, and many high-quality illustrations. A full-page sheet pasted in between the frontispiece and title page indicates that this copy is from a “special edition prepared for Time-Life Books subscribers with the signature of the photographer,” signed by Adams in ink. Laid into this copy are two pieces of ephemera on Adams books and posters published by the New York Graphic Society. The front and rear hinges have been reinforced by thin strips of archival paper but show no signs of separating, the slipcase shows minor wear at a few corners and has a few spots. $500

 

  1. ADAMS, Ansel. Yosemite and the Range of Light, Boston: New York Graphic Society, 1979. Hardcover (gold-stamped maroon and gray cloth), 12 ¼ x 15 ¼ inches, unpaginated, 116 duotone illustrations, dust jacket. Stated third printing (1980), signed by Adams.

Features photographs by Adams of California’s Yosemite and other Western national parks, dating from the 1920s through 1960s, in their classic visual bravura. Includes an autobiographic foreword by Adams and an easy by author/conservationist Paul Brooks. Label on the front free endpaper indicates this copy is from a “special edition prepared for Time/Life subscribers with the signature of the photographer,” signed by Adams in ink. The upper and lower edges of the covers are slightly sunned, the dust jacket is lightly rubbed and has a few minor creases. $150

 

  1. ALVAREZ BRAVO, Manuel. Revelaciones: The Art of Manuel Alvarez Bravo, San Diego: Museum of Photographic Arts, 1990. Softcover with tipped-on reproduction, 11 x 8 ½ inches, 134 pages, 54 halftone illustrations, with ephemera. Stated first edition, signed by designer.

Revelaciones was the catalog for a traveling exhibition, presented at eight American museums. It includes an introduction by MPA director Arthur Ollman, an essay by Nissan N. Perez, and a chronology of the artist; all text bilingual in both English and Spanish. Signed by Joseph Bellows, the designer, who also indicates the book was printed in an edition of 2,500 copies. A subsequent printing did not have the cover illustration tipped-on. This copy is accompanied by a press packet for the show. Fine condition. $50

 

  1. (AMERICAN Annual of Photography). Christian A. Peterson, compiler, Index to the American Annual of Photography, Minneapolis: author, 1996. Softcover, 9 ¾ x 7 ¼ inches, 148 pages. Signed by Peterson.

The American Annual of Photography was the longest-running and most significant photographic yearly published in the United States. It first appeared in 1887, and by the time of its demise in 1953 covered over half the lifespan of the photographic medium. It remains today a rich resource on three generations of photographers. Included were such early figures as Edward Bierstadt and Napoleon Sarony, pictorialists Gertrude Käsebier and Clarence H. White, and twentieth-century masters like Minor White. This index encompasses every credited article and photographic reproduction in the annual’s sixty-seven volumes; over 3,500 names are alphabetically listed with citations. Privately printed in an edition of 500 copies. This copy signed by Peterson. Mint condition. $25

 

  1. APERTURE. Millerton (New York), and New York. Numbers 77-175 (1976-2004), 98 issues.

Most comprise about 80 pages and measure approximately 11 ½ x 9 ½ inches. A long, uninterrupted run of one of the most important and long-lasting photographic periodicals ever published. After the 1975 death of founding editor Minor White, Michael E. Hoffman standardized its size and the magazine continues to this day as a high-quality quarterly.

Beginning with #77, which features the work of Josef Koudelka, the magazine was issued by number, rather than by volume. Numbers 78 to 81 are hardcovers. Many subsequent issues focus on specific topics and countries. Among the photographers given monographs (that often appeared simultaneously as hardcover books) were August Sander (#83-84, 1980), Josef Sudek (#117-118, 1990), Albert Renger-Patzsch (#131, 1993), and Paul Strand (#135, 1994). Issues 168 and 169 mark Aperture’s fiftieth anniversary, with many images and the four-part essay, “Visions and Voices: A Celebration of Genius in Photography,” by critic R. H. Cravens. The last issue offered here, #175, highlights photographs by Donna Ferrato, Rosemary Laing, Elaine Reichek, Doug and Mike Starn, and Paolo Woods.

All in very good to fine condition. The run of 98 issues: $950

 

  1. ARBUS, Diane. Diane Arbus, Millerton, New York: Aperture, 1972. Softcover, 11 x 9 ¼ inches, halftone illustrations, unpaginated.

This “Special Edition for The Museum of Modern Art” is the first printing, which includes the image “Two girls in identical raincoats, Central Park, N.Y.C,” replaced in later printings by another picture. The book is one of the most important twentieth-century monographs on a photographer and Aperture has kept it in print nearly continuously over the last forty years. Edited and designed by Doon Arbus and Marvin Israel, it is an understated masterpiece. It features fifteen pages of quotations by Arbus and virtually all of her iconic square-format images of the unusual individuals she sought out and encountered on the street, including the highly-recognizable pair of twin girls on the cover. The cover has indentations, is rubbed, and lightly edge worn. $250

 

  1. ARBUS, Diane. Diane Arbus: Magazine Work, Millerton, New York: Aperture, 1984. Hardcover (paper over boards), 11 ¼ x 9 ½ inches, 176 pages, halftone illustrations, dust jacket.

Texts by Arbus and the essay “The Magazine Years, 1960-1971” by curator Thomas W. Southall. The book covers Arbus’s lesser known commercial photographs, commissioned by magazines such as Esquire, Harper’s Bazaar, and the Sunday Times Magazine of London. In addition to reproductions of magazine pages that featured her work, it also has a bibliography of her known contributions. Mint condition, in shrink wrap. $75

 

  1. ARBUS, Diane. Diane Arbus, Madrid, Spain: Fundacion Caja de Pensions, 1986. Softcover, 11 ¾ x 9 3/8 inches, 32 pages, 11 halftone illustrations.

This little-known exhibition catalog reproduces ten of Arbus’s pictures, among them “A young Brooklyn family going for a Sunday outing,” and “Puerto Rican woman with a beauty mark.” Each is accompanied by brief general comments by the photographer about her thoughts and process. Also included are listings of her principal exhibitions and publications and the nearly one-hundred photographs in the show. Bilingual text in Spanish and English. Fine condition. $75

 

  1. ARBUS, Diane. Untitled, New York: Aperture, 1995. Hardcover (paper covered boards), 14 ¼ x 11 ½ inches, unpaginated, 51 halftone illustrations, dust jacket. Stated first edition.

Reproduces a single body of work by Arbus, made 1969-71, during the last years of her life. Here, she turned her camera on residents of homes for the mentally challenged, primarily young women and often in Halloween costume. According to the New York Times Book Review, “Their participation in Arbus’s theater of the human grotesque is simultaneously emotionally touching and ethically disturbing, which gives this long-awaited, elegantly designed book a relevance Arbus herself could not have imagined.” Includes an afterward by Doon Arbus, the photographer’s daughter. Mint condition, in shrink wrap. $75

 

  1. ARBUS, Diane. Hellnation, Cheerleaders for Imperialism, San Francisco: Slap A Ham Records, 1999. Record cover, with vinyl LP and lyric sheet, 12 1/4 x 12 1/4 inches.

The entire front of the record sleeve reproduces Arbus’s 1967 image “Patriotic young man with a flag, N.Y.C.” As was common among punk bands, Hellnation undoubtedly used the image without permission, as the Arbus estate is very controlling and the photographer is not credited. This Kentucky trio called itself “kings of the motherfuckin’ thrash,” and, indeed, the record comprises nearly thirty short, fast, and furious songs that are nearly indistinguishable from one another. Mint condition, in shrink wrap. $25

 

  1. ATGET, Eugéne. John Szarkowski and Maria Morris Hambourg, The Work of Atget, New York: Museum of Modern Art, 1981-1985.

Volume I: Old France, 1981. Hardcover (gold-stamped maroon cloth), 12 x 10 ½ inches, 180 pages, 120 halftone illustrations, dust jacket.

Volume II: The Art of Old Paris, 1982. Hardcover (gold-stamped maroon cloth), 12 x 10 ½ inches, 192 pages, 192 halftone illustrations, dust jacket.

Volume III: The Ancien Régime, 1983. Hardcover (gold-stamped maroon cloth), 12 x 10 ½ inches, 188 pages, 119 halftone illustrations, dust jacket.

Volume IV: Modern Times, 1985. Hardcover (gold-stamped maroon cloth), 12 x 10 ½ inches, 188 pages, 116 halftone illustrations, dust jacket.

The four-volume set that constitutes the most comprehensive study of the great Parisian photographer, based on MOMA’s in-depth holdings. Includes intelligent essays by Hambourg and Szarkowski and extensive notes to the plates. Volume III features a fold-out chart with Atget’s negative numbers and the dates and places of his pictures, made possible by the curators cracking his esoteric numbering code. Mint condition, each in shrink wrap. The set of four: $750

 

  1. AVEDON, Richard. Observations, New York: Simon and Schuster, 1959. Hardcover (paper covered boards), 14 ½ x 11 inches, 152 pages, screen-gravure illustrations, clear glassine jacket, in original slipcase.

Avedon’s first book, designed by Alexey Brodovitch, with comments by Truman Capote. It includes a small section of street photographs he made in Italy in 1946, but comprises primarily studio portraits, some of which appeared in Harper’s Bazaar. Printed in high-quality gravure. The book has a one-inch split at the bottom of the spine and a previous owner’s bookplate, parts of the glassine are missing, and the slipcase has edge wear and stains. $400

 

  1. AVEDON, Richard. Avedon, Minneapolis Institute of Arts, 1970. Silver paper folder with loose printed items, 9 x 9 inches.

This is the catalog for one of Avedon’s earliest museum exhibitions, when he was considered largely a fashion photographer and not yet accepted by the art world. Comprised primarily of portraits, it was installed on walls painted silver and served as the major summer show for the Minneapolis Institute of Arts in 1970. The catalog’s complete contents, all present here, are: a translucent sheet with a statement by Avedon about his pictures of the Chicago Seven (a late addition to the show); ten reproductions of portraits, varying in size from 9 x 6 ½ inches (George Wallace) to 9 x 11 ¼ inches (Generals of the Daughters of the American Revolution); a ten-page pamphlet with an introduction by the museum’s director and curator Carroll T. Hartwell, text by Avedon, and biographical and bibliographical information on the photographer; and a folded sheet measuring 27 x 26 inches, with 240 thumbnail images of the pictures in the show. While elegantly designed by Marvin Israel, the contents do not fill the depth of the folder, so copies of this catalog are invariably flattened and in poor shape. This one is in fine condition, in a protective sandwich of boards. $95

 

  1. AVEDON, Richard. Portraits, New York: Farrar, Straus and Giroux, 1976. Hardcover (gray-stamped white cloth), 12 x 9 inches, unpaginated, halftone illustrations, dust jacket. Stated first edition, signed by Avedon.

Among the images are foldout portraits of the Mission Council, Andy Warhol and members of the Factory, the Chicago Seven, and Igor Stravinsky. Includes an essay by Harold Rosenberg. This copy boldly signed and dated 1995 by the photographer. Fine condition, in a lightly rubbed dust jacket. $350

 

  1. AVEDON, Richard. “The Family 1976,” Rolling Stone, October 21, 1976 (issue no. 224). Newsprint, 13 ¾ x 11 ½ inches, halftone illustrations.

Seventy-three portraits reproduced on pages 51-96, most of them one per page. Rolling Stone commissioned Avedon to cover America’s bicentennial presidential election, but he made portraits of a broad group of men and women that constituted the country’s political leadership. Among the figures included are Jerry Brown, Jimmy Carter, Cesar Chavez, Lady Bird Johnson, Barbara Jordan, Henry Kissinger, George Meany, Ronald Reagan, Donald Rumsfeld, and George Wallace. The only text accompanying the pictures are dense biographies of the sitters. Newsprint browned (as normal), with light ink offset and one crease to front cover. $75

 

  1. AVEDON, Richard. Photographs, 1947-1977, New York: Farrar, Straus and Giroux, 1978. Hardcover (paper covered boards), 14 ¼ x 10 ¾ inches, unpaginated, 162 halftone illustrations, clear glassine jacket with printing. Stated first edition, signed by Avedon.

This book, with an essay by Harold Brodkey, was published in conjunction with a retrospective of Avedon portrait and fashion photographs at the Metropolitan Museum of Art. This copy boldly signed by the photographer on the front free endpaper. Previous owner’s blindstamp in the front free endpaper, in a slightly rubbed jacket. $750

 

  1. AVEDON, Richard. Avedon, 1946-1980, Art Museum, University of California, Berkeley, 1980. Poster, 56 x 39 ½ inches, halftone illustrations.

This folded poster was for a show at the museum, presented March 5 to May 4, 1980. One side features large images of Loulou de La Falaise, Marcel Duchamp, and President Dwight D. Eisenhower, while the other is a collage of over twenty portrait and fashion images. Fine condition. $75

 

  1. AVEDON, Richard. In the American West, New York: Harry N. Abrams, 1985. Hardcover (black-stamped brown cloth with two mounted reproductions), 14 ¼ x 11 ¼ inches, unpaginated, halftone illustrations, clear glassine jacket. Signed by Avedon.

Avedon’s pictures of everyday people against his signature seamless white backdrop, made 1979-1984. This copy boldly signed and dated 1995 by the photographer on the front free endpaper. The glassine is lightly rubbed, the book is in fine condition. $500

 

  1. AVEDON, Richard. An Autobiography, New York: Random House, 1993. Hardcover (red-stamped brown cloth with mounted reproduction on the back), 14 ¼ x 11 ¼ inches, unpaginated, 284 halftone illustrations, clear vinyl jacket. Stated first edition.

This massive, one-and-a-half-inch thick tome, is virtually all visual, with most of the pictures bleeding off the edge of the pages and sometime crossing the gutter. Modest captions are relegated to the rear, where there is also an index to the subjects. Fine condition. $200

 

  1. AVEDON, Richard. Richard Avedon: Evidence, 1944-1994, New York: Random House, 1994. Hardcover (paper covered boards), 14 ¼ x 11 ¼ inches, 184 pages, halftone illustrations, dust jacket, with ephemera. Stated first edition, signed by Avedon.

This book was produced on the occasion of a traveling exhibition organized by the Whitney Museum of American Art, New York. It was edited by Mary Shanahan and has essays by Jane Livingston and Adam Gopnik. The Minneapolis Institute of Arts was the last of five venues and this copy is accompanied by five pieces of ephemera related to the showing there, including a twelve-page pamphlet. This copy inscribed by Avedon. Fine condition, in opened shrink wrap. $300

 

  1. BALTZ, Lewis. Park City, Albuquerque, New Mexico: Artspace and Castelli Graphics, New York, 1980. Hardcover (black-stamped brown cloth), 10 ¾ x 11 ¼ inches, 246 pages, 102 halftone illustrations, dust jacket, with ephemera. Stated first edition.

Baltz’s assessment of the wholesale construction of a development of new homes outside of Salt Lake City. He reveals a wasteland that once it was covered with residential and commercial buildings only “increased the sense of starkness and desolation.” A key body of work and book from the “New Topographics” movement. Gus Blaisdell provides the essay “Skeptical Landscapes.” Printed in an edition of 3,000 copies. Laid into this copy is a small, folded poster announcing the book and a 1981 show of the work at Casetlli Photographs, New York. Back corner of the lower spine very lightly bumped. $500

 

  1. BEARD, Peter. Diary, Japan: Libro Port Publishing, 1993. Hardcover (black-stamped white paper over boards), 12 x 9 ¼ inches, unpaginated, color halftone illustrations, dust jacket and belly band, with ephemera.

The book is filled with full-bleed color photographs by Beard of his richly collaged diary pages. While they feature his distinctive handwriting, there is an overabundance of visual material, such as newspaper clippings, and photographs, plus three-dimensional objects placed on the pages before he photographed them. Includes two short essays and an artist’s chronology, in Japanese. The copyright page states, “Catalogue for show ‘Diary,’ From a Dead Man’s Wallet: Confessions of a Bookmaker.” Laid into this copy are a few pieces of ephemera from the publisher. Fine condition. $650

 

  1. BEARD, Peter. Peter Beard: Fifty Years of Portraits, Santa Fe, New Mexico: Arena Editions, 1999. Hardcover (red-stamped leatherette with mounted reproduction), 10 ¼ x 8 ¼ inches, 206 pages, halftone illustrations (some in color), with ephemera. Stated first edition.

A dense book, issued without a dust jacket, of Beard’s photographs and collages of people and African wildlife. Texts by Peter T. Tunney, David Fahey, and Anthony Haden-Guest. Laid into this copy is a large, undated announcement for a show by the same name, at the New York gallery, The Time is Always Now. Fine condition. $300

 

  1. BEATON, Cecil. British Photographers, London: William Collins, 1944. Hardcover (paper covered boards), 9 x 6 ½ inches, 48 pages, 35 screen-gravure and 5 color halftone illustrations, dust jacket.

This slender volume, part of the series “Britain in Pictures,” features Beaton’s take on historic and contemporary British photography. He includes work by nineteenth-century figures such as William Henry Fox Talbot, Roger Fenton, and Julia Margaret Cameron; the art photographers O. G. Rejlander and Henry Peach Robinson; World War II combat pictures, and, shamelessly, some of his own portraits. The images are printed in high-quality gravure, except for the color halftones. Minor edge wear to the book and dust jacket. $25

 

  1. BEATON, Cecil. The Face of the World: An International Scrapbook of People and Places, New York: John Day Co., 1957. Hardcover (gold-stamped black and gray cloth), 11 ¼ x 8 ¾ inches, 240 pages, halftone illustrations, dust jacket.

Beaton’s extensive documentation of the decade-long renaissance of creative impulses after World War II. His photographs, drawings, and writing covers world renowned figures in art, literature, dance, theater, music, philosophy, and politics. Many text pages are printed on heavy, colored paper. The dust jacket has two small tape stains and the original price cancelled. $45

 

  1. BENSON, Richard. Lay This Laurel, New York: Eakins Press, 1973. Hardcover (gold-stamped black cloth), 9 x 8 ¾ inches, 80 pages, 20 halftone illustrations, dust jacket, with ephemera.

The subtitle, in classic nineteenth-century fashion, describes the book’s subject in detail: “An album on the Saint-Gaudens Memorial on Boston Common honoring black and white men together who served the Union cause with Robert Gould Shaw and died with him July 18, 1863.” An elegant book, with text printed by the Stinehour Press and rich halftone illustrations by Meriden Gravure. Includes the text of Frederick Douglass’s 1863 call “Men of Color, to Arms,” an essay by Lincoln Kirstein, and a list of the regiment members. According to Eakins Press, this book inspired the 1989 film “Glory.” Laid into this copy is an eight-page pamphlet for a 1976 exhibition of palladium prints on the subject. Fine condition. $50

 

  1. BERNHARD, Ruth. Melvin Van, The Big Heart, San Francisco: Fearon Publishers, 1957. Hardcover (black-stamped brown cloth), 10 ¼ x 7 ¼ inches, 78 pages, halftone illustrations, dust jacket, with ephemera.

This tribute to San Francisco’s cable cars features bits of text by Van, a young cable car gripman, and Bernard’s documentary work on the subject. The author, whose full name was Melvin Van Peebles, went on to success as a black film actor and director. The title of the book came from his lines, “A cable car is a big heart with people for blood. The people pump on and off.” Bernhard shot the cable cars from both the inside and out, and included Melvin in a few of her pictures. Laid into this copy is a copy of a 1957 letter from the mayor of San Francisco, George Christopher, thanking Peebles and Bernhard for sending him a copy of the book, plus an original 1993 letter to Bernhard, that she returned to the sender with the following handwritten comments, “Yes it was my first published book!,” and “Melvin Van Peebles/now of Hollywood, Ca/well known film director/father of Mario Peebles of Films.” Tiny edge wear to dust jacket. $95

 

  1. BISCHOF, Werner. The World of Werner Bischof: A Photographer’s Odyssey, New York: E. P. Dutton, 1959. Hardcover (gold-stamped green cloth), 11 ¼ x 9 inches, unpaginated, screen-gravure illustrations (some in color), dust jacket. Signed by Marco Bischof.

Published five years after Bischof’s death at less than forty, this is an early overview of his work. It features his documentary photographs, in both black-and-white and color, from India, Japan, New York, Mexico, Peru, and elsewhere. Among them is an image of a Peruvian boy walking and playing the flute, perhaps his most recognizable picture. The text is by Manuel Gasser and the illustrations are printed in high-quality gravure. Swiss photojournalist Werner Bischof (1916 -1954) was a prominent member of the Magnum photo agency. This copy is signed on the title page by Bischof’s son, Marco. Corners lightly bumped, in a dust jacket that is lightly edge worn and chipped. $65

 

  1. BISCHOF, Werner. Werner Bischof: After the War, Washington, DC: Smithsonian Institution Press, 1997. Hardcover (white-stamped paper over boards), 9 x 9 inches, unpaginated, 40 halftone illustrations, dust jacket. Signed by Marco Bischof.

Foreword by Miriam Mafai, with a short passage from Bischof’s diary. Bischof’s photographs show the destruction and rebuilding efforts in Germany, France, and other European countries, between 1945 and 1950. Werner Bischof (1916 – 1954) was a leading photojournalist and member of the Magnum photo agency during his short life. This copy is signed on the title page by Bischof’s son, Marco. Fine condition. $45

 

  1. BLOCH, Ricardo. Terremoto, St. Paul, Minnesota: Ricardo Bloch, 1993. Hardcover (paper covered boards), 8 ¼ x 9 ¼ inches, 56 pages, halftone illustrations. Signed by Bloch.

This, Bloch’s second artist’s book, comprises straightforward photographs of the aftermath of a major earthquake that struck Mexico City on September 19, 1985. Most of the pictures are people less, but the text is heart-wrenchingly personal, written in the voice of a child or adult not fully fluent in English. One page begins with the text, “The groun trembelt an shook an bildings sweyd like Alamo trees and walls fell over an floors caved in.” Bloch was born in Mexico City in 1946, took a Ph.D. in biophysics from Harvard University, and has worked as an artist in Minnesota and Paris. Terremoto, issued without a dust jacket, was printed in an edition of 400 copies; this one is numbered and signed by Bloch. Fine condition. $50

 

  1. BODINE, A. Aubrey. My Maryland, Baltimore: Camera Magazine, 1952. Hardcover (pictorial cloth), 12 ¼ x 9 ¼ inches, 128 pages, screen-gravure illustrations, dust jacket. Stated first edition, signed by Bodine.

This is the first of four books Bodine produced of dramatic images in the Maryland and Virginia area. Printed in high-quality gravure, his pictures show the state’s people, architecture, landscape, and water life. Includes a playful end paper map illustration by Richard Q. Yardley. A. Aubrey Bodine (1906 -1970) was a career photographer for Baltimore’s Sunday Sun and a successful pictorialist with some of the same pictures. This copy signed by Bodine on the front free endpaper. Previous owner’s inscription, one-inch tear to the top of both hinges, light edge wear to the cloth, the price-clipped dust jacket has light edge wear, chipping, and tears. $75

 

  1. BODINE, A. Aubrey. Chesapeake Bay and Tidewater, Baltimore: Bodine and Associates, 1954. Hardcover (pictorial cloth), 12 ¼ x 9 ¼ inches, 144 pages, 220 screen-gravure illustrations, dust jacket. Stated first edition, signed by Bodine.

Bodine’s second book, now published by his own concern, but distributed by New York’s Hastings House. His accessible images show many aspects of the bay, including recreational, commercial, and military uses. Includes a playful end paper map illustration by Richard Q. Yardley. A. Aubrey Bodine (1906 -1970) was a career photographer for Baltimore’s Sunday Sun and a successful pictorialist with some of the same pictures. This copy signed by Bodine on the front free end paper. Light edge wear to the cloth, the price-clipped dust jacket has light edge wear, chipping, and tears. $75

 

  1. BODINE, A. Aubrey. Harold A. Williams, Bodine: A Legend in His Time, Baltimore: Bodine and Associates, 1971. Hardcover (pictorial cloth), 10 ½ x 7 ½ inches, unpaginated, screen-gravure illustrations, dust jacket. Stated first edition.

Williams, a colleague of Bodine’s at Baltimore’s Sunday Sun, recounts the photographer’s work as both a professional and pictorial photographer. Many of Bodine’s dramatic and accessible newspaper pictures were also widely seen at international salons. Reproduced in high-quality gravure, the images picture primarily the residents, built environment, and landscape in the region of Baltimore and Chesapeake Bay, Bodine’s lifelong haunting grounds. The original plastic coating is separating from the dust jacket in a few areas. $50

 

  1. BOUGHTON, Alice. Charles Rann Kennedy, The Terrible Meek, New York and London: Harper Brothers, 1912. Hardcover (gold and blind-stamped purple cloth), 8 ¼ x 5 ½ inches, 46 pages, frontispiece halftone illustration.

This is one of five plays by Kennedy for which Boughton provided illustrations, between 1908 and 1917. The Terrible Meek is the shortest of them, being a one-act play for three voices, performed in darkness. Edith Wynne Matthison, Kennedy’s wife, played a peasant woman and is the subject of Boughton’s portrait. Alice Boughton (1866 -1943) was a professional and pictorial photographer, working in New York, after apprenticing with Gertrude Käsebier. Alfred Stieglitz included six photogravures by her in the April 1906 issue of Camera Work, most of them picturing nude women and children. The book’s elaborate embossed cover was created by the Decorative Designers. Lacks the rare dust jacket. The spine is lightly sunned and worn at the top and bottom, as are the tips. $25

 

  1. BOURKE-WHITE, Margaret. Fred C. Kelly, One Thing Leads to Another: The Growth of an Industry, Boston and New York: Houghton Mifflin, 1936. Hardcover (silver-stamped black cloth), 8 ½ x 5 ¾ inches, 106 pages, 17 screen-gravure illustrations, dust jacket, with ephemera.

The “biography of a business,” namely the Commercial Solvents Corporation. This Indiana company (established in 1917) initially converted Midwestern grains into solvents and subsequently pioneered the development of acetone and butanol. The book covers fermenters, methanol, alcohol, dry ice, and other chemicals. Bourke-White is credited on the front of the dust jacket, but nowhere else in the book. Printed in high-quality gravure, her pictures are visually dynamic and rich in tonalities, sometimes spreading across two pages. Laid into this copy is a card imprinted “With the compliments of the board of directors of Commercial Solvents Corporation.” Fine condition, in a lightly chipped and torn dust jacket. $45

 

  1. BRADY, Mathew. Manuel Komroff, Photographing History: Mathew Brady, Chicago: Encyclopaedia Britannica, 1962. Hardcover (gold-stamped red paper over boards), 8 ½ x 5 ¾ inches, 192 pages, 29 halftone illustrations, dust jacket.

A biography of the famous Civil War and portrait photographer by Komroff, a photographer in his own right. From the series “Britannica Bookshelf: Great Lives for Young Americans.” Fine condition. $25

 

  1. BRANDEIS, Madeline.

During the late 1920s and thirties Madeline Brandeis wrote approximately twenty children’s books in her series, “The Children of All Lands Stories,” about subjects largely in Europe. In each, she followed the everyday life of a single child and his or her friends and family members. In addition, Brandies made photographs of the children on her travels, about forty of which ended up illustrating each book. Her hope was to educate American children about their counterparts across the Atlantic, in simple prose and accessible images. It seems that these books were printed in large numbers and were popular. According to her obituary in the New York Times (June 29, 1937), Brandies died at the young age of 39, from injuries suffered in an automobile accident.

The Wee Scotch Piper, New York: Grosset and Dunlap, 1929. Hardcover (blue cloth and paper over boards), 8 ¾ x 6 7/8 inches, 160 pages, halftone illustrations, dust jacket. Covers worn, dust jacket scratched, torn, worn, and missing small pieces, previous owner’s name on front free end paper and jacket.

Little Anne of Canada, New York; Grosset and Dunlap, 1931. Hardcover (blue cloth and paper over boards), 8 5/8 x 5 5/8 inches, 176 pages, halftone illustrations, dust jacket. Covers worn, dust jacket worn, torn, and chipped, inscription on front free end paper.

The Little Mexican Donkey Boy, New York: Grosset and Dunlap, 1931. Hardcover (blue cloth and paper over boards), 8 5/8 x 5 5/8 inches, 224 pages, halftone illustrations, dust jacket. Covers worn, price-clipped dust jacket worn, chipped, and missing a small piece, inscription on front free end paper.

The group of three: $25

 

  1. BRANDT, Bill. Shadow of Light, London: Bodley Head, 1966. Hardcover (gold-stamped black paper over boards), 11 x 9 ½ inches, unpaginated, 128 screen gravure illustrations (some in color), dust jacket. Stated first edition.

Includes an introduction by Cyril Connolly and notes on the photographs by Marjorie Beckett. Features five groups of Brandt’s graphically strong images, dating from the 1930s to 1960s; “London Before the War,” “Northern Towns During the Depression,” “Black-out Nights of the London Blitz,” “Portraits,” and “Landscapes and Nudes.” They are rendered in high-quality gravure and include a small group of rather unusual color images of biomorphic rocks shot close up. Very light bumping to a few corners, in a dust jacket that is lightly stained, creased, torn and tape repaired. $400

 

  1. BRIGMAN, Anne. Susan Ehrens, A Poetic Vision: The Photographs of Anne Brigman, Santa Barbara Museum of Art, 1995. Softcover, 11 x 8 ½ inches, 96 pages, halftone illustrations.

The catalog for a traveling exhibition. Includes Ehrens’s essay “Sacred Quest: The Life and Work of Anne Brigman,” plus a chronology, exhibition history, checklist, and bibliography, making it the most extensive publication on the subject. Brigman was known for her dreamy figure studies from the early twentieth century, but the book also includes more modernist work by her from the 1920s and thirties. Fine condition. $45

 

  1. BRUGUIERE, Francis. Lance Sieveking, Beyond This Point, London: Duckworth, 1929. Hardcover (black-stamped blue cloth), 11 x 7 ¾ inches, 164 pages, 24 halftone illustrations, dust jacket. Signed by Sieveking.

The important modernist collaboration between author Lance Sieveking, who experimented with new forms of literary and dramatic expression, and photographer Bruguière. The text, set in letterpress, deals with jealously, ruin, and death, three fundamental crises in human experience. Bruguière’s avant-garde photographs consist primarily of his dramatically lit cut-paper abstractions, but there are also composite images of figures, including the cover image of a man’s face with a couple superimposed on his forehead. This was Sieveking’s personal copy, as the front free end paper has “Please return to Lance Sieveking,” presumably in his hand (and, thus, a signature). It also has a 1975 inscription from the author’s son, Paul, when he gave the book to a friend. Additionally, page 99 features the author’s pencil-written comment that the publisher got him to delete the word “bitch” from the book. A very significant copy, given its provenance, inscriptions, and the presence of the very rare dust jacket. Foxing throughout, effecting the plates minimally, light wear to the cloth, with a sunned spine, the dust jacket is edge worn, torn, and missing a 2-x-5-inch piece on the back. SOLD

 

  1. BRUGUIERE, Francis. James Enyeart, Bruguière: His Photographs and His Life, New York: Alfred A. Knopf, 1977. Hardcover (gold-stamped black cloth), 10 ¼ x 9 3/8 inches, 162 pages, 129 halftone illustrations, dust jacket, with ephemera. Stated first edition.

The first major critical and biographical examination of Bruguière. Contains Enyeart’s essay, a chronology, and bibliography. The book reproduces work from the photographer’s broad range of work, from early twentieth-century pictorialism, to his theater, cut-paper and light abstractions from the 1920s, and advertising and solarized pictures from the 1930s. Laid into this copy is a folded poster for the related 1977 retrospective exhibition on Bruguière organized by the Friends of Photography (Carmel, California), where Enyeart was the director. Near fine condition, with a remainder mark. $50

 

  1. BULLOCK, Wynn. Wynn Bullock, San Francisco: Scrimshaw Press, 1971. Hardcover (black-stamped gray cloth with mounted reproduction), 12 ½ x 10 ¼ inches, 152 pages, 64 halftone illustrations, clear vinyl jacket, with ephemera.

This elegant book features text by the photographer’s daughter, Barbara, and notes by Bullock on some of the images. His somewhat mystical pictures, of figures, landscapes, and still lifes, are grouped by decade, from the 1940s to 1970s. Published a year before his death in 1972, it remains the classic book on Bullock. Laid into this copy is a 1978 brochure from Light Impressions, offering the last copies. Fine condition, in lightly rubbed jacket. $300

 

  1. BURDEN, Shirley. I Wonder Why, Garden City, New York: Doubleday, 1963. Hardcover (pictorial paper over boards), 8 ½ x 5 ¾ inches, 32 pages, 20 halftone illustrations, dust jacket.

This book, diminutive in size but large in message, poses the question “I wonder why some people don’t like me?” It then proceeds to present accessible images of things the speaker admires, such as God, rain, apples, babies, and lambs. Only upon seeing the last picture—of a young black girl—does the reader get the anti-racist message of the book. Burden (1908 -1989), a writer, filmmaker, and photographer, was associated for many years with Aperture, which named its gallery after him. Minor shelf wear, in a price-clipped dust jacket with a tiny tear. $25

 

  1. BURKE, Bill. Portraits, New York: Ecco Press, 1987. Hardcover (blind-stamped black cloth), 12 ¼ x 9 ½ inches, 64 pages, 32 halftone illustrations, dust jacket. Stated first edition, Burke’s signature laid in.

Published the same year as his more famous title, I Want to Take Picture, this one is more traditional, being made up of straightforward, large-format portraits. Burke’s rural subjects, primarily from the American South, gaze back at him unflinchingly. Includes a preface by critic Andy Grundberg and an autobiographical essay by writer Raymond Carver. Laid into this copy is an announcement for a 2011 show by Burke, signed by him. Mint condition, in opened shrink wrap. $95

 

  1. BURSON, Nancy, Richard Carling and David Kramlich. Composites: Computer-Generated Portraits, New York: Beech Tree Books and William Morrow, 1986. Hardcover (silver-stamped gray cloth and gray paper over boards), 11 ¼ x 8 ¾ inches, 96 pages, halftone illustrations, dust jacket. Stated first edition, signed by Burson.

This book represents a pioneering body of work, in which Burson and her collaborators combine multiple faces into a single portrait, using early computer technology. Among the resulting generic composites are a movie star, businessman, president, assassin, and newborn. One image, titled “Mankind,” combines Asian, Caucasian, and Black faces, weighed according to their proportion to the world population. Includes an essay by William A. Ewing and Jeanne A. McDermott. This copy signed by Burson. Fine condition. $65

 

  1. BYRNE, David. Strange Ritual: Words and Pictures, San Francisco: Chronicle Books, 1995. Hardcover (gold-stamped black leatherette), 10 ¼ x 7 ¾ inches, unpaginated, halftone color illustrations, belly band. Inscribed by Byrne.

This is a conceptual bookwork, made up primarily of his mundane color photographs of American and Mexican pop culture items. Among the pictures of plastic Jesus babies and graffiti, Byrne intersperses text on topics such as “Power Tools and Piss” and “Bizarro World.” Since most of the photographs are two-page spread and bleed off the page, captions are relegated to the rear of the book. This copy inscribed by Byrne. Fine condition. $75

 

  1. CALLAHAN, Harry. Photographs: Harry Callahan, Santa Barbara, California: El Mochuelo Gallery, 1964. Hardcover (silver-stamped black cloth), 13 ¼ x 11 ¼ inches, unpaginated, 126 halftone illustrations, in original slipcase, with ephemera. Stated first printing.

There are five sections of plates; Eleanor and Barbara (wife and daughter); signs, windows, and other urban details; people on the street; miscellaneous pictures; and landscapes. Includes a statement by Callahan and a bibliography of exactly one hundred entries. Published without a dust jacket in an edition of 1,500, this is still the most desirable book on Callahan. Laid into this copy is the New York Times obituary for Callahan (March 18, 1999, on original newsprint). The endpapers are glue stained (as normal) and there are a few minor marks on the slipcase. $1,750

 

  1. CALLAHAN, Harry. Harry Callahan: Color, 1941-1980, Providence, Rhode Island: Matrix, 1978. Hardcover (yellow-stamped gray cloth), 14 ¼ x 14 ¼ inches, unpaginated, halftone color illustrations, in original slipcase. Stated first edition.

This oversize book, issued without a dust jacket, features Callahan’s color cityscapes and landscapes, primarily from Europe and the United States. Includes a foreword by Jonathan Williams and an afterword by critic A. D. Coleman. This copy has a cardboard shipping box from the Eastman House. Fine condition. $275

 

  1. (CAMERA WORK). Camera Work: A Photographic Quarterly Edited and Published by Alfred Stieglitz, New York, Minneapolis Institute of Arts, 1973. Softcover, 11 x 8 ½ inches,40 pages, 3 halftone illustrations.

This uncommon publication accompanied the exhibition, “I Am An American,” that traveled to over a dozen Minnesota towns in 1973, on the Minneapolis Institute of Arts’s Artmobile. The show was comprised of photogravures from Camera Work, plus paintings, drawing, and watercolors by members of the Stieglitz circle. This item includes a facsimile cover of the magazine, brief text by curator Carroll T. Hartwell, and reprints of articles from Camera Work. Most importantly, it features images by James Craig Annan, Alvin Langdon Coburn, and Stieglitz, printed on translucent paper and tipped in (in a modest effort to replicate the delicate nature of the original gravures). Fine condition. $45

 

  1. (CAMERA WORK). Christian A. Peterson, “Camera Work:” Process and Image, Minneapolis Institute of Arts, 1985. Softcover, 11 x 8 ½ inches, 88 pages, 24 halftone illustrations, signed by Peterson.

Exhibition catalog for a show that presented photogravures from Camera Work next to original prints of the same image, rendered in gum, platinum, and other processes. Peterson’s essay covers the history of the magazine, Stieglitz’s use of photogravure, and the idea that the gravures were a type of original, due to the frequent use of the photographer’s original negative and the quality of the printing. The catalog’s understand design echoes that of Camera Work, with old style typography, open space, and the use of black and red ink. Printed in an edition of 600. This copy signed by Peterson, with his business card laid in. Fine condition. $75

 

  1. CAMERON, Julia Margaret. Helmut Gernsheim, Julia Margaret Cameron: Pioneer of Photography, London: Fountain Press, 1948. Hardcover (black-stamped yellow cloth), 9 ½ x 7 ¼ inches, 140 pages, 52 screen-gravure illustrations, dust jacket.

This is the first full-length study of the great English nineteenth-century portrait photographer. After the introduction by art critic Clive Bell, Gernsheim delves into Cameron’s life, environment, and photographic work. Among the brown-toned plates, printed in high-quality gravure, are images of all her most famous sitters: Thomas Carlyle, Charles Darwin, Sir John Herschel, Alice Liddell (the original Alice in Wonderland), Henry Wadsworth Longfellow, Alfred Lord Tennyson, Ellen Terry, George Frederick Watts, and even herself. Dust jacket has a few tiny pieces missing and two tape-repaired tears. $75

 

  1. CAPA, Cornell, editor. The Concerned Photographer, New York: Grossman. Softcovers, 9 ½ x 8 inches.

One, 1968. Unpaginated, screen gravure illustrations. Stated first printing. Features the work of primarily photojournalists who were the focus of the early years of New York’s International Center of Photography, which was founded by Cornell Capa, the brother of fellow photographer, Robert. Includes work by Werner Bischof, Robert Capa, David Seymour (“Chim”), André Kertész, Leonard Freed, and Dan Weiner, richly reproduced in gravure. Also present are biographies and notes by the photographers and others. The cover shows light edge wear, indentations, and a fold to one corner.

Two, 1972. Unpaginated, screen gravure and color halftone illustrations. Stated first printing. While the spine is narrower than the former, this one includes work by more photographers. They are Bruce Davidson, Ernst Haas, Hiroshi Hamaya, Donald McCullin, Gordon Parks, Marc Riboud, W. Eugene Smith, and Roman Vishniac. In addition to notes on every single plate, it includes information about the newly formed International Fund for Concerned Photography, of which Capa was the director. The cover has light edge wear, the original price scratched away, and a three-inch split in the spine.

The set of two: $55

 

  1. CAPA, Robert. Robert Capa: War Photographs, Washington, DC: Smithsonian Institution Traveling Exhibition Service, 1960. Softcover, 5 ¼ x 8 ¼ inches, 28 pages, 19 halftone illustrations.

A little catalog for the first retrospective exhibition (organized by Magnum Photos and Life magazine) of Capa’s work after his death in 1954 at only forty-one years of age. It includes an introduction by John Steinbeck and photographs from countries such as England, France, Germany, Israel, and China. Fine condition. $25

 

  1. CAPONIGRO, Paul. Sunflower, New York: Filmhaus, 1974. Hardcover (gold-stamped blue cloth), 9 ¾ x 8 inches, unpaginated, 53 duotone illustrations, dust jacket, with ephemera.

Caponigro’s ode to the simple sunflower, with but a page and a half of introductory words by him. Nicely printed in duotone by the Meriden Gravure Company. Laid into this copy is an unused envelope with Caponigro’s return address and a 1985 notice indicating, “Of the original 5,000 copies, the last 400, plus 40 artist’s copies, have been reserved for the purpose of a special edition which will include an original photographic print.” Fine condition, in dust jacket with one small tear. $75

 

  1. CARTIER-BRESSON, Henri. The Decisive Moment, New York: Simon and Schuster, 1952. Hardcover (paper over boards), 14 ½ x 10 ¾ inches, unpaginated, 126 screen-gravure illustrations, dust jacket, original booklet, with ephemera.

Cartier-Bresson’s most influential book, comprising pictures from the United States, Europe, Middle East, and Asia. They are printed large and in high-quality gravure. Henri Matisse provided the cover design (seen on both the paper boards and dust jacket) specifically for the book. Laid into this copy is the lengthy New York Times obituary for Cartier-Bresson (August 5, 2004, on original newsprint). The spine is lightly bumped, the dust jacket is torn and missing a piece on the front. $2,500

 

  1. CARTIER-BRESSON, Henri. The People of Moscow, New York: Simon and Schuster, 1955. Hardcover (blue-stamped cream cloth), 11 x 8 ¾ inches, unpaginated, 163 screen-gravure illustrations, dust jacket.

Cartier-Bresson obtained a visa to photograph the Russian capital only after sending a personal letter to the city’s Society for Cultural Relations, along with a copy of his recent book, The Decisive Moment. Once there, he was given free rein to shoot what he liked, producing images unlike any other outsider since World War I. The pictures, all richly reproduced in gravure, are presented in eleven major sections on subjects such as the Kremlin, the street, religion, the subway, sports, and youth. The dust jacket is chipped at the top of the spine and missing a few tiny pieces on the back. $175

 

  1. CARTIER-BRESSON, Henri. François Nourissier, Cartier-Bresson’s France, New York: Viking Press, 1970. Hardcover (black-stamped white cloth), 12 ½ x 9 ¾ inches, 288 pages, 265 screen-gravure illustrations (some in color), dust jacket, caption booklet.

Cartier-Bresson had never specifically studied his native land, so in 1968 and 1969 he took time off from other assignments to do just that. All of the pictures in the book were new at the time and include his first published color work. They show the photographer’s fellow countrymen and women at work and play, in both the country and the city. French writer Nourissier provides extensive text. The bottom edges of the cloth are discolored, the dust jacket is lightly worn and torn at the top of the spine. $50

 

  1. CARTIER-BRESSON, Henri. Henri Cartier-Bresson: Pen, Brush, and Cameras, Minneapolis Institute of Arts, 1996. Softcover, 11 ½ x 10 inches, unpaginated, 48 halftone illustrations (some in color), with ephemera. Signed by the authors.

Exhibition catalog for a show of Cartier-Bresson’s photographs, drawings, and paintings. Printed in an edition of 1,200 copies, it includes text by Evan M. Maurer (museum director), Carroll T. Hartwell (museum curator), and Michael Brenson (art historian and critic). Features reproductions of early paintings, drawings from the 1970s-1990s, and many of Cartier-Bresson’s most well known photographs. This copy accompanied by a press packet for the show, and a flyer and unused ticket for a lecture by Brenson. It is signed (in the year of publication) by Maurer, Hartwell, and Brenson, on the title page. Fine condition. $125

 

  1. CHIARENZA, Carl. Chiarenza: Landscapes of the Mind, Boston: David R. Godine, 1988. Hardcover (silver-stamped black cloth), 12 x 12 inches, 160 pages, halftone illustrations, dust jacket. Signature laid in.

Abstract images made from life, in the vein of Aaron Siskind (on whom Chiarenza wrote a book), made from the 1950s to 1980s. Includes a preface by the photographer, introduction by Estelle Jussim, afterword by Charles W. Millard, chronology, and bibliography. Photographer and author Carl Chiarenza (born 1935) was also a long-time professor, teaching art history first at Boston University and then at the University of Rochester. Accompanying this copy is an envelope from the University of Rochester, with Chiarenza’s signature. Mint condition, in shrink wrap. $50

 

  1. CHICAGO Area Camera Clubs Association. 1949.

Association News, June 1949 (vol. 16). Softcover, 10 x 7 ½ inches, 8 pages, 12 halftone illustrations. Includes a listing of officers, members’ contest standings, coming events, other news, and advertisements. The feature article is “Photographing Children,” by Jane Bell Edwards. An urban night scene by Sylvia Sminkey was print of the month and is reproduced on the cover. Lightly browned.

Annual Salon and Banquet, June 11, 1949. Softcover, 6 7/8 x 5 inches, 8 pages, one halftone illustration. Includes banquet program, listing of officers, and exhibition checklist. The association’s print of the year is reproduced on the cover—a modernist still life by Harry K. Shigeta. An association member’s name in ink on the cover.

North Shore Camera Club. Exhibition sticker with an illustration of a lighthouse. This Evanston, Illinois, club was a member of the Chicago Area Camera Clubs Association.

The group of three: $35

 

  1. CHICAGO International Salon of Photography. Chicago Historical Society, 1946 -1948.

Fifth Chicago International Salon of Photography, January 20 – February 22, 1946. Softcover, 8 x 5 ¼ inches, 36 pages, 15 halftone illustrations. Includes a foreword, checklist, and salon statistics. Among those with illustrations are A. Aubrey Bodine, Frank R. Fraprie, John R. Hogan, and Dorothy Pratte. Near fine condition.

Sixth Chicago International Salon of Photography, January 25 – February 27, 1947. Softcover, 7 ½ x 5 3/8 inches, 36 pages, 16 halftone illustrations. Includes a foreword, checklist, and tribute to the recently deceased Stuyvesant Peabody (with three of his images and a portrait of him by Yousuf Karsh). Reproductions by Tibor de Csorgeo, Alexander Keighley, Chin-San Long, Wood Whitesell, and others. Near fine condition.

Seventh Chicago International Salon of Photography, January 25 – February 26, 1948. Softcover, 8 x 5 3/8 inches, 32 pages, 10 halftone illustrations. Includes a foreword, checklist, and list of those involved in bringing the salon to fruition, including Ansel Adams, who was one of the judges. Among those with images are A. Aubrey Bodine, L. Whitney Standish, and Harry K. Shigeta, whose picture is of a solarized nude. Front cover with some browning.

The group of three: $75

 

  1. CHRISTENBERRY, William. Robert Sargent, A Woman from Memphis: Poems, 1960-1978, Washington, DC: Word Works, 1979. Softcover with mounted original photograph, 8 ½ x 5 ½ inches, 42 pages. Stated second edition (1987).

This little item features an original color print by Christenberry on the cover, showing a screen door on a boarded-up building on Beale Street in Memphis, before the area was revived. According to Christenberry, the first and second editions (with two different pictures) were both of about 500 copies. The inside cover gives biographical information on the photographer. Robert Sargent (1912-2006), a major District of Columbia poet, was friends with Christenberry and read at the photographer’s drawing and painting classes for many years. Fine condition. $75

 

  1. CLARK, Larry. The Perfect Childhood, London: LCB [Larry Clark Books], 1993. Hardcover (gray-printed black paper over boards), 11 ¼ x 9 ¼ inches, unpaginated, halftone illustrations (some in color), dust jacket. Stated first edition.

Clark’s tribute to youth, with collages of photographic images, newspaper clippings, and other ephemera. Most of the full-page pictures are color images of young men, some of them apparently shot from a television or video screen. The book, which was also published in a German edition by Scallo, was banned in the United States, due to some sexual content. Mint condition, in shrink wrap. $350

 

  1. CLARK, Larry. Kids, New York: Grove Press, 1995. Softcover, 7 1/8 x 8 1/8 inches, 160 pages, halftone color illustrations.

Film stills and photographs made on the set of Clark’s film of the same name. Color images of kids skateboarding, drinking, having sex; kids being kids. Includes the full screenplay by nineteen-year old Harmony Korine. Clark explains that he wanted to make a film that would ring true for the subjects, and it comes off as a documentary. Fine condition, in shrink wrap. $35

 

  1. CLARK, Larry. Teenage Lust, Tokyo: Taka Ishii Gallery, 1997. Softcover, 11 ½ x 8 7/8 inches, unpaginated, halftone illustrations.

Originally self-published by Clark in 1983 and 1987, this is the third incarnation of Teenage Lust and the only Japanese edition. Commencing with the touching image on the cover of a nude teenage couple in the backseat of a car, the photographer revels in the sexual escapades of young people, indoors and out. This edition, of 1,000 copies, has about ten extra pictures and Clark’s 23-page autobiographical text printed in Japanese. Fine condition. $500

 

  1. CLARK, Larry. Punk Picasso, New York: AKA Editions, 2003. Softcover, 11 x 8 ½ inches, 496 pages, halftone illustrations (some in color), in original cardboard sleeve. Signed by Clark.

This two-inch thick book continues Clark’s autobiographical publishing streak. It features reproductions of records, baseball cards, newspaper clippings, letters, and images from his projects such as Tulsa, Teenage Lust, and Kids. The book’s title was coined by David Denby, who referred to Clark as a “punk Picasso” in a review of the photographer’s 2001 film, Bully. Printed in a numbered edition of 1,000, it includes a folded sheet of three color pictures of his nineteen-year old girlfriend, and is signed and dated 2003 by Clark. Mint condition. $750

 

  1. (CLICHÉ-VERRE). Elizabeth Glassman and Marilyn F. Symmes, Cliché-verre: Hand-Drawn, Light-Printed: A Survey of the Medium from 1839 to the Present, Detroit Institute of Arts, 1980. Softcover, 11 x 9 ¼ inches, 212 pages, halftone illustrations. Author signature laid in.

The exhibition catalog for a show of clichés-verre spanning a century and a half. This hybrid of printmaking and photography usually features a hand-rendered image on a transparent base that is then used like a negative to make a print on light sensitive paper. Among the nineteenth-century artists featured here are Jean-Baptiste-Camille Corot, Eugène Delacroix, and Jean-François Millet; twentieth-century contributors include Brassaï, Man Ray, Henry Holmes Smith, and Frederick Sommer. Laid into this copy is a 1985 letter from Marilyn Symmes, signed by her. Miniscule edge wear. $50

 

  1. COBURN, Alvin Langdon. Mike Weaver, Alvin Langdon Coburn: Symbolist Photographer, 1882-1966, New York: Aperture, 1986. Hardcover (silver-stamped gray cloth), 11 ¾ x 9 ¾ inches, 80 pages, halftone illustrations, dust jacket.

Scholar Mike Weaver examines Coburn’s life and the influence of Japanese and Symbolist art on his photographs, during his early years as a pictorialist. In the beginning of the twentieth century, he created softly-focused images of the landscape, cities, and people, in the United States and England. Then in 1917, he produced a radical series of cubist photographs, he termed vortographs. Mint condition, in shrink wrap. $35

 

  1. COLE, Ernest. House of Bondage, New York: Random House, 1967. Hardcover (gold-stamped cream cloth), 11 ¾ x 8 ½ inches, 192 pages, screen-gravure illustrations, dust jacket.

A powerful record by an insider of life for blacks in South Africa under apartheid, showing examples of violence, discrimination, and poverty. The text is by New York Times correspondent Joseph Lelyveld, who characterized the country as “one of the least-known” in the world, and the images are printed in high-quality gravure. Ernest Cole (1940 -1990) was perhaps South Africa’s most important native photographer of the 1960s. By getting himself classified as colored, rather than black (a meaningful distinction in the eyes of the government), he was able to secure photographic assignments from newspapers and magazines. Cole, however, left South Africa in 1966, one step ahead of the law, in order to publish the book, which, unsurprisingly, was banned in his home country. Fine condition. $50

 

  1. CUSTIS, Eleanor Parke. Composition and Pictures, Boston: American Photographic Publishing Company, 1947. Hardcover (gold-stamped red cloth), 11 ¼ x 8 ½ inches, 224 pages, 173 halftone illustrations, dust jacket.

Composition and Pictures was among the last major publications on pictorial photography. In it, Custis deals with both the principles of composition and their practical application. Central to the book is her examination of dynamic symmetry, a mathematical formula for picture making. “Good” and “bad” images are reproduced, along with a multitude of diagrams. Eleanor Parke Custis (1897-1983) was the most prominent women pictorialist working in the 1930s and 1940s. Before turning to photography, she made Impressionist-inspired gouaches and watercolors during the 1920s, some of which are reproduced in the book. During the 1940s, she was frequently the world’s most prolific salon exhibitor; her peak season was 1949-50, when 257 of her prints were accepted by over ninety venues. Light edge wear to the bottom of the cloth, in the uncommon dust jacket, that is worn, tape-repaired, and missing some pieces. $45

  1. (CZECH Photography). Peter Balajka, editor, Encyklopedie Českých a Slovenských Fotografu, Prague, Czech Republic: ASCO, 1993. Hardcover (black-stamped yellow cloth), 9 ½ x 6 ¾ inches, 456 pages, halftone illustrations, dust jacket. Signed by Balajka.

This is an extensive biographical encyclopedia of Czech and Slovak photographers, the first of its kind. Spanning the entire history of photography, it features over 600 entries, from Ludovít Absolon to Peter Župník, and about 700 reproductions. Also included is a section on photography clubs, a chronology, and bibliography. In addition to Balajka, the contributors are Vladimír Burgus, Antonín Dufek, and four other scholars. Though the text is in Czech, it is still a valuable reference tool. This copy signed and dated by the editor. Fine condition. $125

  1. DAGUERRE, Louis Jacques Mandé. Beaumont Newhall, Daguerre, New York: Winter House, 1971. Hardcover (blind-stamped black cloth), 10 ¼ x 6 ¾ inches, 282 pages, 36 halftone illustrations, in original slipcase.

A short historical and descriptive account of the launching of photography in France, including Daguerre’s earlier undertaking, the Diorama. The bulk of the book comprises full reprints of both the English and French language editions of Daguerre’s 1839 manual on the process. Issued without a dust jacket. Top of cloth spine lightly bumped, in a lightly edge worn slipcase. $50

 

  1. DARRAH, William C. Cartes de Visite in Nineteenth Century Photography, Gettysburg, Pennsylvania: W. C. Darrah, 1981. Hardcover (gold-stamped red leatherette), 11 ¼ x 8 ¾ inches, 222 pages, 448 halftone illustrations, dust jacket.

Nineteenth-century expert Darrah’s exhaustive study of one of the most popular photographic formats during the late nineteenth century. His essay covers the background and development of the carte and the business of photography. While the vast majority of cartes de visite were portraits, he includes a section on about seventy-five other subjects, from advertising to zoology. One corner bumped. $65

 

  1. DAVAL, Jean-Luc. Photography: History of an Art, New York: Rizzoli, 1982. Hardcover (gold-stamped green cloth), 13 ½ x 9 ¾ inches, 270 pages, dust jacket, in original cardboard slipcase.

A history of the medium from a Swiss viewpoint; the book was originally published in Geneva, in French. Part of a series that also addressed drawings, paintings, and other arts, and as a consequence, draws on examples from other media, especially beginning in the 1960s. Fine condition. $50

 

  1. DAY, F. Holland. Estelle Jussim, Slave to Beauty: The Eccentric Life and Controversial Career of F. Holland Day, Photographer, Publisher, Aesthete, Boston: David R. Godine, 1981. Hardcover (silver-stamped green cloth), 10 ½ x 7 ¾ inches, 310 pages, halftone illustrations, dust jacket.

This was the first and remains perhaps the most extensive critical biography of the unique individual, F. Holland Day, pictorialist and much more (as is evident from the title of the book). For a short time at the turn of the twentieth century, Day rivaled Alfred Stieglitz for prominence as both a photographer and organizer. However, he ultimately declined to take on Stieglitz’s outsized ego, and contented himself with making portraits of young boys and posing himself as Jesus Christ. Fine condition, in dust jacket that is very lightly worn and sunned green on the spine (as is normal). $35

 

  1. DAY, F. Holland. James Crump, F. Holland Day: Suffering the Ideal, Santa Fe, New Mexico: Twin Palms, 1995. Hardcover (black-stamped yellow cloth), 14 ¼ x 11 ¼ inches, 144 pages, 86 halftone illustrations, glassine jacket. Stated first edition.

This elegant, oversize book was printed in an edition of 5,000 copies. Crump’s insightful essay covers Day’s devotion to book publishing, pictorialism, decadent British literature, Orientalism, and other ideas. The full-page plates reproduce Day’s monochromatic work in full color, revealing their great sensitivity and richness. Mint condition, in shrink wrap. $75

 

  1. DeCARAVA, Roy. Langston Hughes. The Sweet Flypaper of Life, New York: Simon and Schuster, 1955. Softcover, 7 1/8 x 4 7/8 inches, 98 pages, screen-gravure illustrations. Stated first printing, signed by DeCarava.

This life-affirming little book comprises a fictional, first-person account by Hughes about a black woman and her fellow Harlem residents. Innovatively, the text begins on the front cover and continues inside, in short personal bursts. DeCarava’s images are equally inviting, starting with the cover image of a youngster making direct eye contact with the reader. Presented in high-quality gravure, they show the rich, human fabric of the community. This copy signed by DeCarava on the inside cover. Covers are darkened and edge worn. $325

 

  1. De LORY, Peter. The Wild and the Innocent, Riverside, California: California Museum of Photography, 1987. Softcover, 9 ¾ x 8 ½ inches, 48 pages, color halftone illustrations. Signed by de Lory.

This artist’s book by de Lory features the story of two men and two women, set simultaneously in rural Idaho and New York City. According to the author, “All in all, Franky and Joey switch places, and lady friends too. In the end, they become more like each others’ extremes, one more wild, one more innocent.” Also published as an issue of the CMP Bulletin, it includes a song by Terry Allen. De Lory’s color photographic illustrations are fabricated set ups with real objects such as silverware and shower curtains, but they are dominated by black cut-out images of people and everyday objects. Peter de Lory (born 1948) taught for many years at San Jose State University and for the last decade has been the commissioned documentarian for the Seattle regional transit system. This copy signed by de Lory in the year of publication. Fine condition. $35

 

  1. De MEYER, Baron Adolf. Robert Brandau, editor, De Meyer, New York: Alfred A. Knopf, 1976. Hardcover (gold-stamped black leatherette), 12 ¾ x 9 ¾ inches, unpaginated, 62 halftone illustrations, dust jacket. Stated first edition.

This was the first examination of De Meyer’s work, concentrating on his evocative still lifes and portraits. Philppe Jullian’s biographic essay covers the photographer’s commercial work for companies such as Elizabeth Arden, his dance photographs of Vaslav Nijinsky, his personal creative work, and his life in the world of high fashion and royalty. Among the figures whose portraits are included are photographer Alvin Langdon Coburn, playwright Eugene O’Neill, and actress Gloria Swanson. Fine condition, in a dust jacket with a few minor nicks. $50

 

  1. DORR, Nell. Of Day and Night, Greenwich, Connecticut: New York Graphic Society, 1968. Hardcover (gold-stamped blue cloth and black-stamped paper over boards), 9 ¼ x 11 ¼ inches, 98 pages, screen-gravure illustrations, dust jacket.

This dreamy book, a “quest for the meaning of life,” features poems and pictures. The likes of Emily Dickenson and E. E. Cummings provided poems, while Dorr created all the images. Most of the photographs feature women or light abstractions, and are printed in high-quality gravure, bleeding off the pages. Nell Dorr (1893 -1988) was a professional photographer whose creative pictures never fit into a movement. She produced five books, most of them with softly-focused images of women and children. Near fine condition, with two corners lightly bumped, in an extremely bright dust jacket. $50

 

  1. DOTY, Robert. Photo-Secession: Photography as a Fine Art, Rochester, New York: George Eastman House, 1960. Hardcover (gold-stamped gray cloth), 10 ¼ x 7 ¼ inches, 104 pages, 56 halftone illustrations, dust jacket.

This handsome volume was the first study of Alfred Stieglitz’s groundbreaking cadre of pictorialists, the Photo-Secession, organized in 1902. Doty succinctly covers the group’s formation, gallery, exhibitions, and publication, Camera Work. Included are a complete calendar of the shows at “291” and a listing of the members of the Secession, plus images by all the usual suspects; Gertrude Käsebier, Edward Steichen, Stieglitz, Clarence H. White, and more. Designed and edited by Nathan Lyons. Fine condition. $75

 

  1. DYER, William B. James Whitcomb Riley, Riley Love-Lyrics, Indianapolis: Bowen-Merrill, 1899. Hardcover (gold, black, and white-stamped green cloth), 8 x 5 ½ inches, 192 pages, halftone illustrations.

This is Dyer’s most widely-seen and lasting work. Accompanying poems by Riley are over seventy-five of his images, mostly figure studies with borders, vignetting, or other printer’s alterations, making them intimate and gemlike. Over the next six years, the book went through a number of editions. William B. Dyer (1860 -1931) was a pictorialist and Chicago professional photographer, specializing in portraits and book illustration. Alfred Stieglitz made him a member of his elite Photo-Secession group and put two of his photogravures (both of female nudes) in a 1907 issue of Camera Work. Spine sunned (as is normal). $25

 

  1. EGGELSTON, William. William Eggleston’s Guide, New York: Museum of Modern Art, 1976. Hardcover (gold-stamped leatherette with mounted reproduction), 9 ¼ x 9 ¼ inches, 112 pages, 94 color halftone illustrations. Signed by Eggleston.

The influential book (issued without a dust jacket) accompanying Eggleston’s 1976 exhibition at the Museum of Modern Art that was considered to be the coming out of color photography for the art world (even though it was not the first show of color photographs at the museum, as is often misstated). Sporting the look of a children’s book, it features green pages for John Szarkowski’s introductory essay and Eggleston’s now famous tricycle picture on the cover. This copy signed on the title page by Eggleston. Fine condition. $1,250

 

  1. (EGYPT). Deborah Bull and Donald Lorimer, Up the Nile: A Photographic Excursion: Egypt, 1839-1898, New York: Clarkson N. Potter, 1979. Hardcover (brown-stamped white cloth), 8 ¾ x 11 ¼ inches, 140 pages, halftone illustrations, dust jacket. Stated first edition, signed by one author.

With a foreword by Sotheby Parke Bernet’s photography expert, Anne Horton, this volume takes the reader on a visual journey from Cairo south (upstream on the River Nile, to all of Egypt’s major monuments. It features pictures of the sphinx, pyramids, and other subjects, by Antonio Beato, Felix Bonfils, Maxime Du Camp, Francis Firth, J. B. Greene, Felix Tenyard, and about twenty other pioneering workers. This copy inscribed by Lorimer. Fine condition. $50

 

  1. EICKEMEYER, Rudolf, Jr. Hamilton Wright Mabie, Nature and Culture, New York: Dodd, Mead and Co., 1904. Hardcover (gold, red, orange, and green-stamped green cloth), 8 3/8 x 5 5/8 inches, 326 pages (gilt top edge), 23 collotype illustrations.

Prolific author Mabie’s spiritual outlook on the interdependence of mankind and nature. The high-quality illustrations are printed different colors and have tissue guards with a line from the text. Eickemeyer photographed the seashore, woods, streams, flowers, and other natural settings, sometimes effectively emphasizing the foreground. The book, which has an attractive cover pattern of oak leaves and acorns, was also issued in white cloth and with a dust jacket (now very rare). Rudolf Eickemeyer (1862-1932), a New York portrait photographer, had his creative work included as photogravures in Camera Notes. He produced a significant amount of portrait, genre, and landscape work for book illustrations in the first decade of the twentieth century. Previous owner’s inscription on inside endpaper, light wear to tips, and one corner bumped. $30

 

  1. ERWITT, Elliott. Photographs and Anti-Photographs, Greenwich, Connecticut: New York Graphic Society, 1972. Hardcover (silver-stamped black cloth), 9 ½ x 11 ¾ inches, 112 halftone illustrations, dust jacket. Signed by Erwitt.

This is an excellent selection of Erwitt’s humorous photographs, made primarily during the 1950s and 1960s. They clearly show his compassion for humans and animals, and his delight in the situations in which the two sometimes interact. The cover image presents an elderly woman in Las Vegas working a slot machine in the guise of a cowboy whose hand-held gun serves as the lever that she pulls. Includes an introduction by John Szarkowski and biographical essay by Sam Holmes. This copy boldly signed by Erwitt. Fine condition, in a dust jacket with a small tear and a few creases. $250

 

  1. EVANS, Walker. James Agee, Let Us Now Praise Famous Men, Boston: Houghton Mifflin, 1960. Hardcover (gold-stamped black cloth), 8 ½ x 6 inches, 472 pages, 62 halftone illustrations, dust jacket. Stated third printing.

This is the third printing of the initial reissue of the 1941 original, which sold poorly and exists in small numbers. It includes twice the number of pictures by Evans seen in the first edition, still prominently and unusually placed in the book before the title page. A defining book for Agee, Evans, and the Great Depression. The price-clipped dust jacket is darkened, and lightly edge worn and torn. $35

 

  1. EVANS, Walker. John A. Kouwenhoven, Partners in Banking: An Historical Portrait of a Great Private Bank: Brown Brothers Harriman and Co., 1818-1968, Garden City, New York: Doubleday, 1968. Hardcover (gold-stamped blue cloth), 11 ¼ x 8 5/8 inches, 248 pages, halftone illustrations, dust jacket. Stated first edition.

While the majority of the book comprises Kouwenhoven’s text and historical photographs, Evans gets his due in the epilogue section, “Bankers, and Evans, and Chance,” made up of 55 images by him, selected from a much larger number produced on commission by the bank. Generally, they show bank employees at work, but a few are typical Evans studies of the vernacular. The cloth is sunned in areas, there is a previous owner’s bookplate, and the dust jacket has a few tears and wrinkles. $35

 

  1. EVANS, Walker. Gilles Mora and John R. Hill, Walker Evans: The Hungry Eye, New York: Harry N. Abrams, 1993. Hardcover (gray-stamped black cloth), 12 ¼ x 9 ¾ inches, 368 pages, halftone illustrations (some in color), dust jacket.

A substantial selection of work by Evans, covering his entire career. Presented in six chronological sections, from the early small abstractions of 1928 to the color Polaroid SX-70s of 1974. Includes a chronology and bibliography. Mint condition, in shrink wrap. $65

 

  1. EVANS, Walker. Walker Evans: Incognito, New York: Eakins Press Foundation, 1995. Hardcover (black-stamped gray cloth, with mounted reproduction), 16 ¼ x 11 ¾ inches, 48 pages, 8 halftone illustrations, clear mylar jacket, with ephemera.

This slim deluxe volume revisits an article that appeared in the March/April 1971 issue of Art in America. It features comments by Evans on his eight pictures and an interview with Leslie George Katz. The photographs, which include his iconic “Penny Picture Display, Savannah,” are exquisitely reproduced and the text is printed in letterpress. The book was limited to one edition of 2,500 copies. Accompanying this copy is an announcement for the publication, in an unused envelope from Ram, the book’s distributor. Mint condition, in shrink wrap. $125

 

  1. FABER, Monika, and Josef Kroutvor. Photographie der Moderne in Prag, 1900-1925, Shaffhausen, Switzerland: Edition Stemmle, 1991. Hardcover (gray-printed gray paper over boards), 11 3/8 x 9 3/8 inches, 120 pages, 92 halftone illustrations, dust jacket.

An elegant publication that accompanied an exhibition of work by seven avant-garde photographers working in the capital of Czechsolovakia during the first quarter of the twentieth century. They were: Vladimír Jindřich Bufka, František Drtikol, Karel Neměc, Karel Novák, Josef Sudek, Josef Anton Trčka, and Alois Zych. Kroutvor essays Czech modernism and Faber examines the photographers’ portraits. Near fine condition, with one small tear to the paper covering the boards. $50

 

  1. FOSTER, Gus. Gus Foster—Panoramic Photographs, Minneapolis Institute of Arts, 1993. Softcover, 6 x 9 inches, 12 pages, 4 color halftone illustrations, with ephemera. Signed by Foster.

This is a small catalog for an exhibition at the museum, featuring Foster’s large scale, color landscapes, each covering more than 360 degrees and measuring eleven feet wide. Includes an essay by Carroll T. Hartwell, curator of the show. Gus Foster (born 1940) is a leading American panoramic photographer, having worked in the format since 1975. Laid in is an announcement for a lecture at the museum by Foster, during the show. This copy signed by the photographer. Fine condition. $25

 

  1. FRANK, Robert. U. S. Camera 1958. Hardcover (red and blue-stamped white leatherette), 11 ¼ x 8 ¾ inches, 302 pages, halftone illustrations.

Includes an article by Walker Evans on Frank and a statement by Frank. In between are thirty-three reproductions of Frank’s images, about half of which appeared a year later in the first edition of The Americans. Strangely, the pages on which they are printed measure an elongated 11 1/8 x 6 inches, sometimes resulting in severe cropping. Among the four images that are given two-page spreads is the one of the New Orleans trolley car, seen later on the cover of many editions of The Americans. An important item, for its early date and inclusion of images that were excluded from the famous book. Lacking the thin glassine jacket that is rare. Covers lightly rubbed and lightly worn on the spine. $75

 

  1. FRANK, Robert. Anne Wilkes Tucker and Philip Brookman, editors, Robert Frank: New York to Nova Scotia, Houston: Museum of Fine Arts, 1986. Softcover, 12 x 9 inches, 112 pages, halftone illustrations (some in color), with ephemera. Stated first edition.

The catalog for a traveling exhibition of 188 photographs, books, films, and videos, spanning Frank’s career to date. Includes reprints of letters, articles on Frank, and new text by Robert Coles, Allen Ginsberg, Brookman, and Tucker. Laid into this copy is a brochure for the show in Houston. Fine condition. $45

 

  1. FRANK, Robert. Black White and Things, Washington, DC: National Gallery of Art, and Scalo, Zurich, Switzerland, 1994. Softcover, 10 7/8 x 10 3/8 inches, unpaginated, 34 halftone illustrations.

This volume is a facsimile of a book Frank made by hand in 1952, with original photographs in a small edition. It presents three sections of images (as listed in the book’s title), shot in New York, London, Paris, and Peru, in the late 1940s and early 1950s. Mint condition, in shrink wrap. $35

 

  1. FREED, Leonard. Made in Germany, New York: Grossman, 1970. Softcover, 10 1/8 x 8 ¾ inches, unpaginated, 124 screen-gravure illustrations. Stated first printing, signed by Freed.

An exposé on the daily life of the German people (East and West), printed in rich gravure. In true Magnum fashion, Freed exerted complete control over the book, making all the photographs, writing the introduction and captions (often of paragraph length), and laying it out. Photojournalist Leonard Freed (1929-2006) was a longtime member of Magnum Photos, turning his cameras on the Civil Rights movement, Jewish communities, and the New York Police Department. This copy signed and dated 1996 by Freed, on the title page. Light edge wear and rubbing. $95

 

  1. FRIEDLANDER, Lee. Lee Friedlander: 1960s-2000s, Tokyo: Rat Hole Gallery, 2008. Hardcover (printed paper over boards), 8 3/8 x 9 ½ inches, 56 pages, 37 halftone illustrations, dust jacket.

This understated publication features well-reproduced images from Friedlander’s major series. There are self portraits, television sets, American monuments, portraits, nudes, graffiti, architecture, plants, and landscapes. Printed in an edition of only 700 copies. Fine condition. $95

 

  1. F.S.A. (Farm Security Administration). Archibald MacLeish, Land of the Free, New York: Harcourt, Brace and Co., 1938. Hardcover (black and blue-stamped brown cloth), 9 3/8 x 7 ¼ inches, 98 pages, 88 halftone illustrations.

MacLeish points out that the F.S.A. pictures existed before his text, making the book “an attempt to give these photographs an accompaniment of words.” The two-page spreads pair his poems with images showing the rural destitution of America’s Great Depression; his most recurring statement is “We don’t know.” The book is packed with work by Walker Evans, Russell Lee, Arthur Rothstein, Ben Shahn, and Dorothea Lange (including her iconic “Migrant Mother”). MacLeish (1892-1982) was an American modernist poet who also served as the Librarian of Congress. Near fine condition, lacking the dust jacket. $95

 

  1. GEE, Helen. Photography of the Fifties: An American Perspective, Tucson, Arizona: Center for Creative Photography, 1980. Softcover, 9 x 9 ¼ inches, 162 pages, halftone illustrations. Signed by Gee.

The catalog for a traveling exhibition that included work by over thirty photographers. Those with four or more reproductions are Richard Avedon, Harry Callahan, Imogen Cunningham, Roy DeCarava, Robert Frank, William Klein, Arnold Newman, Irving Penn, Aaron Siskind, W. Eugene Smith, Paul Strand, and Minor White. Helen Gee (1919-2004) was well qualified to head this project, as she ran the Limelight Gallery in New York during the 1950s, a pioneering exhibition space for fine photographs. This copy signed by Gee. Fine condition. $50

 

  1. GERNSHEIM, Helmut and Alison. The Recording Eye: A Hundred Years of Great Events as Seen by the Camera, 1839-1939, New York: G. P. Putnam’s Sons, 1960. Hardcover (gold-stamped black paper over boards), 10 x 7 ½ inches, 254 pages, screen-gravure illustrations, dust jacket. Stated first American edition.

The book comprises journalistic photographs of world events (with a heavy emphasis on war), printed in high-quality gravure, one per page. The Gernsheims provide factual information about each scene and rarely credit the photographers, as the source for most of the pictures were news agencies and archives. Among the events depicted are President Lincoln’s second inauguration (1865), the opening of the Suez Canal (1869), the first long-distance telephone call (1883), Queen Victoria’s funeral (1901), the departure of the Titanic (1912), the creation of the League of Nations (1920), and the explosion of the Hindenburg blimp (1937). Corners bumped, in a lightly edge worn dust jacket. $35

 

  1. GERNSHEIM, Helmut and Alison. The History of Photography, From the Camera Obscura to the Beginning of the Modern Era, New York: McGraw-Hill, 1969. Hardcover (gold-stamped black cloth), 11 ¾ x 8 ¾ inches, 600 pages, 390 halftone illustrations, dust jacket.

The Gernsheim’s massive history up until about 1910, published in the year of Alison’s death. Long considered authoritative on nineteenth-century photography, it covers the medium’s prehistory, invention, and then numerous formats, processes, and movements, ending with pictorialism. Previous owner’s blindstamp on the title page and a small tape-repaired tear on the front of the dust jacket. $350

 

  1. GIBSON, Ralph. Days at Sea, New York: Lustrum Press, 1974. Softcover, 12 x 8 ½ inches, 72 pages, 34 halftone illustrations. Gibson’s signature laid in.

This is the final volume of Gibson’s “Black Trilogy,” so named for the predominance of black on the covers of the three books and in their pictures. The imagery is formalistic and mildly erotic, and does not provide an obvious narrative, while the tile of the book perhaps references Gibson’s time in the U. S. Navy. This copy has Gibson’s business card laid in, with “Hello Folks! R.” written on it. Tiny wear to one corner and top of spine. $125

 

  1. GOLDIN, Nan. The Ballad of Sexual Dependency, New York: Aperture, 1986. Hardcover (gold and blind-stamped blue cloth), 9 ¼ x 10 ¼ inches, 114 pages, halftone color illustrations, dust jacket.

Nan Goldin’s influential visual diary of her daily life with friends and lovers. Intensely personal, it covers a decade of human relationships, in which socio-sexual awareness is always present. Goldin grouped her color snapshot-like images into potent clusters that address women, men, children, marriage, coupling, and death. One of the most important photographic books of the 1980s, it began as an hour-long slide show of about 700 images. Light erasure to the front free endpaper, a few creased pages, and minor shelf wear. $250

 

  1. GOLDSCHMIDT, Lucien, and Weston J. Naef. The Truthful Lens: A Survey of the Photographically Illustrated Book, 1844-1914, New York: Grolier Club, 1980. Hardcover (gold stamped black cloth with leather strip on spine), 11 ¼ x 8 ¾ inches, 244 pages, 172 halftone illustrations, in original slipcase.

This handsome production, issued without a dust jacket, was the first major investigation of the subject. It details nearly two hundred publications illustrated with salt, albumen, and other original photographic prints. After essays by book dealer Lucien Goldschmidt and museum curator Weston Naef, the section of reproductions is organized by subjects such as portraits, still lifes, and landscapes. An important scholarly work, printed in an edition of 1,000 copies. Mint condition, in shrink wrap and original shipping carton. $750

 

  1. GOWIN, Emmet. Emmet Gowin: Photographs. Philadelphia Museum of Art, 1990. Hardcover (black-stamped ochre cloth), 11 ¼ x 12 ¼ inches, 128 pages, halftone illustrations, dust jacket. Stated first United States trade edition, signed by Gowin.

Publication accompanying a major retrospective of Gowin’s photographs. Includes an introductory essay by Philadelphia curator Martha Chahroudi and reproductions from all his major bodies of work; intimate family pictures beginning in the late 1960s, the devastation after the eruption of Mount St. Helens, the haunting emptiness of the ancient Jordanian city of Petra, and aerial views of the Western United States from the late 1980s. This copy signed by Gowin on the half-title page. Fine condition, in opened shrink wrap. $150

 

  1. GREEN, Jonathan. “Camera Work:” A Critical Anthology, Millerton, New York: Aperture, 1973. Softcover, 12 x 9 inches, 376 pages, halftone illustrations (some in color). Stated first printing.

Long the standard reference on Camera Work, this hefty book features an essay by Green on the magazine, and many articles and images from it. It also includes biographies, a bibliography, and no less than five indexes. Published and edited by Alfred Stieglitz from 1903 to 1917, Camera Work remains to this day the most exquisite American periodical on artistic photography. Previous owner’s inscription on half-title page, small sticker on inside cover, and miniscule edge wear to the sensitive metallic-gold printed cover. $50

 

  1. GREEN, Jonathan. American Photography: A Critical History, 1945 to the Present, New York: Harry N. Abrams, 1984. Hardcover (silver-stamped black cloth), 12 x 9 ¼ inches, 248 pages, halftone illustrations (some in color), dust jacket.

Green goes beyond just the photographs of the forty-year period he covers, to investigate the importance of exhibitions, curators, critics, news media, magazines, books, and the other arts. Among the fifteen chapters are entire ones devoted to “The Family of Man” exhibition, Aperture magazine, Robert Frank’s book The Americans, “The Painter as Photographer,” and “Photography as Printmaking.” A wide-ranging and culturally significant work. Fine condition. $35

 

  1. GREENOUGH, Sarah, Joel Snyder, David Travis, and Colin Westerbeck. On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, Washington, DC: National Gallery of Art, and the Art Institute of Chicago, 1989. Hardcover (silver-stamped brown cloth, 10 x 12 ¼ inches, 510 pages, 387 halftone illustrations, dust jacket. Stated first edition, signed by Greenough and Travis.

One of the more substantial publications to celebrate the sesquicentennial of photography in 1989. The curators divided up the medium into four sections, about which they wrote: “Inventing Photography, 1839-1879” by Snyder, “The Curious Contagion of the Camera, 1880-1918” by Greenough, “Ephemeral Truths, 1919-1945” by Travis, and “Beyond the Photographic Frame, 1946-1989” by Westerbeck. This copy signed on the title page by Sarah Greenough and David Travis. Fine condition, in a sunned dust jacket. $95

 

  1. HACKENSMID, Alexander. John Steinbeck, The Forgotten Village, New York: Viking, 1941. Hardcover (green-stamped cream cloth), 10 ¼ x 7 1/8 inches, 144 pages, 136 screen-gravure illustrations, dust jacket, with ephemera. Stated second printing before publication.

This book tells the story of a young boy and his family, as modern medicine comes to their Mexican pueblo. The images are stills from a film by the same name, which was written by Steinbeck, directed and produced by Herbert Kline, and co-directed by Alexander Hackensmid, who also was the director of photography. They show the villagers farming, celebrating traditions, and adapting to the new science. Czech-born Alexandr Hackenschmied (1907-2004) created experimental films in his native country before settling in Hollywood at the beginning of World War II. Renaming himself Alexander Hammid, he went on to have a long career making documentary and Imax films. Laid into this copy is an issue of The Book League Review that devotes the cover and first two pages to The Forgotten Village. Endpapers glue stained (as is usual), minor browning to the dust jacket. $25

 

  1. HALL-DUNCAN, Nancy. The History of Fashion Photography, New York: Alpine, 1979. Hardcover (silver and blind-stamped maroon cloth), 12 ¼ x 9 ¼ inches, 240 pages, 195 halftone illustrations (some in color), dust jacket.

Covering over a century of photography, this was the first systematic history of fashion photography. It addresses the genre’s beginnings, and its machinations related to pictorialism, modernism, realism, and surrealism. Haute couture designer Yves Saint Laurent provided the preface and costume historian Robert Riley the foreword. Among the seventy photographers with richly detailed profiles are Diane Arbus, Richard Avedon, Cecil Beaton, Baron Adolf de Meyer, Hiro, Horst P. Horst, Sarah Moon, Martin Munkacsi, Helmut Newton, Irving Penn, Edward Steichen, and Deborah Turbeville. Fine condition. $55

 

  1. HALSMAN, Philippe. Philippe Halsman’s Jump Book, New York: Simon and Shuster, 1959. Hardcover (black-stamped red cloth and black paper over boards), 11 ¼ x 8 ½ inches, 96 pages, 178 halftone illustrations, dust jacket. Stated second printing, signed by Halsman.

The entertaining results of photojournalist Philippe Halsman (1906 -1979) working as a self-assigned “jumpoligist.” While making serious portraits for magazines like Life, the photographer often asked his subjects to lift off for the camera. Among the nearly two hundred figures who did so were many known figures in entertainment, politics, business, science, and the arts. Most animated were Dick Clark, Salvador Dali, Marilyn Monroe, Robert Oppenheimer, Dean Martin and Jerry Lewis (embracing in midair), and Danny Kaye (who is seen on the cover). Halsman jumps himself (on the beach) and provides a tongue-in-cheek text that analyzes the positions people take during their escapade. This copy signed by Halsman. Stain on front end papers, the cloth is faded and lightly worn, the dust jacket is soiled, torn, and heavily chipped. $250

 

  1. HALSMAN, Philippe. Halsman on the Creation of Photographic Ideas, New York: Ziff-Davis, 1961. Hardcover (white-stamped black cloth), 7 ¼ x 7 ¼ inches, 96 pages, 32 halftone illustrations, dust jacket.

Halsman’s fifth book, a little instruction manual on making, rather than taking, photographs. He explains his rules of the direct approach, unusual techniques, missing features, compounded features, and the literal method. Then, he outlines ways to stimulate the making of creative photographs; by brainstorming, memory, knowledge, object, the photograph itself, and self-stimulation. At the time of this book, Halsman’s pictures had appeared on the cover of Life magazine 87 times—more than any other photographer. Minor edge wear to the dust jacket. $35

 

  1. HAMMOND, Arthur. Pictorial Composition in Photography, Boston: American Photographic Publishing Co., 1946. Hardcover (gold-stamped brown cloth), 10 ¼ x 7 3/8 inches, 204 pages, 48 halftone illustrations, dust jacket. Stated fourth edition.

This is the last of four editions of Pictorial Composition in Photography, probably the most enduring and important book on the subject for a quarter century. It first appeared in 1920, and was revised in 1932, 1939, and finally in 1946. In it, Hammond covers composition in principle and practice, and the technique of pictorial photography. Most of the reproductions are of his own work, as he was an accomplished pictorialist in his own right. London-born Arthur Hammond (1880 -1962) was prominent in this country primarily as an author of columns, articles, and books on photography, from that late 1910s into the 1940s. He was on the editorial staff of both the American Annual of Photography and the monthly American Photography. The dust jacket has minor edge wear and a small piece missing at the top of the spine. $35

 

  1. HARTMANN, Sadakichi. The Life and Times of Sadakichi Hartmann, 1867-1944, Riverside: University of California, Library, 1970. Softcover, 9 x 6 inches, 74 pages, halftone illustrations (some in color).

The catalog for an exhibition of pastels and photographs by Hartmann and portraits of him by other artists and photographers. Includes text by Harry Lawton, George Knox, and Vance Thompson. Art critic Sadakichi Hartmann (1867-1944), half Japanese and half German, was a distinctive figure during the early twentieth century. He was among the first to take artistic photography seriously, writing books and many articles for Alfred Stieglitz and other magazine editors. Fine condition. $25

 

  1. HARTWELL, Carroll T. The Aesthetics of Photography: The Direct Approach, Minneapolis Institute of Arts, 1964. Softcover, 7 ¼ x 7 inches, 20 pages, 13 halftone illustrations. Signed by Hartwell.

This small and little-known catalog accompanied Ted Hartwell’s second exhibition at the Minneapolis Institute of Arts and was his first publication. Technically, he was still the museum’s staff photographer, but his choices show that he clearly had done his homework in the history of photography. Among the reproductions are work by such big names as Ansel Adams, Eugene Atget, Henri Cartier-Bresson, Robert Frank, Alfred Stieglitz, Paul Strand, Edward Weston, and Minor White. An early exhibition catalog (printed in an edition of 850) by one of the longest-serving curators of photography (he died in the position in 2007). This copy signed by Hartwell, with his business card laid in. Fine condition. $35

 

  1. HEINECKEN, Robert. Studiesnineteenseventy, Tucson, Arizona: Nazraeli Press, 2002. Hardcover (printed paper over boards), 7 3/8 x 5 ¾ inches, 16 pages, 12 halftone illustrations and one original photograph. Signed by Heinecken.

Heinecken made these combination images, rendered in negative tones, from pornographic magazines. Originally created in 1970, they were part of his ongoing investigation of printed imagery and the female nude. This title is from the Nazraeli Press’s “One Picture Book” series, all issued without dust jackets. The original tipped-in photograph is signed and dated 2002 by Heinecken, and numbered 32/500. Robert Heinecken, a major force in Los Angeles photography as both an artist and teacher, died four years later. Fine condition. $375

 

  1. HELLEBRAND, Nancy. Londoners: Photographs by Nancy Hellebrand, London: Lund Humphries, 1974. Hardcover (printed paper over boards), 10 ¼ x 9 1/8 inches, 56 pages, 48 halftone illustrations. Stated first edition.

Issued without a dust jacket and with an introduction by Simon Wilson. The photographs are straightforward portraits of individuals in their home environments, probably made with a 2 ¼-x-2 ¼ inch camera. Shortly before she published this book, the American photographer Nancy Hellebrand (born 1944) lived in London for a few years, where she studied with Bill Brandt. Her work is in the collection of the Museum of Modern Art, New York. Fine condition. $35

 

  1. HEYMAN, Ken. Hipshot: One-Handed, Auto-Focus Photographs by a Master Photographer, New York: Aperture, 1988. Hardcover (printed paper over boards), 11 3/8 x 8 ½ inches, unpaginated, halftone illustrations, dust jacket.

What more to add to the title? Heyman made the images on the streets and beaches and at other public areas within the five boroughs of New York. They are presented in the book large on the pages and with black borders, increasing their graphic punch. Includes a foreword by Pete Hamill, an introduction by Deborah Eisenberg, and an afterword by the photographer. Heyman (born 1930) has been working as a photojournalist since about 1960; his work has appeared in Look, Life, and Time, and numerous books. This is his first book of personal work. Fine condition, in shrink wrap. $25

 

  1. HINE, Lewis. Lewis Hine: Ellis Island, Toronto: Lumiere Press, 1995. Hardcover (tan cloth with paper strip on spine and black-printed paper over boards), 9 ¼ x 6 ¼ inches, 42 pages, 4 halftone illustrations and 2 silver prints, with ephemera.

Like the other volumes in the Lumiere’s Press’s “Homage” series, this one is well designed and letterpress printed. It includes “Memories and Meditations of Walter Rosenblum on the Life and Work of an American Artist” and an introduction by publisher Michael Torosian. The tipped-in silver prints are made from copy negatives and portray Hine as a young and older man. Printed in an edition of 200, this one is numbered 107. Laid into this copy are the prospectus and an order form, both letterpress printed. Fine condition, in original plastic sleeve. $425

 

 

  1. HOFER, Evelyn.

German-born Evelyn Hofer (1922 – 2009) spent most of her life in the United States, where she emigrated in 1946. She produced fashion work for Vogue and Vanity Fair and made pictures for many Time-Life books. Her most lasting legacy, however, are these five books, all published during the 1960s in a standard size. They feature text by eminent writers and her precise photographs of people and architecture, made with a large-format camera and presented in high-quality screen gravure (some in color). Far exceeding the look of most “travel” photographs, Hofer’s pictures reveal her sensitive eye and connection with the subjects. Underappreciated in the United States, Hofer was the subject of a recent monograph from by Steidl.

  1. S. Pritchett, London Perceived, New York: Harcourt, Brace and World, 1962. Hardcover (gold-stamped blue cloth), 11 ¼ x 8 ¾ inches, 116 pages, gravure illustrations, dust jacket. One bottom corner of spine bumped, light edge wear to dust jacket.

James Morris, The Presence of Spain, New York: Harcourt, Brace and World, 1964. Hardcover (gold-stamped green cloth), 11 ¼ x 8 ¾ inches, 120 pages, gravure illustrations, dust jacket. Remnants of sticker on front free endpaper, inside flap folded, glassine cover taped to dust jacket.

  1. S. Pritchett, New York Proclaimed, New York: Harcourt, Brace and World, 1965. Hardcover (gold-stamped blue cloth), 11 ¼ x 8 ¾ inches, 116 pages, gravure illustrations, dust jacket. Fine condition, in a price-clipped dust jacket, with one short tear and minor edge wear.
  2. S. Pritchett, Dublin: A Portrait, New York, Harper and Row, 1967. Hardcover (gold-stamped green cloth), 11 ¼ x 8 ¾ inches, 100 pages, gravure illustrations, dust jacket. Fine condition, in a dust jacket with a tiny tear on the front and a few folds to the front flap.

William Walton, The Evidence of Washington, London: Bodley Head, 1967. Hardcover (gold-stamped green cloth), 11 ¼ x 8 ¾ inches, 132 pages, gravure illustrations, dust jacket. Front free endpaper creased, light foxing to cloth and inside of dust jacket, which is price-clipped with light edge wear.

Overall, a very nice grouping of books that are often found in poor condition. The set of five: $125

 

  1. HOLLYMAN, Thomas. The Oilmen, New York: Rinehart, 1952. Hardcover (red-stamped tan cloth), 10 ¾ x 10 ½ inches, unpaginated, screen-gravure illustrations, dust jacket.

Produced during the optimistic 1950s, shortly before the environmental movement began to take shape, this book boldly promotes the production and use of petroleum products. Hollyman democratically photographed not just those working the drills, but also turned his camera on geologists, refiners, and, finally, the service station owner-operator, cleverly humanized here with a wife and name—Scotty. Charles Parker wrote the text, but Hollyman’s strong pictures are dominant, often printed large and in rich gravure. Photojournalist Thomas Hollyman (1919-2009) was the first staff photographer for Holiday magazine and later became its picture editor. He also worked in film, television, and advertising. The endpapers are discolored and the dust jacket is lightly worn. $25

 

  1. HOSOE, Eikoh. Betty Jean Lifton, A Dog’s Guide to Tokyo, New York: W. W. Norton, 1969. Hardcover (green and black-stamped red cloth), 11 ¼ x 9 ¼ inches, screen-gravure illustrations, dust jacket. Stated first edition, with Hosoe’s signature laid in twice.

This is a playful book, using a dog to teach children the rudiments of Japanese life. Hosoe’s pictures show a silver poodle eating, bedding down, sightseeing, visiting shrines, at a public bath, and doing other activities in Tokyo. Eikoh Hosoe (born 1933), better known for his figurative work, produced another book with Lifton on a dog in Japan. Laid into this copy is a postcard signed by Hosoe and a 1998 letter also signed by him. Fine condition. $175

 

  1. HOSOE, Eikoh. BA•RA•KEI: Ordeal by Roses, New York: Aperture, 1985. Hardcover (silver-stamped purple cloth), 14 ½ x 10 3/8 inches, unpaginated, halftone illustrations, dust jacket with belly band. Hosoe’s signature laid in twice.

Initially issued in Japan in 1971, this is the first Western edition of Hosoe’s photographic essay on the renowned Japanese writer Yukio Mishima. The high-contrast pictures, grouped into five sections, reveal the subject’s inner and outer worlds, in a highly surrealistic fashion. Includes a preface by Mishima, afterword by Mark Holborn, and notes by the photographer. Eikoh Hosoe (born 1933) is known for his figurative work and remains today Japan’s most recognized creative photographer. Laid into this copy is a postcard reproducing one of the images in the book signed by Hosoe and a 1998 letter also signed by him. Cloth slightly sunned, bellyband mildly scratched and wrinkled. $300

 

  1. HOSOE, Eikoh. Betty Jean Lifton, Taka-chan and I: A Dog’s Journey to Japan, Tokyo: Chihiro Ishizu, 1997. Hardcover (black-stamped red paper over boards), 10 3/8 x 8 ½ inches, unpaginated, halftone illustrations, dust jacket and bellyband, with ephemera. Signed by Hosoe, with his signature also laid in.

A children’s book about a Weimaraner that digs a hole all the way through the earth, to Japan. The dog befriends a young Japanese girl and rescues her from a dragon. This is the first Japanese edition of Taka-chan, which was originally published in the United States in 1967. Though slightly smaller, it largely follows the layout of the first. Eikoh Hosoe (born 1933), better known for his figurative work, produced another book with Lifton on a dog in Japan. Text in Japanese. Laid into this copy are two pieces of publisher’s ephemera and a 1998 letter signed by Hosoe; this copy is also signed by Hosoe in gold ink on the half-title page. Fine condition. $175

 

  1. (HUNGARIAN Photography). A Fénykép Varázsa: Tizenkét Kiállítás a Magyar Fotográfia, 150 Éves Történetéböl [The Magic of Photography: 12 Exhibitions on 150 Years of Hungarian Photography], Budapest: Association of Hungarian Photographers and Szabad Tér Publishing Co., 1989. Softcover, 11 ¼ x 7 7/8 inches, 416 pages, halftone illustrations.

A major catalog published on the occasion of Budapest’s celebration of the sesquicentennial of photography in 1989. Although there were a dozen exhibitions, at different galleries and museums, the publication includes fifteen essays, covering Hungarian photography from the beginning to the present. Among the subjects are daguerreotypes, albums, and the Hungarian style. Major photographers such as the ethnographer Rudolf Balogh and the modernist József Pécsi receive individual treatment. This is an important reference book, with all text bilingual, in both Hungarian and English. Fine condition. $95

 

  1. (HUNGARIAN Photography).

Two volumes, published in 1995 by the Howard Greenberg Gallery and its ancillary gallery “292.” They accompanied simultaneously shows, one of modernist photographs (1916 -1940) and the other of vintage collages from the 1930s.

The Hungarian Circle, New York: Howard Greenberg Gallery, 1995. Softcover, 11 x 8 ½ inches, 16 pages, 13 halftone illustrations. Includes essays by photographer/curator Michael Simon and Károly Kincses, director of the Hungarian Museum of Photography. While the show included work by big-name Hungarian-born photographers such as Brassaï and André Kertész, all the illustrations are devoted to lesser knowns like Pál Funk Angelo and József Pécsi. Laid into this copy is a notice for the exhibition. Fine condition.

[The Hungarian Circle], New York: 292, 1995. Softcover (hand bound with cord ties), 9 ½ x 7 inches, 32 pages, 30 halftone illustrations. This volume reproduces collages made by an unknown Hungarian artist in the 1930s, apparently from newspaper and magazine clippings. Printed in full color, these modernist collages juxtapose such imagery as Adolf Hitler and a snake’s open jaws, and female nudes with a steel grid structure. Printed in an edition of 850 copies. Laid into this copy is a notice for the exhibition. Fine condition.

The set of two: $75

 

  1. IZIS. Israel, New York: Orion Press, 1958. Hardcover blue-stamped tan cloth), 11 ¼ x 8 ¾ inches, 160 pages, screen-gravure illustrations, dust jacket.

Originally published three years earlier in Switzerland, this American edition celebrated the tenth anniversary of the founding of the state of Israel. It features a perceptive preface by Andre Malraux and frontispiece and dust-jacket designs by Marc Chagall. Additional text comes from the Old and New Testaments, modern Hebrew poets, and other sources. Photographer Izis provides pictures of the young country and its people, rendered in rich gravure. Here are such sites as the hills of Nazareth and the Dead Sea, and Jewish men, women, and children, building and enjoying Israel. Born Israëlis Bidermanas in Lithuania, Izis (1911-1980), worked most of his life in France as a photojournalist, including at the magazine Paris-Match. Dust jacket is creased, torn, and lightly chipped. $45

 

  1. JACKSON, William Henry. Beaumont Newhall and Diana E. Edkins, William H. Jackson, Dobbs Ferry, New York: Morgan and Morgan, and the Amon Carter Museum, Fort Worth, Texas, 1974. Hardcover (brown-stamped tan leatherette), 10 ¾ x 9 ¼ inches, 160 pages, halftone illustrations, dust jacket. Author card laid in.

With a critical essay by William L. Broecker and a substantial chronology and bibliography, this is an early museum publication on Jackson. It also forms one of the titles in Morgan and Morgan’s prescient series of monographs on leading photographers. The brown-toned reproductions show Jackson’s main skills as a photographer of Native Americans and the Western American landscape during the late nineteenth century. Laid into this copy is Diana Edkins’s business card. One corner lightly bumped, in a lightly rubbed dust jacket. $50

 

  1. JAMMES, André and Marie-Thérèse. Niepce to Atget: The First Century of Photography from the Collection of André Jammes, Art Institute of Chicago, 1977. Softcover, 11 x 12 inches, 116 pages, halftone illustrations (some in color), dust jacket. Signed by curator.

Oversize exhibition catalog covering an important private collection of nineteenth-century photographs. Introduction by Chicago curator David Travis and text by the Jammeses on collecting and various aspects of their holdings. Features illustrations by Hippolyte Bayard, Charles Marville, Roger Fenton, Gustave Le Gray, Charles Nègre, and other early masters. This copy signed by Travis. Near fine condition. $150

 

  1. (JAPAN). Donald Keene, Living Japan, Garden City, New York: Doubleday, 1959. Hardcover (gold-stamped blue cloth), 11 ¼ x 8 ¾ inches, 224 pages, 158 screen-gravure illustrations (some in color), dust jacket.

Columbia University professor Keene’s in-depth and accessible study of Japan, covering its history, religion, economy, government, education, arts, and other topics. Heavily illustrated in high-quality gravure by Werner Bischof, Robert Capa, Eliot Elisofon, and Ken Heyman, plus such leading Japanese photographers as Yoichi Midorikawa and Hiroshi Hamaya. Dust jacket has one short crease and one short tear. $25

 

  1. JOHNSTON, J. Dudley. Pictorial Photography, 1905-1940, by J. Dudley Johnston, London: Pictorial Group of the Royal Photographic Society, 1952. Hardcover (gold-stamped tan cloth), 10 x 7 ½ inches, 60 pages, 49 screen-gravure illustrations, dust jacket.

This handsome little book is the only one on Johnston, a leading English pictorial photographer, who worked both before and after World War I. Fellow photographer Bertram Cox wrote an appreciation of the pictures, dating from 1905 to 1940 and printed in exquisite gravure. Johnston’s landscapes, cityscapes, and figure studies are all classic, soft-focus examples of pictorialism; most noteworthy are his “impressions” of such cities as Liverpool, his birthplace. J. Dudley Johnston (1868 -1955) served the Royal Photographic Society in many positions, most importantly as its curator of photographs for thirty years, helping to create its extraordinary permanent collection. Fine condition, in a dust jacket with light edge wear, a tear, and tiny loss to the front. $50

 

  1. KASEBIER, Gertrude. William Innes Homer and others, A Pictorial Heritage: The Photographs of Gertrude Käsebier, Wilmington: Delaware Art Museum, 1979. Softcover, 10 ½ x 9 inches, 64 pages, 29 halftone illustrations.

Catalog for a retrospective exhibition that was also shown at the Brooklyn Museum. Homer, a University of Delaware art history professor, provides the main essay, which addresses Käsebier’s life and work as both a professional and pictorial photographer. His students contribute short pieces on her early childhood, equipment, printing methods, and her portraits of Native Americans. Fine condition. $35

 

  1. KEIGHLEY, Alexander. Alexander Keighley, Hon. F.R.P.S: A Memorial, London: Pictorial Group of the Royal Photographic Society, 1947. Hardcover (gold-stamped green cloth), 9 ¾ x 9 ¾ inches, 72 pages, 50 halftone illustrations.

This book, issued without a dust jacket, came out shortly after Keighley died, as a tribute to his towering stature as a pictorial photographer. It features two laudatory texts, one of them by fellow pictorialist J. Dudley Johnston. The pictures, spanning the years 1883 to 1943, are largely figure-in-landscape compositions that he heavily hand manipulated to evoke romantic fantasies. Keighley (1861-1947), whose name is pronounced “KEETH-lee,” preferred to photograph in the Middle East, to help make his images seem more exotic. He received an honorary fellowship from the Royal Photographic Society (Hon. F.R.P.S.). Light wear to tips. $50

 

  1. KERTESZ, André. Sixty Years of Photography, 1912-1972, London: Thames and Hudson, 1972. Hardcover (gold-stamped gray cloth), 9 ¾ x 10 ¾ inches, 224 pages, 220 screen-gravure illustrations, dust jacket.

Introduced solely by a Dada poem by Paul Dermée, this selection covers the photographer’s entire career to date, from Hungary, to Paris, to New York. The reproductions, in rich gravure, end with his then new and now most important late picture, “Martinique.” Fine condition, in a bright dust jacket that is price-clipped and with one tear. $125

 

  1. KERTESZ, André. Distortions, New York: Alfred A. Knopf, 1976. Hardcover (gold-stamped gray cloth), 11 ¼ x 8 ¾ inches, unpaginated, 120 screen-gravure illustrations, dust jacket. Stated first edition.

Edited by Nicolas Ducrot, with an introduction by art critic Hilton Kramer. Kertész’s now renowned surrealistic series of female nudes photographed in a distorting mirror. Made around 1930 in Paris, they remained largely unseen for many years due to oxidation of the negatives. Presented here in rich gravure, the women are stretched, compressed, bloated, and otherwise visually altered by the mirror. Fine condition, in dust jacket with light edge wear and a tear. $375

 

  1. KLEIN, William. William Klein: Photographs, Millerton, New York: Aperture, 1981. Hardcover (printed paper over boards), 13 1/8 x 9 7/8 inches, 192 pages, halftone illustrations, dust jacket. Klein’s signature laid in.

The definitive, large-scale monograph on Klein, with a profile by John Heilpern, one of England’s foremost authors. Comprises Klein’s bold street photographs, printed large on the page. They span the years 1954-1980 and were made in New York, Rome, Moscow, Tokyo, and elsewhere. Laid into this copy is a 1996 exhibition announcement signed by Klein. Fine condition, in a dust jacket with miniscule edge wear and a crease. $225

 

  1. KLETT, Mark, Ellen Manchester, and JoAnn Verburg. Second View: The Rephotographic Survey Project, Albuquerque: University of New Mexico Press, 1984. Hardcover (silver-stamped gray cloth), 9 ¼ x 12 ¼ inches, 214 pages, 260 halftone illustrations, dust jacket, with ephemera. Stated first edition, signed by Verburg.

Klett was the chief photographer; Manchester the project director, Verburg the project coordinator, and Gordon Bushaw and Rick Dingus were project photographers. Most of them provided text, as did critic/photographer Paul Berger. This is perhaps the most well-known of the many rephotographic projects that have been undertaken since. The crew located the sites of government survey photographs made during the late nineteenth century in the American West and then meticulously remade images from the same camera position and at the same time of day. Among the original photographers represented are William Henry Jackson, Timothy H. O’Sullivan, and Andrew J. Russell. The before and after shots are paired for easy comparison and are sometimes accompanied by site maps. This copy signed by Verburg, with an announcement for a 1979 exhibition of the work laid in. Fine condition, in a dust jacket that is sunned (and turned to green), as is normal. $95

 

  1. KUHN, Fritz. Sehen und Gestalten: Natur und Menschenwerk [Vision and Form: Nature and the Manmade], Leipzig, Germany: Verlag E. A. Seemann, 1951. Hardcover (gold-stamped green cloth and paper over boards), 12 x 8 ¾ inches, 156 pages, screen-gravure illustrations, dust jacket. Stated second edition.

With a ten-page introduction by Kühn, this is largely a picture book, in the tradition of fellow Germans Karl Blossfeldt and Albert Renger-Patzsch. It comprises many images from nature, and printed in high-quality gravure, but also pairings of natural subjects and manmade objects. Among the later are a spider web and a church ceiling and a pine cone and a building spire. The majority of the pictures are by Kühn, but Blossfeldt, Renger-Patzsch, Alfred Ehrhardt, and other German modern photographers also contributed. The first edition also appeared in 1951, and the book was reprinted as late as 1970, in its eighth edition. Fritz Kuehn (1910 -1967) was a German photographer and goldsmith who apparently spent his entire life in Berlin. Dust jacket has light edge wear, tears, and chips. $35

 

  1. LANGE, Dorothea. Dorothea Lange Looks at the American Country Woman, Fort Worth, Texas: Amon Carter Museum, and Ward Ritchie Press, Los Angeles, 1967. Hardcover (pictorial cloth), 10 ¼ x 10 ¼ inches, 72 pages, 30 halftone illustrations, dust jacket.

Images primarily of individual rural woman, made by Lange from the 1930s to 1950s. She states in her short introduction that “These are women of the American soil. They are a hardy stock. They are of the roots of our country. They inhabit our plains, our prairies, our deserts, our mountains, our valleys, and our country towns.” Includes a foreword by Beaumont Newhall. Miniscule wear to bottom of spine, in dust jacket with a tiny piece missing. $45

 

  1. LAUGHLIN, Clarence John. The Personal Eye, Philadelphia Museum of Art, 1973. Softcover, 8 ½ x 5 ½ inches, 30 pages, 1 halftone illustration.

Booklet accompanying a traveling exhibition organized by the Philadelphia Museum of Art. Comprises a general introduction by Laughlin, text by him about the approximately twenty groups of photographs, and his comments on many of the individual pictures. Extensive notes on all his major bodies of work and known photographs. Long-time New Orleans resident Clarence John Laughlin (1905-1985) was known for his surrealist and architectural photographs of the South. Fine condition. $25

 

  1. LAUSCHMANN, Jan. Daniela Mrázková, Jan Lauschmann, Prague: Press-Foto, 1984. Portfolio in paper folder, 11 ¾ x 9 ½ inches, 12 screen-gravure plates and 16-page booklet. Signed by Mrázková.

The images, all from the 1920s and 1930s, are either soft-focus street scenes in Prague or modernist images often made from an unusual viewpoint. They include Lauschmann’s most recognizable picture, “The Cliff,” which shows an isolated tree growing on a rocky outcropping. The booklet’s text is in Czech, Russian, German, French, and English. Jan Lauschmann (1901-1991) was a modernist Czech photographer, related to D. J. Ruzicka. Produced in high-quality gravure in an edition of 2,500 copies. This copy signed by Mrázková. Fine condition, with the original cellophane bellyband. $125

 

  1. LESY, Michael. Wisconsin Death Trip, New York: Pantheon Books, 1973. Hardcover (silver-stamped purple cloth), 8 ¾ x 11 ¾ inches, unpaginated, halftone illustrations, dust jacket. Stated first edition, signed by Lesy.

Lesy’s groundbreaking mashup of vintage photographs and quotations from local Wisconsin newspapers, creating an important socio-historical interpretation of small-town America in the late nineteenth century. After the preface by Warren Susman, Lesy creates sections by year, from 1885 to 1900. The photographs, all by Charles Van Schaick from negatives at the Wisconsin State Historical Society, show people shot in his studio and elsewhere. The newspaper text emphasizes death, mental illness, and other human tragedies, making for haunting reading. This copy signed by Lesy. Fine condition, in a dust jacket with a few tears and minor creases. $450

 

  1. LEVITT, Helen. James Agee, A Way of Seeing, New York: Viking Press, 1965. Hardcover (silver-stamped black cloth), 7 ¾ x 9 ¼ inches, 80 pages, 50 screen-gravure illustrations, dust jacket, with ephemera.

The outstanding collaboration between Levitt and author James Agee, published a decade after his death. Levitt’s lyrical photographs, presented in rich gravure, picture primarily poor children in Harlem and include some of her most revered images. Agee declared in his text that the project was a “major poetic work” and “an uninsistent but irrefutable manifesto of a way of seeing.” Laid into this copy is the New York Times obituary for Levitt (March 30, 2009, on original newsprint). Near fine condition, in dust jacket with miniscule loss at the top and bottom of spine. $2,000

 

  1. (LEVY Collection). David Travis, Photographs from the Julien Levy Collection, Starting with Atget, Art Institute of Chicago, 1976. Softcover with metal spiral binding, 8 x 9 inches, 96 pages, halftone illustrations, with ephemera. Signed by Travis.

Exhibition catalog on an important collection of American and European modern photographs. Includes Travis’s overview and full-page biographies on the twenty-eight photographers represented. Among them are Ilse Bing, Brassaï, Imogen Cunningham, André Kertész, Man Ray, László Moholy-Nagy, Paul Outerbridge, Maurice Tabard, and Umbo. Laid into this copy is an announcement for the show at the Art Institute of Chicago. This copy signed by Travis, with his correction to the exhibition dates. Miniscule wear at a few corners and faint stain on front cover, marks on back cover. $95

 

  1. LIEBLING, Jerome. A Century of Minnesota Architecture, Minneapolis Institute of Arts, 1958. Softcover, 10 x 8 inches, 64 pages, halftone illustrations. Signed by Liebling.

Catalog for a traveling exhibition, with text by Donald R. Torbert, University of Minnesota professor. While there are some historical photographs, the vast majority are by Liebling, who is credited on the title page. Among the architects represented by domestic and commercial buildings are Marcel Breuer, Cass Gilbert, Philip Johnson, Louis Sullivan, and Frank Lloyd Wright. Jerome Liebling (1924-2011) taught photography and filmmaking most of his life at the University of Minnesota (Minneapolis) and Hampshire College (Amherst, Massachusetts). Printed in an edition of 1,000 copies. This copy signed by Liebling. Fine condition. $25

 

  1. LIEBLING, Jerome. Don Morrison, The Face of Minneapolis, Minneapolis: Dillon Press, 1966. Hardcover (green-stamped blue cloth), 11 ¼ x 8 ¾ inches, 138 pages, halftone illustrations (some in color), dust jacket. Signed by Morrison and Liebling.

Issued a decade after John Szarkowski’s Face of Minnesota, this book takes a similarly honest and wide-ranging look at its subject. In words and pictures, it presents facets of the Mill City’s history, education, government, architecture, arts, seasons, and citizens. Don Morrison was a local newspaper writer, columnist, and editor; Jerome Liebling (1924-2011) was a concerned photographer who also made films. He was a member of New York’s famed Photo League, and taught photography at the University of Minnesota (Minneapolis) and Hampshire College (Amherst, Massachusetts). This copy inscribed by Morrison and signed by Liebling. Fine condition, in price-clipped dust jacket with a few tears, chips, and creases. $65

 

  1. LIEBLING, Jerome. The People, Yes, New York: Aperture, 1995. Hardcover (silver-stamped black cloth and white paper over boards), 11 5/8 x 9 7/8 inches, 128 pages, halftone illustrations (some in color), dust jacket, with ephemera. Stated first edition, signed by author and Liebling.

Titled after Carl Sandburg’s epic poem, this book includes a foreword by Carroll T. Hartwell, curator of photographs at the Minneapolis Institute of Arts, and an introduction by Ken Burns, a former student of Liebling’s. It features humanistic pictures of people such as slaughterhouse workers and handicapped individuals. Concerned photographer Jerome Liebling (1924-2011) was a member of New York’s famed Photo League, and taught most of his life at the University of Minnesota (Minneapolis) and Hampshire College (Amherst, Massachusetts). Accompanied by a press packet for a show of the same name are the Minneapolis Institute of Arts. This copy signed by both Hartwell and Liebling. Fine condition. $50

 

  1. LIVINGSTON, Jane. The New York School: Photographs, 1936-1963, New York: Stewart, Tabori and Chang, and the Eastman Kodak Company, Rochester, 1992. Hardcover (silver and blind-stamped black cloth), 12 ¼ x 10 ¼ inches, 404 pages, halftone illustrations, dust jacket.

This is a massive compendium of images by a loosely defined group of street photographers working in New York around the middle of the twentieth century. The city’s people are shown on sidewalks, at the beach, under night illumination, and most everywhere else they came into casual contact with one another. Among the sixteen photographers represented are Diane Arbus, Bruce Davidson, Louis Faurer, Robert Frank, William Klein, Helen Levitt, Lisette Model, and Weegee. Includes Livingston’s essay, plus biographies, chronologies, and bibliographies. Mint condition, in shrink wrap. $95

 

  1. LYON, Danny. Danny Lyon: Ten Years of Photographs, Newport Beach, California: Newport Harbor Art Museum, 1973. Softcover, 8 ½ x 11 inches, 28 pages, 18 halftone illustrations (some in color). Signed by curator.

Catalog for a traveling exhibition, with text by curator Thomas A. Garver. Covers work from 1962 to 1972, including pictures from his series “The Bikeriders” and “Conversations with the Dead.” This copy signed by Garver. One page loose in this fragile piece, which is otherwise in fine condition. $35

 

  1. LYONS, Nathan, Syl Labrot, and Walter Chappell. Under the Sun: The Abstract Art of Camera Vision, New York: George Braziller, 1960. Hardcover (tan-stamped brown cloth), 8 5/8 x 10 3/8 inches, unpaginated, 26 halftone illustrations (some in color), dust jacket. Signed by Lyons.

This early examination of creative photography, comprises abstract work very much in the tradition of Minor White, a friend of all three photographers. Includes the introduction, “Intuitions of Reality,” which is unsigned but probably by Chappell, and comments by each photographer. Printed by the German firm J. J. Augustin, which fifteen years earlier published Alexey Brodovitch’s innovative book, Ballet. This copy signed by Nathan Lyons. Fine condition, in an unusually clean dust jacket that is price clipped and with two small tears. $425

 

  1. LYONS, Nathan. Contemporary Photographers: Toward a Social Landscape, Rochester, New York: George Eastman House, 1966. Softcover, 8 x 8 ½ inches, 68 pages, 55 halftone illustrations. Signed by Lyons.

This is a defining publication for the movement of social landscape photography. Curator Nathan Lyons chose the work of but five photographers for an accompanying show at the Eastman House, that then traveled. They were Bruce Davidson, Lee Friedlander, Garry Winogrand, Danny Lyon, and Duane Michals, now all acknowledged as major figures of the period. This copy signed by Lyons. Covers lightly rubbed, with “Publicity” written on the front. $150

 

  1. LYONS, Nathan. Contemporary Photographers: The Persistence of Vision, Rochester, New York: George Eastman House, 1967. Softcover, 8 x 8 ½ inches, 68 pages, 55 halftone illustrations. Signed by Lyons.

This exhibition catalog came shortly after Lyons’s Toward a Social Landscape, and mimics it in size and format. However, now the pictures are not street photographs but represent experimental uses of the camera, involving hand work, multiple exposures, and even sculpture. Lyons, as Eastman House curator, once again made a prescient selection; Donald Blumberg, Charles Gill, Robert Heinecken, Ray K. Metzker, Jerry N. Uelsmann, and John Wood. This copy neatly signed on the title page by Lyons. Fine condition. $125

 

  1. MANDEL, Mike. Baseball-Photographer Trading Cards, 1975. Published by the photographer, 3 ½ x 2 ½ inches each, halftone illustrations.

Undoubtedly Mandel’s most wide-ranging and uproarious project, these cards lampoon the newfound fame of artistic photographers during the 1970s. Each features a casual portrait of the shooter (or occasional curator), with “statistics” on the back, such as height, weight, favorite photographer, and favorite camera. Mandel photographed a total of 134 individuals, including himself. Initially issued in packs of ten with a piece of bubble gum, they have become collectible, just like their counterpart baseball cards.

Individual cards for: Harold Allen, Micha Bar-Am, Mike Bishop, Don Blumberg, Cornell Capa, Linda Connor, Eileen Cowin, Barbara Crane, Darryl Curran, Bob Cumming, Liliane DeCock, Jacob Deschin, John Divola, Robert Doherty, Don Drowty, Bill Eggleston, Elliott Erwitt, Bob Fichter, Arnold Gassan, Betty Hahn, Nick Hlobeczy, Gus Kayafas, Les Krims, Bill Larson, Jerry McMillan, Joel Meyerowitz, Barbara Morgan, Joyce Neimanas, Ira Nowinski, Bart Parker, Charley Roitz, Naomi Savage, John Schulze, Arthur Siegel, Hank [Henry Holmes] Smith, Doug Stewart, John Szarkowski, Arthur Tress, Burke Uzzle, Todd Walker, and Lee Witkin.

All in near fine to fine condition. The group of 41 cards: $350

 

  1. MANN, Margery. California Pictorialism, San Francisco Museum of Modern Art, 1977. Softcover, 12 x 9 inches, 80 pages, 17 halftone illustrations.

This exhibition catalog was among the earliest to pay attention to pictorial photographs made after World War I. While there is work from around the turn of the twentieth century, much of it is later, going even past World War II. Mann investigates pictorialism in California through its clubs, salons, periodicals, techniques, and visual style. She features work by Anne W. Brigman, William E. Dassonville, Margrethe Mather, Karl F. Struss, Edward Weston, the very influential William Mortensen, and about ten other pictorialists. Fine condition. $35

 

  1. MAN RAY. Kiki, The Education of a French Model: Kiki’s Memoirs, New York: Boar’s Head, 1950. Hardcover (black-stamped maroon cloth), 9 ¼ x 6 ¼ inches, 192 pages, halftone illustrations, dust jacket, with ephemera.

The subtitle reads: “The Loves, Cares, Cartoons and Caricatures of Alice Prin, Originally Souvenirs Kiki in French and Kiki’s Memoirs in English.” Introduction by Ernest Hemingway. Originally published twenty years earlier and banned in the United States, these are the tales of a young woman modeling and living among the avant-garde artists of Paris. The illustrations include artwork by and of Kiki; most of the photographic reproductions are uncredited, except for six portraits of her by Man Ray. Laid into this copy is a Fort Worth (Texas) newspaper editorial on Hemingway, shortly after his death (dated August 16, 1961, on original newsprint). Cloth spine racked with miniscule wear to tips, dust jacket is chipped, torn, and missing pieces. $50

 

  1. MAN RAY. Photo Graphics from the Collection of Arnold H. Crane, Milwaukee Art Center, 1973. Softcover, 8 ½ x 8 ½ inches, 32 pages, 20 halftone illustrations, with ephemera.

Exhibition catalog for a show at the Milwaukee Art Center, of photographs (color and black-and-white), rayographs, collages, clichés-verre, and other items. Includes a foreword by museum director Tracy Atkinson and a short essay by Crane, a Chicago attorney and important early collector of photographs. Laid into this copy is an unidentified newspaper review of the show (on original newsprint). Fine condition. $25

 

  1. MATHEWS, Oliver. The Album of Carte-de-visite and Cabinet Portrait Photographs, 1854-1914. London: Reedminster, 1974. Hardcover (gold-printed blue paper over boards), 10 x 7 ½ inches, 148 pages, 210 halftone illustrations, dust jacket. Stated first edition.

This is an early collectors’ guide to the prominent nineteenth-century card formats. Mathews discusses the history of each, photographers, sitters, other nineteenth-century photographic processes, and the market. One corner lightly bumped, dust jacket price clipped. $35

 

  1. MAYWALD, Wilhelm. Portrait and Atelier, Zürich, Switzerland: Green/Die Arche, 1958. Hardcover (gold-stamped black cloth), 9 5/8 x 8 ¾ inches, screen-gravure illustrations, dust jacket.

This is an often-overlooked, handsome book that focuses on a dozen major European artists, among them Arp, Braque, Chagall, Le Corbusier, Léger, Matisse, Miró, Picasso, Rouault, and Utrillo. Maywald provides photographs of them in their studios, à la Arnold Newman, richly rendered in gravure. The artists supplied an example of their work, usually as a line drawing, and a pithy quotation, often reproduced as a facsimile of their own handwriting. The minimal text is printed in French, German, and English. German-born Wilhelm Maywald (1907-1985) was a portrait photographer in Switzerland and Paris. Dust jacket is browned and slightly worn at the edges. $35

 

  1. MEATYARD, Ralph Eugene. James Baker Hall and Guy Davenport, Ralph Eugene Meatyard, Millerton, New York: Aperture, 1974. Hardcover (gold-stamped black cloth), 10 ¾ x 9 ¼ inches, 142 pages, halftone illustrations, dust jacket. Signed by Hall.

The writers were both friends of Meatyard’s and began working on the book with the photographer before he died. It includes a selection of his enigmatic figure studies, interpretations by Hall, and a reminiscence by Davenport. Meatyard (1925 -1972) was an optician in Lexington, Kentucky, studied with Van Deren Coke, and pursued his creative photography in his leisure time. This copy signed and dated 1997 by James Baker Hall. Fine condition. $125

 

  1. MILLER, Lee. Ernestine Carter, editor, Bloody But Unbowed: Pictures of Britain Under Fire, New York: Charles Scribner’s Sons, 1941. Hardcover (printed paper over boards), 9 x 7 ¼ inches, unpaginated, 109 halftone illustrations, dust jacket.

Documentary photographs of Britain during World War II, showing the destruction from bombing and the resilience of its people. Dedicated to prime minister Winston Churchill and with a preface by radio reporter Edward R. Murrow. Many photo agencies also contributed pictures for the book, but Miller’s were the only ones made exclusively for it and she is the only photographer credited on the title page. Lee Miller (1907-1977) was associated with Man Ray in Paris in the 1930s, and subsequently worked as a fashion photographer and war correspondent for Vogue. One corner lightly bumped, in a dust jacket with a sticker stain and minimal wear. $45

 

  1. MINNEAPOLIS Salon of Photography. Published by the Minneapolis Camera Club, for exhibitions at the Minneapolis Institute of Arts, 1933-1946.

Second Annual Exhibition, December 1-21, 1933. Softcover, 10 ¼ x 7 ¼ inches, 36 pages, 16 halftone illustrations. Foreword by camera club president James G. Bennett, checklist, and advertisements. Features images by Rowena Brownell, Harold H. Costain, William Mortensen, Max Thorek, and others. Pencil writing on title page, covers rubbed, spotted, and with a few small tears.

Third Annual Exhibition, December 1-31, 1934. Softcover, 10 ¼ x 7 ¼ inches, 24 pages, 8 halftone illustrations. Foreword by camera club president G. V. Thomson, checklist, and advertisements. Among those with reproductions are Edward Alenius, Axel Bahnsen, Rowena Brownell, and Max Thorek. Covers lightly creased.

Fifth Annual Exhibition, December 1-31, 1936. Softcover, 10 3/8 x 7 1/8 inches, 12 pages, 8 halftone illustrations. Foreword by camera club president Venning P. Hollis, checklist, and advertisements. Illustrations by Newell Green, Max Thorek, and others. Covers lightly soiled and with a few tears.

Sixth Annual Exhibition, December 4-31, 1937. Softcover, 10 3/8 x 7 inches, 12 pages, 8 halftone illustrations. Foreword by camera club president Clarence K. Bros, checklist, and advertisements. Among those with images are Rowena Brownell and Richard Greenville Spencer. Covers lightly creased.

Twelfth Annual Exhibition, December 5, 1943 – January 2, 1944. Softcover, 6 x 4 3/8 inches, 12 pages, 2 halftone illustrations. Includes a foreword, checklist, and advertisements. The two images are by John P. Benus and John H. Vondell. Light foxing on covers.

Fourteenth Annual Exhibition, December 1-30, 1945. Softcover, 20 pages, one halftone illustration (showing the façade of the museum). Acknowledgements, checklist, and advertisements. Among the three jurors were Anne Pilger Dewey (Chicago) and Edward C. Crossett (Pasadena). Laid into this copy is an exhibition sticker for the show. Near fine condition.

Fifteenth Annual Exhibition, December 1-31, 1946. Softcover, 9 x 6 inches, 24 pages, 5 halftone illustrations. Includes acknowledgements, checklist, and advertisements. Features reproductions by P. H. Oelman, Francis Wu, and others. This copy belonged to Chicago exhibitor Bob Schiller. Covers browned.

The group of seven: $95

 

  1. MOFFATT, Tracey. Laudanum, Ostfildern, Germany: Hatje Cantz, 1999. Hardcover (paper over boards), 7 ¾ x 10 inches, 80 pages, halftone illustrations (some in color). Signed by Moffatt.

A short series of pictures that suggest the use of opium (thus the title) and captivity in a domestic environment. Moffatt’s images, almost exclusively of women, are melodramatic, softly focused, and replete with Victorian-era interiors and clothing. The book, which was issued without a dust jacket, includes essays by Stephan Berg, Bridgette Reinhardt, and Alexander Tolnay, in German and English. Tracey Moffatt (born 1960) is an Australian artist who works primarily in photography and video. This copy inscribed, “Ms. Moffatt/New York/2002.” Near fine condition. $50

 

  1. MOHOLY, Lucia. A Hundred Years of Photography, 1839-1939, Harmondsworth, England: Penguin, 1939. Softcover, 7 x 4 3/8 inches, 190 pages, 35 halftone illustrations, dust jacket.

A rudimentary but early history of photography, published on the centennial of the medium. Most of the illustrations are of nineteenth-century work, but include portraits by Cecil Beaton and, unapologetically, the author. Except for the small section of images, the pages are on newsprint, which are darkened and fragile, as is usual. Prague-born Lucia Moholy (1894 -1989), the first wife of László Moholy-Nagy, was an historian, writer, and photographer. The unusually nice paper covers are browned and lightly worn at two corners, the rare dust jacket is browned, worn, torn, and chipped, with the front flap separated. $75

 

  1. MOHOLY-NAGY, László. Vision in Motion, Chicago: Paul Theobald, 1947. Hardcover (brown-stamped cream cloth), 11 ¼ x 8 ¾ inches, 372 pages, halftone illustrations (some in color). Stated third printing.

Published a year after Moholy-Nagy’s death, this was one of the most influential books to come out of Chicago’s Institute of Design, originally founded as the New Bauhaus. More than just a photography book, it touted itself as a “blueprint of education through art.” It features many reproductions of work by not only the author but also other international avant-garde artists working in painting, sculpture, film, and literature. Touch of fraying to two corners of the cloth, in a dust jacket (subsequently plasticized) that has edge wear, folds, tears, and pieces missing from the back and top and bottom of spine. $125

 

  1. MOHOLY-NAGY, László. Bernard Fergusson, Portrait of Eton, London: Frederick Muller, 1949. Hardcover (black-stamped red paper over boards), 9 7/8 x 7 ¾ inches, 80 pages, halftone illustrations, dust jacket.

This is an update of the 1937 book, Eton Portrait, by the same author. In pictures and words, it describes Eton College, one of the world’s leading independent schools for young men. Moholy-Nagy’s straightforward photographs show the boys primarily studying and playing. Cover split at bottom of spine and bumped, stains on fore-edges, dust jacket worn, torn, and partially missing. $35

 

  1. MOHOLY-NAGY, László. Leland D. Rice and David W. Steadman, editors, Photographs of Moholy-Nagy from the Collection of William Larson, Claremont, California: Pomona College, 1977. Softcover, 11 x 8 ½ inches, 64 pages, halftone illustrations. Stated second printing.

Catalog for a traveling exhibition of photographs and photograms by the great modern artist. Includes essays by Lloyd C. Engelbrecht and Henry Holmes Smith and a selected bibliography. The first printing of 1975 was of 3,000 copies, while the second was of two thousand. Near fine condition. $25

 

  1. MOON, Sarah. Still, Minneapolis: Weinstein Gallery, 2000. Folded cardboard cover, 7 x 9 ¾ inches, unpaginated, 32 halftone illustrations, in original cardboard slipcase and black paper wrapper. Signed by Moon.

Moon’s moody images are primarily of dolls and figures, softly focused, closely cropped, and darkly printed. Includes her explanation of the title of the book and additional text by artist Ilona Suschitzky. Sarah Moon (born 1940) is a French fashion and commercial photographer. Produced without a dust jacket, in a numbered, signed edition of 200 copies; this is number 40. Fine condition. $325

 

  1. MORATH, Inge. Dominique Aubier, Fiesta in Pamplona, Paris: Robert Delpire, and Universe Books, New York, 1956. Hardcover (gray-stamped white cloth), 11 ¼ x 9 inches, 148 pages, screen-gravure illustrations (some in color), dust jacket. Signed by Morath.

Visual and written elaborations on the week-long festival of St. Firmin that takes place in the northern Spanish city of Pamplona. Morath photographed the opening parade, the famous running of the bulls through the city streets, and the final stadium bull fights. Features a design by Picasso on the cloth cover and high-quality gravure images inside by the photographer. Inge Morath (1923 -2002) was a long-time member of the Magnum photo agency and produced many books, including some with her playwright husband, Arthur Miller. This copy signed by Morath on the title page. Near fine condition. $125

 

  1. MORRIS, Wright. The Inhabitants, New York: Charles Scribner’s Sons, 1946. Hardcover (black and blind-stamped tan cloth), 11 ¼ x 9 ¼ inches, unpaginated, 51 halftone illustrations, dust jacket.

Despite the title, not a single person appears in any of the photographs. Instead, Morris turns his camera on examples of rural and small-town vernacular architecture, often framed frontally, like Walker Evans. Morris’s text, on the other hand, addresses the imagined inhabitants of the structures, talking about their activities and personalities. Dust jacket has tiny spots and minimal wear. $125

 

  1. MORTENSEN, William. Monsters and Madonnas, San Francisco: Camera Craft, 1936. Softcover with metal ring binding, unpaginated, 20 screen-gravure and 10 halftone illustrations. Stated second edition (December 1936).

This is Mortensen’s acknowledged magnum opus and one of the most important books from the second generation of pictorialists. The first edition (also 1936) was printed in halftone, so this is the first in gravure. The gravure edition was so popular that it was printed four times, over twelve years. The well-designed cover, which has the subtitle “A Book of Methods,” features the provocative full-frontal nude “Torso.” Inside, the book includes text by Mortensen on both his photographic technique and aesthetic theories. The rich, full-page gravures are divided into three sections: characters, nudes, and grotesques. Each plate is accompanied by a page of analysis and sometimes a small halftone of the image before Mortensen manipulated it. Mortensen (1897-1965) was the most widely known American pictorialist during the 1930s and 1940s. He made flamboyant images, wrote many books and articles, and ran a photography school in Laguna Beach, California. Covers browned, lightly creased, and bumped. $350

 

  1. MORTENSEN, William.

The flamboyant William Mortensen led the movement of pictorial photography after World War I in part because of the many books he wrote. While they were largely technical in nature, they, nonetheless, were heavily illustrated with his creative images and peppered with his aesthetic ideas. They were invariably issued by San Francisco’s Camera Craft Publishing Company, a concern that also published the monthly, Camera Craft, in which Mortensen was highly visible.

The Model: A Book on the Problems of Posing, 1943, stated fourth printing. Hardcover (gold-stamped blue cloth), 9 x 6 ¼ inches, 264 pages, halftone illustrations, dust jacket. Bottom of spine lightly bumped and light wear to tips, dust jacket scrapped, torn and worn at top and bottom of spine.

Outdoor Portraiture: Problems of Face and Figure in Natural Environment, 1947, stated fourth printing. Hardcover (black-stamped brown cloth), 9 ¾ x 6 ½ inches, 144 pages, halftone illustrations, dust jacket. Light wear to tips, price-clipped dust jacket worn, with remnants of price tag, and missing small pieces.

The New Projection Control, 1948, stated fourth printing. Hardcover (black-stamped brown cloth), 9 ¾ x 6 ¾ inches, 124 pages, halftone illustrations. Free end papers lightly browned, with previous owner’s name, dust jacket worn, torn, and chipped.

The group of three: $45

 

  1. NAEF, Weston J., and James N. Wood. Era of Exploration: The Rise of Landscape Photography in the American West, 1860-1885, Buffalo: Albright-Knox Art Gallery, and Metropolitan Museum of Art, New York, 1975. Hardcover (gold and blind-stamped brown cloth), 9 1/8 x 12 inches, 260 pages, 313 halftone illustrations, dust jacket. Signed by Naef.

This is the groundbreaking study of nineteenth-century American Western landscape photography. This golden age was facilitated by popular curiosity, government support, and the perfect photographic combination of the wet-collodion negative and albumen paper. The text explores the science, nature, and art of the breathtaking pictures. The five main photographers represented, each with a section of their own, are William Henry Jackson, Eadweard J. Muybridge, Timothy H. O’Sullivan, Andrew Joseph Russell, and Carleton E. Watkins. A fragile book and dust jacket, due to its elongated format. This copy signed by Naef. Near fine condition, in a dust jacket that is rubbed, lightly worn, and torn. $75

 

  1. N.A.S.A. (National Aeronautics and Space Administration). Earth Photographs from Gemini III, IV, and V, Washington, DC: NASA, 1967. Hardcover (gold-stamped red cloth), 11 ¾ x 9 3/8 inches, 266 pages, 244 color halftone illustrations, in original slipcase, with ephemera.

This book (NASA SP-129), issued without a dust jacket, reproduces about half of the photographs made on three manned space missions around earth, all in 1965. Considered to be of “excellent quality with respect to exposure, resolution, and orientation,” they are arranged in their original orbital sequence. Many of them go beyond their scientific purpose and become seductive abstract images of shape, form, and color. Usually found without the slipcase. Laid into this copy is a signed letter from the vice president of the Minneapolis company that printed the book, who jokingly writes, “We think our printing is out of this world every day, of course.” Fine condition. $50

 

  1. N.A.S.A. (National Aeronautics and Space Administration). Edgar M. Cortright, compiler and editor, Exploring Space with a Camera, Washington, DC: NASA, 1968. Hardcover (gold-stamped blue cloth), 11 5/8 x 9 ¼ inches, 214 pages, halftone illustrations (some in color).

Issued without a dust jacket, NASA SP-168 is a collection of the best photographs taken from space during the first decade of space exploration. It begins with a grainy black-and-white image over the Atlantic Ocean from 1959 and ends with color pictures made by astronauts with high-quality Hasselblads. This is the most commonly seen NASA book of photographs. Near fine condition. $25

 

  1. NATKIN, Marcel. Photography and the Art of Seeing, London: Fountain Press, 1948. Hardcover (gold-stamped yellow cloth), 11 1/8 x 8 ¾ inches, 74 pages, screen-gravure illustrations, dust jacket. Stated second edition (October 1948).

Originally published in 1935 with different pictures, this book covers the leading trends in photography; pictorial, artistic, advertising, and fashion. Natkin also addresses visual strategies for creatively inclined practitioners, such as composition, lighting, movement, personality, and nature. Full-page images, rendered in rich gravure, are provided by French photographers such as Laure Albin-Guillot, Pierre Boucher, Brassaï, Robert Doisneau, Ernö Vadas, and Natkin himself. Previous owner’s name on front free endpaper, cloth bumped at one corner and marked along bottom, dust jacket rubbed, worn, torn, and tape-repaired. $75

 

  1. NEWHALL, Beaumont. Photography: A Short Critical History, New York: Museum of Modern Art, 1938. Hardcover (silver-stamped black cloth), 10 x 7 ¾ inches, 220 pages, 95 halftone illustrations, dust jacket. Stated second edition (“revised and emended July 1938”).

This is the second state of Newhall’s influential history of photography, which began as an exhibition catalog for a show at MOMA in 1937. He covers such aspects as aesthetics, science, photojournalism, technique, and motion pictures. The plates include work by nineteenth-century figures like Daguerre, Talbot, and Cameron, and his contemporary section features Abbott, Adams, Evans, Man Ray, Weston, and others. The book is dedicated to Alfred Stieglitz, who still had eight years to live, making clear today just how long ago this thing was written. Miniscule wear to tips, the rare price-clipped dust jacket has edge wear, creases, and chips. $150

 

  1. NEWHALL, Beaumont. The History of Photography, from 1839 to the Present Day, New York: Museum of Modern Art, 1949. Hardcover (black-stamped gray cloth), 10 ¼ x 7 ¾ inches, 256 pages, halftone illustrations, dust jacket.

The third state of Newhall’s history, rewritten and redesigned. He includes less technical material, and photographers such as Arnold Newman, W. Eugene Smith, and Weegee make their first appearance. The last chapter is on color photography, but the only color image is a 1946 waterfront scene by Edward Weston, presented as the book’s frontispiece. Fine condition, in a dust jacket with a little wear and loss. $95

 

  1. NEWHALL, Beaumont. The History of Photography, from 1839 to the Present Day, New York: Museum of Modern Art, 1964. Hardcover (gold-stamped blue cloth), 11 1/8 x 8 ½ inches, 216 pages, screen-gravure illustrations, dust jacket.

On to the fourth state of the book, the one dear to the generation who came of age during photography’s resurgence as an art form, starting in the 1960s. In this “revised and enlarged edition,” the pictures begin to dominate and the selection and printing quality has improved; they are now rendered in rich gravure. Not surprisingly, Newhall heavily emphasizes straight and documentary photography, and the last chapter, on recent trends, features images by Robert Frank, Harry Callahan, Aaron Siskind, and Minor White. Near fine condition, in dust jacket that is browned at the edges and missing a few small pieces on the back. $45

 

  1. NEWHALL, Beaumont. Airborne Camera: The World from the Air and Outer Space, New York: Hastings House, 1969. Hardcover (silver-stamped blue cloth), 10 ¼ x 8 ¾ inches, 144 pages, halftone illustrations (some in color), dust jacket.

Former Eastman House director Newhall writes about how aerial photography created a new understanding of the earth, scientifically and visually. He begins with the first images made from an unmanned balloon in 1858 and concludes with the famous 1968 image of earth as marble, seen by the crew of Apollo 8. The pictures show highways, cities, lakes, mountains, and military formations from a unique perspective, and are largely by unknown photographers, though William A. Garnett contributes his share. The once benign 1966 cover image of Ethiopia, Somalia and the Gulf of Aden today resonates much differently for viewers. Fine condition. $35

 

  1. NEWMAN, Arnold. Bravo Stravinsky, Cleveland: World Publishing Co., 1967. Hardcover (silver and blind-stamped black cloth), 12 ¼ x 9 ¼ inches, unpaginated, halftone illustrations, dust jacket. Stated first printing, signed by Newman.

The renowned portrait photographer Arnold Newman captures Stravinsky, then the “greatest living musician,” composing, practicing, and conducting. Includes a foreword by Francis Steegmuller and text by Robert Craft. This copy signed and dated 1999 by Newman. Fine condition, in a dust jacket with a crease and a tape-repaired tear. $95

 

  1. NEWMAN, Arnold. The Great British, Boston: New York Graphic Society, 1979. Hardcover (gold-stamped red cloth), 11 ¼ x 8 ¾ inches, unpaginated, 60 halftone illustrations (some in color), dust jacket. Signed by Newman.

The esteemed American portrait photographer’s collection of leading English figures from politics, religion, theater, music, painting, and literature. Among the subjects are Francis Bacon, Cecil Beaton (on the cover), Bill Brandt, Sir Alec Guinness, George Harrison, David Hockney, and Henry Moore. This copy signed by Newman. Fine condition, in lightly creased dust jacket. $55

 

  1. NEWMAN, Arnold. Arthur Ollman, Five Decades, San Diego: Harcourt Brace Jovanovich, 1986. Softcover, 11 ¼ x 10 ½ inches, 124 pages, halftone illustrations. Stated first edition, signed by Newman.

Catalog for a traveling exhibition organized by the Museum of Photographic Arts, San Diego. Contains work by Newman from the late 1930s through the mid-1980s, most of it his accomplished environmental portraits. Among the most recognizable are those of Piet Mondrian, Georgia O’Keeffe, and Igor Stravinsky. This copy boldly signed by Newman. Near fine condition. $50

 

  1. NOWELL, Ward. Picture Making with Paper Negatives, Boston: American Photographic Publishing Co., 1941. Hardcover (gold-stamped blue cloth), 10 ¼ x 7 ¼ inches, 88 pages, 16 halftone illustrations, dust jacket. Stated third printing.

This was one of the most popular titles on the subject, originally published in 1938 and going through at least six printings within a decade. Ward provides a thorough examination of the paper negative, perhaps the most widely used control process by pictorialists between the World Wars. Most of the illustrations are by Ward himself and are figure studies. He exhibited in pictorial salons during the late 1930s and taught at the Chicago School of Photography. Near fine condition, in price-clipped dust jacket that is scuffed and missing a few small pieces. $25

 

  1. OHARA, Ken. One, Tucson, Arizona: Nazraeli Press, 2005. Hardcover (paper over boards), 7 3/8 x 5 ¾ inches, 16 pages, 10 halftone illustrations and one original photograph. Signed by Ohara.

These images are a tiny representation of the more than five hundred that comprised Ohara’s innovative 1970 book of the same title. They show people’s faces tightly cropped to just outside of the eyes and mouth. This title is part of Nazraeli Press’s “One Picture Book” series, all issued without dust jackets. Ken Ohara (born 1942 in Japan), worked with New York fashion photographers Hiro and Richard Avedon, and remains known for his various bodies of portrait work. The book was printed in an edition of 500, and this one is numbered 489. The tipped-in original print is signed on the back by Ohara. Fine condition. $125

 

  1. OLD, Toby. Lucky Strikes, Northampton, Massachusetts: Chameleon Books, 1995. Softcover, 10 x 8 inches, 36 pages, 37 halftone illustrations. Signed by Old.

Photographs from the photographer’s major series on discos and boxing, plus other images, dating from the late-1970s to early-1990s. Drawn to the fringes of American society, Old searches for poignant moments at public events like county fairs, where he captured, for instance, a horse diving into a pool of water. All the pictures here are from the permanent collection of New York’s International Center of Photography, whose curator, Miles Barth, provides an introduction. Toby Old (born 1945) is a native of Minnesota, worked as a dentist, and has been a New York street photographer for decades. This copy signed by Old. Fine condition. $25.

 

  1. ORTIZ ECHAGUE, José. España: Pueblos y Paisajes, Madrid: Publicaciones Ortiz-Echagüe, 1954. Hardcover (black and gold-stamped red cloth), 12 ¼ x 10 ½ inches, 320 pages, 288 screen-gravure illustrations and 34 color halftones, dust jacket. Stated sixth edition.

This massive volume is the second in Ortiz Echagüe’s very important set of four books he published on Spain, beginning in 1933. While there are some landscapes, most of the images are of the country’s cities and villages, rendered in his hybrid pictorial/ethnographic style. The gravures are rich and warm-toned, and the color plates are tipped in. Ortiz Echagüe (1886 -1980) is Spain’s internationally best known photographer, depicting the country’s people, landscape, religion, and architecture for over sixty years. Near fine condition, in a dust jacket with a few marks and creases. $75

 

  1. OUTERBRIDGE, Paul, Jr. Robert Glenn Ketchum and Graham Howe, Paul Outerbridge, Jr., Los Angeles Center for Photographic Studies, 1976. Softcover, 11 x 8 ½ inches, 40 pages, 29 halftone illustrations. Stated first printing.

This is an understated, little item, the first monograph on Outerbridge. It features largely his early black-and-white work, presented with glassine interleaving, although a color nude is seen on the cover. Howe provides a biographical sketch on the photographer and an appreciation. Printed in an edition of 3,000 copies, of which this is number 1,298. Cover lightly rubbed. $50

 

  1. OUTERBRIDGE, Paul, Jr. Graham Howe and G. Ray Hawkins, editors, Paul Outerbridge, Jr., New York: Rizzoli, 1980. Hardcover (gold-stamped brown cloth), 11 ¼ x 10 ¼ inches, 160 pages, 140 halftone illustrations (some in color), dust jacket.

A selection of Outerbridge’s nude, still life, and commercial work, dating from the early 1920s to late 1930s. The section of plates commences with his renowned 1922 “Ide Collar.” Includes the essay “From Ideal Form to Idealized Fetishism” by Howe and Jacqueline Markham. Front free endpaper with a crease and short tear, dust jacket is lightly rubbed. $95

 

  1. OUTERBRIDGE, Paul, Jr. Elaine Dines and Graham Howe, Paul Outerbridge: A Singular Aesthetic: Photographs and Drawings, 1921-1941: A Catalogue Raisonné, Santa Barbara, California: Arabesque Books, 1981. Hardcover (tan cloth with mounted reproduction and mat, and black-stamped mounted board on spine), 12 ¼ x 9 ½ inches, 240 pages, 564 halftone illustrations (some in color), printed acetate jacket, with ephemera.

An ambitious project, this is one of the few catalog raisonnés for a photographer. It includes an introduction by Dines, Howe, and Bernard Barryte, a 1940 essay by Outerbridge on the color carbro process, a selected bibliography, and, most importantly, every image by him known at the time. Featured are his modernist ink drawings, delicate platinum prints, and color nude and advertising images. The challenging cover image shows a nude woman wearing only a mask and gloves with metal fingertips. Laid into this copy is a prospectus for this limited edition of 1,500 copies. Fine condition, in a rubbed jacket. $550

 

  1. OUTERBRIDGE, Paul, Jr. Elaine Dines and Graham Howe, Paul Outerbridge: A Singular Aesthetic: Photographs and Drawings, 1921-1941: A Catalogue Raisonné, Laguna Beach (California) Museum of Art, 1981. Softcover, 11 7/8 x 9 inches, 240 pages, 564 halftone illustrations (some in color).

This is the softcover version of the above, without the elaborate cover or prospectus. It accompanied a traveling exhibition organized by the museum. Fine condition. $95

 

  1. OWENS, Bill. Suburbia, San Francisco: Straight Arrow Books, 1973. Softcover, 10 x 10 inches, unpaginated, halftone illustrations. Stated second printing (July 1973), signed by Owens.

The results of a personal project pursued by Owens, when he was working for a suburban newspaper in Northern California. The subjects (almost exclusively white) proudly pose with their houses, cars, TVs, and other domestic possessions. Owens smartly allowed them to make their own comments, such as the couple who are grilling in the book’s first picture: “Sunday afternoon we get it together. I cook the steaks and my wife makes the salad.” This is an amusing and haunting publication. This copy signed and dated 1978 by Owens. The cover is worn, internal signatures are separated from the cover and a little loose. $75

 

  1. PARKER, Fred R. Attitudes: Photography in the 1970’s, Santa Barbara Museum of Art, 1979. Softcover with plastic spiral binding, 11 ¼ x 9 ¼ inches, unpaginated, halftone illustrations, sheet of 20 color slides and pieces of original art, with ephemera. Signed by Parker.

This is an elaborate catalog for a large show at the Santa Barbara Museum of Art—something of a West Coast answer to John Szarkowski’s “Mirrors and Windows” book and exhibition at New York’s Museum of Modern Art, of the previous year. The original items are a screen print by Keith A. Smith (signed), an offset lithograph by Todd Walker (signed), an offset lithograph by Alex Sweetman (signed and numbered), and a piece by Robert Heinecken. The latter is a unique page extracted from a popular magazine (Vogue, in this case) over which Heinecken printed (on both sides) the grizzly image of a Vietnamese soldier holding two severed human heads. Laid into this copy is a 1982 typed and signed letter from curator Fred R. Parker. Printed in an edition of 1,000 copies, all of which were numbered and signed by Parker; this one is no. 827. The fragile covers have minor wear along the edges and a spot on the back. $650

 

  1. PARKS, Gordon. Harlem: Gordon Parks, Toronto: Lumiere Press, 1997. Hardcover (tan cloth and black-stamped gray paper over boards, with paper label on spine), 9 ¼ x 6 ¼ inches, 54 pages, 4 duotone illustrations and gelatin silver print, with ephemera.

One of the Lumiere Press’s “Homage” series, issued without a dust jacket, nicely designed and printed in letterpress. It focuses on two of Parks’s Life magazine photo essays; one on a Harlem gang leader (1948) and the other a Harlem family (1968). Publisher Michael Torosian interviews the photographer, who discusses the evolution and production of the essays and his interaction with the subjects. The high-quality illustrations are tipped in, as is the frontispiece self-portrait, a silver print made from a copy negative. This copy is numbered 105/200, in the limited edition. Laid into this copy is a prospectus and order form for the book. Fine condition, in original plastic sleeve. $500

 

  1. PERESS, Gilles. Farewell to Bosnia, New York: Scalo, 1994. Hardcover (paper over boards), 14 ½ x 11 inches, unpaginated, halftone illustrations.

This large-scale book, issued without a dust jacket, comprises Peress’s insightful documentation of the impact of the 1993 Bosnian war on its civilian population. Traveling by car from the center of the country to Mostar and Sarajevo, he photographed refugees, the wounded, and the dead, both young and old. His graphically strong images are well-reproduced and printed large on the pages, for maximum visual impact. Mint condition, in shrink wrap. $125

 

  1. PHIBBS, Harry C. Hodge Podge, Chicago: Harry C. Phibbs, 1952. Hardcover (maroon cloth and paper over boards with mounted paper label), 12 ¼ x 9 ¼ inches, 32 pages, 28 halftone illustrations.

Issued without a dust jacket, this is one of the last volumes by the same name that Phibbs self published almost yearly beginning in about 1939. It comprises a selection of his salon images, mostly figure studies and landscapes. Reproduced one to a page, Phibbs writes about each one. Harry Clandillon Phibbs (1885 – ?) was a member of the Chicago Camera Club and exhibited in pictorial salons during the 1920s and thirties. Light wear, one corner bumped, small stains on back, label chipped. $35

 

  1. PHOTOGRAMS of the YEAR 1948. Softcover, 10 5/8 x 8 inches, unpaginated, 64 halftone illustrations.

England’s leading twentieth-century annual of photography, concentrating on pictorial work from around the world. Includes an overview of the year’s work by R. H. Mason and comments on the plates by Gilbert Adams. The frontispiece is a tipped-in portrait of the late Alexander Keighley. Among the photographers represented are José Ortiz Echagüe, Frank R. Fraprie, P. H. Oelman, and Max Thorek. Cover starting to separate from first page, light edge wear, and previous owner’s label on the front. $25

 

  1. PHOTOGRAMS of the YEAR 1950. Hardcover (blue and gold-stamped blue cloth), 10 ¼ x 8 inches, unpaginated, 64 halftone illustrations.

England’s leading twentieth-century annual of photography, concentrating on international pictorial work. Includes an essay on the year’s work by L. V. Chilton and comments on the plates by R. H. Mason. The frontispiece and three other reproductions are tipped-in. Features work by Marcus Adams, Harold Cazneaux, José Ortiz Echagüe, Will Till, Francis Wu, and others. Foxing to the endpapers and a stain on the cloth. $35

 

  1. PHOTO-GRAPHIC ART. October 1917 (vol. 3, no. 2). Softcover, 10 x 7 ¾ inches, 22 pages, 13 halftone illustrations.

This is the last issue of the little periodical originally named Platinum Print, edited by Edward R. Dickson, a close associate of Clarence H. White. It was designated the “Exhibition Number,” as most of its reproductions feature work from a traveling show organized by the Pictorial Photographers of America (PPA). Among them are pictures by Laura Gilpin, D. J. Ruzicka, Doris Ulmann, Edward Weston, and White. Includes an article by the great typographer Frederic W. Goudy, one about the aims of the PPA, and a complete list of its members. Cover edges lightly worn. $75

 

  1. (PHOTOJOURNALISM). Press Photography: Minnesota Since 1930, Minneapolis: Walker Art Center, 1977. Softcover, 11 x 8 ½ inches, 68 pages, 88 halftone illustrations (some in color), with ephemera. Signed by one author.

The catalog for a show of press photographs drawn from the morgues of about ten Minnesota newspapers. The pictures, arranged by topics such as people, sports, family, and the arts, cover the 1930s to seventies. Among the likely subjects are the politicians Eugene McCarthy and Hubert H. Humphrey; among the unlikely photographers is Weegee the Famous, who in 1950 talked his way into the women’s dressing room of a downtown Minneapolis nightclub. Thomas F. Arndt was the Walker’s staff photographer at the time and helped with the show. The essays are by newspaper editor Charles Bailey, photographer Mike Zerby, and Carroll T. Hartwell, curator of photography at the neighboring Minneapolis Institute of Arts. The catalog designer cleverly had a page of newsprint bound in, printed with the mastheads of Minnesota newspapers such as the Duluth Herald and St. Paul Pioneer Press. Laid in is a flyer for events that occurred during the show. This copy signed by Hartwell. Fine condition. $35

 

  1. (PHOTOMECHANICAL Processes). David A. Hanson and Sidney Tillim, Photographs in Ink, Teaneck, New Jersey: University College Art Gallery, Fairleigh Dickinson University, 1996. Hardcover (gold-stamped green cloth), 13 ½ x 9 ¾ inches, 84 pages, 32 halftone illustrations (some in color), dust jacket.

This is an elegant, oversize exhibition catalog that includes an essay on the history and technique of various photomechanical methods of reproducing photographs. The full-color plates reproduce halftones, photogravures, collotypes, woodburytypes, photolithographs, and other processes. The book was printed in an edition of 700 copies and includes a CD-ROM of the entire show. This copy signed by Hanson. Fine condition. $125

 

  1. PICTORIAL PHOTOGRAPHY IN AMERICA 1920. New York: Pictorial Photographers of America, 1920. Hardcover (blue cloth and gold-stamped gray paper over boards), 11 ¼ x 8 ¼ inches, 126 pages, 100 halftone illustrations, original glassine jacket.

The first of five annuals published by the Pictorial Photographers of America (PPA) during the 1920s. Beautifully designed item, with the cover typography by the influential Frederic W. Goudy. It has articles on the PPA and pictorial photography in particular American states. Among the photographers represented by images are Alvin Langdon Coburn, Imogen Cunningham, Edward R. Dickson, Louis Fleckenstein, Laura Gilpin, Gertrude Käsebier, Margrethe Mather, Doris Ulmann, and Edward Weston. This copy from the estate of Clarence H. White. Unbeknownst to most, this book was issued with a thin glassine jacket, which is present here with a few tears and creases. As a result, the cover is in stunning, near fine condition. $250

 

  1. PICTORIAL PHOTOGRAPHY IN AMERICA 1922. New York: Pictorial Photographer of America, 1922. Hardcover (gray cloth and blue paper over boards), 10 7/8 x 8 inches, 110 pages, 75 halftone illustrations.

The third of five annuals published by the Pictorial Photographers of America during the 1920s, it is beautifully designed, with cover typography by Frederic W. Goudy. Includes an essay on progress in pictorial photography over the last year, plus one, “On Ideas,” by Condé Nast art director Heyworth Campbell. Among those contributing images are Arnold Genthe, Johan Hagemeyer, William E. Macnaughtan, Jane Reece, D. J. Ruzicka, Clara E. Sipprell, Margaret Watkins, Edward Weston, and Clarence H. White. Light wear to bottom edges and top of spine; small tear to half title page. $95

 

  1. PULTZ, John, and Catherine B. Scallen. Cubism and American Photography, 1910-1930, Williamstown, Massachusetts: Clark Art Institute, 1981. Softcover, 7 5/8 x 8 3/8 inches, 78 pages, halftone illustrations.

An intelligent exhibition catalog, with chapters on cubist criticism, innate modernism in pictorial photography, abstraction, the Clarence H. White School of Photography, commercial photography, and the dissemination of modernism. Reproduces work by Margaret Bourke-White, Francis Bruguière, Alvin Langdon Coburn, Paul Outerbridge, Jr., Charles Sheeler, Edward Weston, and others. Near fine condition. $25

 

  1. REJLANDER, Oscar G. Edgar Yoxall Jones, Father of Art Photography: O. G. Rejlander, 1813-1875, Newton Abbot, England: David and Charles, 1973. Hardcover (gold-stamped blue paper over boards), 9 ¾ x 7 ½ inches, 112 pages, halftone illustrations, dust jacket.

This biographical monograph appropriately opens with the frontispiece as Rejlander’s notorious 1857 image, “The Two Ways of Life,” shown in two versions and analyzed in great detail. Jones goes on to discuss the photographer’s other, less-known work—tableaux, genre, allegories, and “studies of the ideal.” Among them are illustrations for Charles Darwin’s 1872 book, On the Expression of the Emotions in Man and Animals, some of which Rejlander posed for himself. Rejlander (1813 -1875) was one of the first Victorian photographers to self-consciously attempt to make high art with the camera. Near fine condition, in price-clipped dust jacket with minor edge wear and creases. $35

 

  1. RENGER-PATZSCH, Albert. Die Welt ist Schön, Munich: Kurt Wolff Verlag, 1928. Hardcover (silver-stamped blue flexible cloth), 11 ½ x 8 7/8 inches, unpaginated, 100 halftone illustrations.

The World is Beautiful was Renger-Patzsch’s major contribution to the New Objectivity movement. It features his emotionally detached photographs of plants, animals, people, the landscape, industrial products, architecture, and machinery. Includes an introduction by Carl Georg Heise. Scattered light foxing, minor edge wear, and a slightly sunned spine, lacking the dust jacket. $350

 

  1. RINHART, Floyd and Marion. American Daguerreian Art, New York: Clarkson N. Potter, 1967. Hardcover (gold-stamped blue cloth), 11 ¼ x 8 ¾ inches, 140 pages, 90 halftone illustrations (some in color), dust jacket.

The Rinhart’s early examination of the daguerreian era of 1840 to 1860 in this country. They cover portraiture, outdoor scenes, color imagery, and cases, and provide biographical notes for about one hundred daguerreotypists. Laid into this copy is the original errata slip and a copy of a remembrance of Floyd from a 1997 issue of the Daguerreian Society Newsletter. Fine condition, in dust jacket with miniscule edge wear. $35

 

  1. RUSCHA, Edward. Edward Ruscha (Ed-werd Rew-shay) Young Artist, Minneapolis Institute of Arts, 1972. Hardcover (printed paper over boards), 4 ½ x 3 ¾ inches, 436 pages, halftone illustrations. Business card of the curator (signed) and artist laid in; book signed by Ruscha.

This little publication, issued without a dust jacket, accompanied an exhibition at the museum of Ruscha’s prints, drawings, and books, his first major retrospective. Co-designed by museum curator Edward A. Foster and Ruscha, it mimics the format of the Big Little children’s books of the 1930s-1960s. Like them, it consists entirely of newsprint pages and has a thick spine. It reproduces images of the artist, works of art, lists of words chosen by Ruscha, and a checklist. About 175 of its pages are intentionally blank. Printed in an edition of 2,000 copies. Both business cards must be present for this item to be complete, as here. This copy with the added signatures of Foster and Ruscha. Free endpapers are beginning to separate (as usual), cover lightly rubbed. $1,250

 

  1. SALOMON, Erich. Portrait of an Age, New York: MacMillan, 1967. Hardcover (black and gold-stamped brown cloth), 11 ¼ x 8 7/8 inches, 222 pages, screen-gravure illustrations, dust jacket.

Originally published in Germany four years earlier as Porträt einer Epoche, this remains the major monograph of Salomon’s work. It attests to his obsession with capturing the private moments of political and social life in Europe and America between the World Wars. Using a concealed Ermanox camera, he haunted conferences, trials, banquets, and other gatherings of the powerful. Included here are images of Winston Churchill, Herbert Hoover, Franklin D. Roosevelt, William Randolph Hearst, Marlene Dietrich, Albert Einstein, Joseph Goebbels, Benito Mussolini, and hundreds of others. Printed in high-quality gravure, with an essay on the photographer by his son, Peter Hunter-Salomon. Salomon (1886 -1944) was privileged to have the term “candid camera” reportedly coined for his type of picture making, but he had the misfortune of dying at the Auschwitz concentration camp. Cloth slightly sunned at edges, in a dust jacket with miniscule edge wear. $75

 

  1. (SALON Catalog). Eighth Annual Cincinnati Salon of Photography, Cincinnati, Ohio, 1941. Softcover, 5 7/8 x 6 inches, 28 pages, 11 halftone illustrations, with ephemera.

Sponsored by five local camera clubs and hung at the Cincinnati Art Museum, May 11-31, 1941. Includes advertisements and checklists for the accepted prints and color slides. Bernhard G. Silberstein, Cincinnati pictorialist, was one of the judges for the prints, and Harry K. Shigeta, Chicago pictorialist/professional, was on the slide jury. Laid into this copy is a sticker for the show. Faint crease to cover. $35

 

  1. (SALON Catalog). First Annual Kalamazoo International Salon of Photography, Kalamazoo (Michigan) Camera Club, 1949. Softcover, 9 x 6 inches, 26 pages, 9 halftone illustrations, with ephemera.

Exhibition seen at the Kalamazoo Institute of Arts, February 6-27, 1949. Foreword by salon committee chairman James D. Bobb, checklist, and advertisements. The jury included top pictorialists Hans Kaden and Harry K. Shigeta, who are pictured. Laid into this copy is a sticker for the show. Near fine condition. $35

 

  1. (SALON Catalog). 1949 Seattle International Exhibition of Photography, Seattle Photographic Society, 1949. Softcover, 8 ½ x 5 7/8 inches, 36 pages, 13 halftone illustrations, with ephemera.

Show presented at the Seattle Art Museum, April 6 – May 1, 1949. Includes a foreword, checklist, advertisements, and a membership list of the Seattle Photographic Society. Features illustrations by Cecil B. Atwater, Mildred Hatry, and others. Laid into this copy is a notice of prints that were selected by the art museum’s director for its permanent collection (a rare occurrence at the time). Near fine condition. $35

 

  1. SCHARF, Aaron. Pioneers of Photography, New York: Harry N. Abrams, 1976. Hardcover (gold-stamped green cloth), 11 ¼ x 9 inches, 190 pages, halftone illustrations (some in color), dust jacket.

After a general introduction, Scharf presents discrete chapters primarily on major individuals from the first half century of photography. They are William Henry Fox Talbot, Julia Margaret Cameron, Samuel Bourne, Nadar, and Eadweard Muybridge, but there are also sections on the daguerreotype, calotype, autochrome, and Camera Work. Near fine condition. $35

 

  1. SEYMOUR, Daniel. A Loud Song, New York: Lustrum Press, 1971. Softcover, 10 x 10 inches, 60 pages, halftone illustrations.

Danny Seymour’s poignant, personal visual poem of casual photographs and handwritten text. One of Lustrum’s first publications and an early example of the autobiographical photobook. Includes pictures of family members such as his mother, Isabella Gardner II (of the wealthy Boston family), and friends like Robert Frank and actress Jessica Lange. Seymour wrote in the introduction that he considered the book as something of a “storyboard for a movie. It is an attempt to survive—to preserve my identity.” Unfortunately, the last picture shows the author getting ready to shoot heroin. Printed in an edition of five thousand copies. Seymour (born 1945) helped fund Ralph Gibson’s Lustrum Press, and make photographs and films from the 1960s until his mysterious disappearance in 1973. Mint condition, in shrink wrap. $350

 

  1. SHECKELL, Thomas O. Trees: A Pictorial Volume for Lovers of Nature, New York: Frederick A. Stokes, 1936. Hardcover (gold and green-stamped green cloth), 10 x 8 inches, unpaginated, 82 halftone illustrations, dust jacket.

Images of trees from all seasons and many locations throughout the United States, paired with Sheckell’s short descriptive and emotive text. In the foreword, he states, “As long as I can remember I have been impressed with the form and beauty of trees, and it is not strange that I have for many years made portraits of them with my camera. I have sought always the pictorial effect rather than the mere recording of botanical details.” This book was favorably reviewed in photographic periodicals and the January 10, 1937, issue of the New York Times Book Review. Thomas O. Sheckell (1883 -1943) was a prominent pictorialist from the 1930s until his early death, specializing in tree and landscapes photographs. Inscription and former owner’s name on the front free endpaper, the price-clipped dust jacket is torn, worn, and creased. $35

 

  1. SHIGETA, Harry K. Harry K. Shigeta: Life and Photographs, Ueda, Japan: Ueda City Board of Education, 2003. Softcover, 11 5/8 x 8 5/8 inches, 72 pages, 60 halftone illustrations (some in color).

This is one of only two monographs on this leading Chicago photographer, covering his life and work as both a pictorialist and professional. Reproduces his creative nudes, still lifes, and landscapes images, plus examples of his commercial output, primarily color photographs of food, his specialty. The text is by Yuko Fukishiro, most of it bilingual in Japanese and English. Shigeta (1887-1963) was born in Japan, came to this country as a teenager, and was successful as a pictorial and commercial photographer during the 1920s to 1940s. Fine condition. $35

 

  1. SIPLEY, Louis Walton. A Half Century of Color, New York: Macmillan, 1951. Hardcover (blue, red, gold, and silver-stamped black cloth), 10 ¼ x 8 inches, 216 pages, halftone illustrations (some in color), dust jacket, with ephemera.

The groundbreaking history of color photography by Dr. Sipley, the director of Philadelphia’s American Museum of Photography. Features innovative fashion pictures by the likes of Erwin Blumenfeld, Horst P. Horst, and Edward Steichen. Sipley covers the invention and development of many color processes, but also devotes much text to methods of photomechanical reproduction in color. Pioneering photographers, engravers, and printers all receive his attention. The book includes many color inserts, such as a five-panel fold out comparing letterpress, offset lithography, and gravure, and an actual Pavelle color print, found in an envelope between pages 158 and 159 (sometimes missing). Laid into this copy is the 24-page catalog for a show of the same title that was presented at four American venues. Near fine, in price-clipped dust jacket with the price cancelled and a few creases. $95

 

  1. SISKIND, Aaron. John Krich, Chicago Is, San Francisco: Eureka Editions, c. 1984. Hardcover (white-stamped gray cloth), 8 ¾ x 10 inches, 56 pages, 6 duotone illustrations, dust jacket. Original signed drypoint by Krich.

This curious Siskind item includes six of his pictures of abstract surfaces and architectural facades, mostly from the 1950s. The book was originally published in Italy in 1976, with a foreword by Studs Terkel and Krich’s stream-of-consciousness text about Chicago, but without Siskind’s images. Subsequently, eighty sets of the nicely letterpress-printed sheets were combined with Siskind’s reproductions, making the present, very limited edition of 80. In addition, this copy has bound into it an original drypoint by Krich, depicting a Chicago Cubs baseball player, from an edition of only ten. Near fine condition, in a dust jacket with minor edge wear and sunned spine. $125

 

  1. SISKIND, Aaron. Places: Aaron Siskind Photographs, New York: Light Gallery, 1976. Hardcover (silver-stamped gray cloth), 11 ¾ x 11 inches, 112 pages, 99 duotone illustrations, dust jacket, with ephemera.

Contains then new work dating from the mid-1960s to 1975. Siskind’s classic abstract images, with a section of about thirty as an homage to his painter friend, Franz Kline. Introductory essay by the art critic Thomas B. Hess and printed in an edition of 7,500 copies (hard and soft). Laid into this copy is an announcement for the book from Light Gallery. One corner bumped, in a dust jacket that is lightly rubbed and edge worn. $125

 

  1. SISKIND, Aaron. Carl Chiarenza, Aaron Siskind: Pleasures and Terrors, Boston: New York Graphic Society, and Center for Creative Photography, Tucson, 1982. Hardcover (silver-stamped maroon cloth), 11 ¼ x 9 ½ inches, 284 pages, 272 halftone illustrations, dust jacket. Signed by Chiarenza and Siskind.

This remains the major scholarly volume on Siskind, written by photographer/historian Carl Chiaraenza and published a decade before the photographer died. Covers Siskind’s life and photographs, decade by decade, beginning in the 1930s. In addition to largely photographing abstract surfaces such as walls and torn billboards, he worked in Harlem in the 1930s and shot divers in mid-air in the 1950s (calling that series “Pleasures and Terrors of Levitation”). This copy signed by both Chiarenza and Siskind. Near fine condition, in a bright dust jacket (the spine of which is usually sunned). $250

 

  1. SMITH, W. Eugene. “Nurse Midwife Maude Callen Eases Pain of Birth, Life and Death,” in Life, December 3, 1951.

This is one of Smith’s most noted photographic essays for Life magazine. In over two dozen images, he sensitively shows Callen on her sixteen-hour days, delivering children, nursing adults, giving shots, and conducting clinics. One of only nine nurse midwives in South Carolina, she acted as doctor, dietician, psychologist, and friend to thousands of patients. Cover has light edge wear and mailing label. $25

 

  1. SMITH, W. Eugene and Aileen M. Minimata, New York: Holt, Rinehart and Winston, 1975. Hardcover (white and blind-stamped red leatherette), 11 ¾ x 9 ¾ inches, 192 pages, halftone illustrations, dust jacket.

This was Smith’s last major project before he died three years later and is his most searing. It documents individual residents of the southern Japanese fishing town of Minimata, where a chemical plant dumped mercury into the water. People died and many children were born severely deformed, among them Tomoko Uemura, whose image being bathed by her mother is the book’s signature picture. The husband/wife team also photographed protests, and other events related to the chemical company. Ends with a chilling ten-page medical report on the mercury poisoning. Near fine condition, in dust jacket with a tape-repaired tear. $150

 

  1. SMITH, W. Eugene. Let Truth be the Prejudice: W. Eugene Smith: His Life and Photographs, New York: Aperture, 1985. Hardcover (red-stamped gray cloth), 13 ¼ x 10 ¼ inches, 238 pages, halftone illustrations, dust jacket.

Contains work from all of the great photojournalist’s projects, among them World War II, Albert Schweitzer, Pittsburgh, and Minimata. Includes the biographical essay, “The Wounded Angel,” by award-winning author Ben Maddow. Mint condition, in shrink wrap. $75

 

  1. SNYDER, Joel, and Doug Munson, The Documentary Photograph as a Work of Art: American Photographs, 1860-1876, Chicago: David and Alfred Smart Gallery, University of Chicago, 1976. Softcover, 11 ½ x 10 inches, 50 pages, 12 halftone illustrations.

Catalog for a smart show at the University of Chicago’s Smart Gallery. Includes essays by John Cawelti, Alan Fern, Munson, and Snyder. Comprises the kind of well-seen nineteenth-century landscape work that has now been accepted by museums as art. In addition to some from unknown practitioners, the illustrations are by such big names as George N. Barnard, John H. Hillers, William Henry Jackson, Timothy H. O’Sullivan, Andrew Joseph Russell, and Carleton E. Watkins. Near fine condition. $35

 

  1. SOMMER, Giorgio. Adam D. Weinberg, The Photographs of Giorgio Sommer, Rochester, New York: Visual Studies Workshop, 1981. Softcover, 8 ¾ x 6 inches, 56 pages, 26 halftone illustrations, with ephemera. Signed by Weinberg.

This, the first monograph on the nineteenth-century Italian photographer, was Weinberg’s master’s thesis. Weinberg, who is now the director of New York’s Whitney Museum of American Art, examines Sommer’s German heritage, his studio’s style, his casting business, and his costume and documentary photographs. He also includes a chronology and an index of Sommer’s work in public collections. Giorgio Sommer (1934 -1914) was a leading photographer for the Italian tourist trade and was most known for his images of Naples and Pompeii. Laid in is a sheet listing twenty extra catalog entries and a card indicating this was a complimentary copy from the author. This copy signed by Weinberg. Fine condition. $25

 

  1. STEICHEN, Edward. Carl Sandburg, Steichen the Photographer, New York: Harcourt, Brace and Co., 1929. Hardcover (gold-stamped black cloth), 12 ½ x 9 ¾ inches, unpaginated, halftone illustrations. Signed by Sandburg and Steichen.

This is still the most desirable book on Steichen, despite the fact that it illustrates only a portion of his long career as a painter, photographer, and curator. Poet Carl Sandburg, who happened to be Steichen’s brother-in-law, contributes a lengthy account of the photographer’s time in the worlds of artistic and commercial photography. By this point, fifty-year-old Steichen had fully embraced professional work for Condé Nast publications and the J. Walter Thompson advertising firm, allowing but a single image from his early days as a pictorialist to appear in the book (his portrait of banker J. Pierpont Morgan). The cloth has minor rubbing and scuffing (primarily on the back) and one lightly bumped corner, with a small stain on the fore-edge. Issued without a dust jacket, missing the rare black slipcase. The entire edition of 925 copies was signed by both Sandburg and Steichen; this one is numbered 472. $3,000

 

  1. STEICHEN, Edward. A Life in Photography, London: W. H. Allen, 1963. Hardcover (gold-stamped black cloth), 11 ½ x 10 inches, unpaginated, 249 screen-gravure illustrations (some in color), dust jacket. Stated first edition.

An even-handed, autobiographical look at the great American photographer’s long career, published ten years before he died. Steichen begins with his apprenticeship as a printer in Milwaukee, moves through his time as a painter and pictorialist in Paris, his association with Alfred Stieglitz and modern art, and then his photographs from World War I, fashion, theater, advertising, portraiture, World War II, and late color work. He also covers his time as a curator at the Museum of Modern Art, where his most important contribution was the wildly popular 1955 show, “The Family of Man.” Well illustrated in high-quality gravure. Doubleday published an American edition, also in 1963, but soon dispensed with the distinctive printed endpapers and color illustrations. One corner lightly bumped, the dust jacket has a little wear and a few tears. $95

 

  1. STEICHEN, Edward. Dennis Longwell, Steichen: The Master Prints, 1895-1914: The Symbolist Period, New York: Museum of Modern Art, 1978. Hardcover (gold-stamped brown cloth), 11 ¼ x 9 ¼ inches, 180 pages, 80 halftone illustrations (some in color), dust jacket.

This elegantly designed and printed book was the first to focus on Steichen’s pictorial work and cast it in the light of the European decadent movement of Symbolism. Longwell analyzes the technique, motifs, and sensibility of the photographer’s highly refined portraits, still lifes, and landscapes. Near fine condition, in price-clipped dust jacket. $95

 

  1. STIEGLITZ, Alfred. Herbert J. Seligmann, Alfred Stieglitz Talking: Notes on Some of His Conversations, 1925-1931, New Haven, Connecticut: Yale University Library, 1966. Hardcover (gold-stamped black cloth), 9 ¼ x 6 ¼ inches, 150 pages, original glassine jacket.

Herbert J. Seligmann was an American poet and critic who became friends with Stieglitz and spent time with him at his galleries, An Intimate Gallery and An American Place. This book recounts conversations that Stieglitz had with Seligman and others. Big Al’s wide-ranging comments were usually sparked by exhibitions of work by three artists in his stable: Arthur G. Dove, John Marin, and Georgia O’Keeffe. Fine condition, in lightly chipped jacket. $65

 

  1. STIEGLITZ, Alfred. Georgia O’Keeffe: A Portrait by Alfred Stieglitz, New York: Metropolitan Museum of Art, 1978. Hardcover (black-stamped white and gray cloth), 14 ¼ x 11 inches, unpaginated, 51 duotone illustrations, dust jacket, in original slipcase.

A resonant selection, dating from 1917 to 1933, of Stieglitz’s images of his young wife, making his point that a true portrait comprised not one photograph but a series that shows many aspects of the subject. In addition to O’Keeffe’s face, he captured her paintings, her automobile, and her neck, hands, and torso. They are richly reproduced by the Meriden Gravure Company, along with O’Keeffe’s commentary printed in letterpress, making for a splendid production. Fine condition, in shrink wrap. $150

 

  1. STIEGLITZ, Alfred. Alfred Stieglitz and An American Place, New York: Zabriskie Gallery, 1978. Softcover, 9 ½ x 7 inches, 8 pages, 6 halftone illustrations.

Catalog for an exhibition on the gallery, An American Place, that Stieglitz ran from 1929 to 1946, the year of his death. In addition to the reproductions, it includes an introduction by Doris Bry and a checklist of work by Ansel Adams, Eliot Porter, Paul Strand, Stieglitz, Charles Demuth, Arthur G. Dove, Marsden Hartley, John Marin, and Georgia O’Keeffe. Fine condition. $25

 

  1. STIEGLITZ, Alfred. Weston J. Naef, The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography, New York: Metropolitan Museum of Art and Viking Press, 1978. Hardcover (gold-stamped brown cloth), 10 ½ x 9 inches, 530 pages, halftone illustrations, dust jacket. Signed by Naef.

This is the massive catalog of the Met’s Stieglitz collection of 580 photographs by other pictorialists, many of them reproduced. Includes Naef’s in-depth essay on the pictorial movement, detailed information about the photographers in the collection and their pieces, and an extensive bibliography. Still a major reference book. This copy signed by Naef. Near fine condition. $85

 

  1. STODDARD, Seneca Ray. Maitland C. De Sormo, Seneca Ray Stoddard: Versatile Camera-Artist, Saranac Lane, New York: Adirondack Yesterdays, 1972. Hardcover (gold-stamped rust cloth), 10 ½ x 7 ¾ inches, 192 pages, halftone illustrations, dust jacket.

The first monograph on the photographer, providing a biography and analysis of his pictures. While Stoddard traveled to Europe and the American West, he was most accomplished photographing New York’s Adirondack Mountains, which he helped popularize. Working in the late-nineteenth and early-twentieth century, he turned his camera on the region’s tourists, lodges, lakes, and landscape. Stoddard (1844 -1917) was also a writer, cartographer, and outdoorsman. Miniscule wear to cloth tips and jacket edges. $35

 

  1. STRAND, Paul. Claude Roy, La France de Profil, Lausanne, Switzerland: Éditions Clairefontaine, 1952. Softcover, 11 x 8 ¾ inches, 128 pages, screen-gravure illustrations, dust jacket.

This is French poet Claude Roy’s and Strand’s sensitive evocation of small-town and rural life in France at the middle of the twentieth century. It features photographs of people, architecture, and the landscape, richly rendered in gravure. Roy’s text sometimes reproduces his handwriting and becomes a playful graphic design element. Text in French. The dust jacket has light edge wear. $500

 

  1. SUDEK, Josef. Lubomir Linhart, Josef Sudek: Fotografie, Prague, Czechoslovakia: Státní Nakladatelství Krásné Literatury, Hudby a Uméní, 1956. Hardcover (black-stamped cream cloth), 9 ½ x 6 7/8 inches, unpaginated, 232 screen-gravure illustrations, dust jacket, with ephemera.

This dense book features Linhart’s text and a rich selection of images, made between 1915 and 1954 and printed in high-quality gravure, by the Czech Republic’s most famous photographer. Features his landscapes, portraits, still lifes, cityscapes, and a few fold-out panoramas. The cloth and dust jacket sport Sudek’s name nicely designed in a block of modernist type. This title was actually a book-club item, not available in stores, and printed in the surprisingly large edition of thirty thousand copies. Nonetheless, it is not common in the West and remains the most preferred book on him. Laid into this copy is an original book club slip. Bottom of spine lightly bumped, in the fragile dust jacket that is darkened, edge worn, and torn. $600

 

  1. SZARKOWSKI, John. The Face of Minnesota, Minneapolis: University of Minnesota Press, 1958. Hardcover (pictorial cloth), 10 ¼ x 7 ½ inches, 304 pages, 203 halftone illustrations (some in color), dust jacket. Signed by Szarkowski.

This book was published on the occasion of the centennial of Minnesota statehood in 1958. Szarkowski had been the staff photographer at the Walker Art Center (Minneapolis) and was soon to become curator of photographs at New York’s Museum of Modern Art. He arranged his photographs and text about Minnesota’s people, places, and events, in four groups; the setting of the state’s story, settlement and life on the land, social institutions, and commerce. Not surprisingly, his photographic style is decidedly straightforward, the aesthetic he persistently championed at MOMA. Reportedly, the first edition consisted of ten thousand copies and the 1964 reprint was 4,000. Laid into this copy is the text of the 1956 memorandum of agreement between the author and the publisher. This copy boldly signed on the front free endpaper by Szarkowski. Light edge wear to boards, in a dust jacket that is lightly chipped, torn, and edge worn. $75

 

  1. SZARKOWSKI, John. The Photographer’s Eye, New York: Museum of Modern Art, 1966. Hardcover (black-stamped tan cloth), 9 ¼ x 8 ¾ inches, 156 pages, screen-gravure illustrations, dust jacket, with ephemera.

Curator Szarkowski’s influential investigation of “what photographs look like, and why they look that way.” He provides a short introduction and five groups of photographs from the previous hundred years. “The Thing Itself” includes work by Maxime Du Camp and Julia Margaret Cameron; “The Detail” pictures by Eugene Atget and Walker Evans; “The Frame” work by Jacques Henri Lartigue and Elliott Erwitt; “Time” photographs by Eadweard Muybridge and Harold Edgerton; and “Vantage Point” pictures by Bill Brandt, Robert Frank, and Lee Friedlander, all of them in rich gravure. Laid into this copy is the New York Times obituary for Szarkowski (July 9, 2007, on original newsprint). Near fine condition, in price-clipped dust jacket that is lightly edge worn, scuffed, and missing a few small pieces. $50

 

  1. TALBOT, William Henry Fox. Gail Buckland, Fox Talbot and the Invention of Photography, Boston: David R. Godine, 1980. Hardcover (gold and blind-stamped black cloth), 11 x 10 ¼ inches, 216 pages, halftone illustrations, dust jacket. Stated first edition, signed by Buckland.

Gail Buckland, former curator at the Royal Photographic Society, provides a thorough account of the beginnings of photography in England. She covers Talbot’s finding of the latent image, his earliest fixed images, the events of the “discovery” year 1839, and “The Pencil of Nature,” the first book illustrated with original photographs. This copy signed by the author on the title page. Fine condition, in price-clipped dust jacket. $75

 

  1. TELBERG, Val. Anais Nin, House of Incest, Chicago: Swallow Press, 1961. Softcover, 8 x 5 3/8 inches, 72 pages, 9 halftone illustrations.

French-born Anais Nin was heralded as a diarist and writer of erotic literature. House of Incest, initially published in 1936 as her first book of fiction, was told from the writer’s subconscious, as she tried to escape from a dream in which she was trapped. Telberg’s photomontages were well paired with the surrealistic text; they show female figures superimposed with architectural interiors or natural subjects such as water and clouds. It seems that Telberg’s imagery appeared with only the 1958 and 1961 Swallow Press printings of the book. Russian-born Vladimir Telberg-von-Teleheim (1910 -1995) was known for his multiple imagery, often making montaged, solarized, and kaleidoscopic photographs. Light edge wear to covers. $35

 

  1. THOREK, Max. Creative Camera Art, Canton, Ohio: Fomo Publishing Co., 1937. Hardcover (three-dimensional black cloth, printed in white and maroon), 11 ¼ x 8 7/8 inches, 156 pages, halftone illustrations.

This is one of the most significant books on pictorialism between the World Wars. In it Thorek presents sound technical advice on everything from exposure to print finishing. He also freely expresses his strong opinions about photography and art, railing against purists and modernists. It includes examples of his figure studies, portraits, landscapes, and the flamboyant, confrontational nudes at which he excelled. Dr. Max Thorek (1880 -1960), a renowned Chicago surgeon, was a major American pictorialist during the 1930s and forties, extensively exhibiting heavily manipulated prints from paper negatives. Lacking the rare dust jacket. One corner lightly bumped, the endpapers, with a previous owner’s inscription, are browned (as is usual). $75

 

  1. TROTH, Henry. Sidney Lanier, Hymns of the Marshes, New York: Charles Scribner’s Sons, 1907. Hardcover (blue and gold-stamped green cloth), 64 pages, 1 photogravure and 12 halftone illustrations.

Issued without a dust jacket but with a nice spine and cover design, this book includes long poems by Lanier on sunrise, sunset, individuality, and the marshes of Glynn. Troth photographed near Brunswick, Georgia, the site of Lanier’s inspiration, to produce pleasing renditions of the area’s water, weeds, and trees. The photogravure frontispiece has a tissue guard and the halftones have embossed borders to suggest plate marks. Henry Troth (1863 -1948), a prominent member of the Photographic Society of Philadelphia around the turn of the twentieth century, was a naturalistic, pictorial, and professional photographer who specialized in outdoor work. Miniscule wear to tips and minor spot and ink loss on cover. $50

 

  1. TURBEVILLE, Deborah. Wallflower, New York: Congreve, 1978. Hardcover (printed paper over boards), 12 ¼ x 9 1/8 inches, unpaginated, halftone illustrations (some in color), dust jacket. Stated first edition.

A cinematic series of pictures of women, softly focused and occasionally presented as 35-mm contact sheets. The subjects sometimes wear high fashion and inhabit spacious interiors. Deborah Turbeville (born 1938) worked for many years, starting in the 1960s, as a fashion photographer for such magazines as Vogue and Harper’s Bazaar. Near fine condition, except for one lightly bumped corner. $50

 

  1. TWICE A YEAR. Edited by Dorothy Norman and published in New York. Numbers I – XIV/XV (Fall-Winter 1938 to Fall-Winter 1946-47).

Complete run of fifteen numbers in nine issues. Self-described as “A semi-annual journal of literature, the arts and civil liberties.” Issues measure about 9 ¼ x 6 ¼ inches, and feature the name of the journal in facsimile of Alfred Stieglitz’s handwriting. This was an important periodical, to which Stieglitz frequently contributed images and text. Includes an original photograph by Todd Webb, with ephemera. The photographic contents and condition of each issue are as follows:

  1. Four collotypes by Stieglitz: “Mountain and Sky, Lake George,” “New York: Series 7, Number 7,” “The Ragpicker, New York,” and “Carhorses, New York” [“The Terminal”]. Article by Dorothy Norman, “From the Writings and Conversations of Alfred Stieglitz.” This is the first edition of this issue; the second printing rendered Stieglitz’s images in inferior halftone. Softcover, scuffed and edge worn, with one tear.
  2. Halftone by Eliot Porter, [baby sleeping]. Article by Dorothy Norman, “A Note on the Reproduction of a Photograph by Eliot Porter.” Hardcover, in rubbed dust jacket.

III-IV. No photographic contents. Hardcover, in dust jacket with a few chips.

V-VI. Two halftones by Dorothy Norman: “Alfred Stieglitz, Profile,” and “Alfred Stieglitz in Black Cape.” Halftone by Wright Morris, “White House.” Article by Stieglitz, “Ten Stories.” Article by W. B. Bryan, “Stieglitz.” Hardcover, in dust jacket with two tears.

VII. Halftone by Ansel Adams, “Photograph, 1940.” Hardcover, in dust jacket with miniscule edge wear.

VIII-IX. Two halftones by Stieglitz: “Equivalent, Series 107-a,” and “Equivalent, Series 107-d.” Seven articles by Stieglitz: “Why I Got Out of Business,” “The Origin of the Photo-Secession and How it Became 291,” “How The Steerage Happened,” “The Magazine 291 and The Steerage,” “Four Marin Stories,” “Three Parables and a Happening,” and “Replies to Officialdom.” Article by Carl Zigrosser, “Alfred Stieglitz.” Article by Henry Miller, “Stieglitz and Marin.” Hardcover, in dust jacket with one corner bumped.

X-XI. Original, tipped-in gelatin silver print by Todd Webb (printed by Margarethe Wurst), [black boy]. Four articles by Stieglitz: “Thoroughly Unprepared,” “Is it Wastefulness or is it Destruction?” “The Scissors Grinder,” and “Random Thoughts—1942.” Hardcover, in lightly edge worn and soiled dust jacket.

XII-XIII. Two halftones by Ansel Adams: “Tree and Snow,” and “Children of Shipyard Workers.” Halftone by U. S. Signal Corps, “Prisoners Murdered by the Nazis.” Three halftones by unknown photographer, all titled “Georgia Convict Camp.” Hardcover, in dust jacket. Near fine condition.

XIV-XV. Halftone by Stieglitz, “Equivalent.” Halftone by Todd Webb, “An American Place.” Seven halftones by John Heartfield: “Fathers and Sons,” “Moments of Fascist Glory,” “China, the Giant, Awakes, Woe to the Invader,” “The Old Slogan in the New Reich: Blood and Iron,” “He Swallows Gold and Talks Lead,” “The Pillars of Society in the League of Nations,” and “That’s the Blessing of the Nazi Salute.” Article by Alfred Stieglitz, “Six Happenings.” Article by Paul Rosenfeld, “Alfred Stieglitz.” Hardcover, in dust jacket with two tears, creases, and small stains.

Accompanying this set is a prospectus for the periodical. The full run: $1,000

 

  1. UNTITLED. Published by the Friends of Photography, Carmel, California, and San Francisco. Numbers 1-58 (1972 -1987).

A complete run of 58 numbers in 56 issues. An important periodical of the time, usually focusing on a theme or single photographer. Note that this set contains some signed and unopened issues (indicated below). The contents are as follows:

1: Edward Weston (signed by editor Fred Parker). 2/3: Miscellaneous. 4: Anthony Hernandez and Joseph Jachna. 5: Bullock, Kertész, Heinecken, and Rauschenberg. 6: Miscellaneous. 7/8: On Change and Exchange. 9: Electronic Imaging. 10: Nancy Newhall. 11: Emerging Los Angeles Photographers. 12: Albert Renger-Patzsch. 13: Don Worth. 14: Miscellaneous. 15: Jerome Liebling. 16: Ansel Adams. 17: Francis Frith and Jane Reese Williams. 18: Robert Cumming (signed letter laid in). 19: Vilem Kriz. 20: Ruth Bernhard. 21: Diana Camera. 22: Edmund Teske. 23: 9 Critics 9 Photographs (signed by Roger Mertin, Arthur Ollman, Olivia Parker, and Eugene Richards). 24: New Landscapes. 25: Discovery and Recognition. 26: John Pfahl. 27: Roy DeCarava. 28: Marsha Burns (shrink wrapped). 29: Wright Morris. 30: The Contact Print, 1946-1982. 31: Nicholas Nixon. 32: Mario Giacomelli (letter signed by editor James Alinder laid in). 33: Samuel Bourne (signed by author Arthur Ollman). 34: Marion Post Wolcott. 35: Observations: Essays on Documentary Photography. 36: Harry Callahan. 37: Ansel Adams. 38: Todd Walker (shrink wrapped). 39: Mary Ellen Mark. 40: Don Worth. 41: Edward Weston. 42: Eikoh Hosoe (signed letter laid in). 43: Light Years: Friends of Photography, 1967-1987. 44: Olivia Parker (shrink wrapped). 45: Judith Golden (inscribed). 46: Frank Gohlke (signed). 47: Michael Kenna. 48: Close to Home: Seven Documentary Photographers. 49: Aaron Siskind. 50: Holly Roberts. 51: Walker Evans and William Christenberry. 52: Reagan Louie (signed). 53: Zeke Berman. 54: Lorna Simpson. 55: Ansel Adams (shrink wrapped). 56: Special Collections: the Photographic Order from Pop to Now. 57: Albert Chong. 58: Joel Sternfeld “American Propsects” (shrink wrapped).

All in very good to fine condition. This is a very desirable run, given its condition and the signatures. $1,250

 

  1. VANDERPANT, John. Charles C. Hill, John Vanderpant: Photographs, Ottawa: National Gallery of Canada, 1976. Softcover, 9 ½ x 8 ½ inches, 96 pages, 56 halftone illustrations.

This is the first monograph on Vanderpant, one of the few Canadian pictorialists to achieve international fame. It includes a remembrance by the son of a painter friend of the photographer’s and Hill’s biographical essay. Vanderpant’s pictures from the 1920s were largely soft-focus urban scenes, while in the thirties he added still lifes and took a more modernist approach. John Vanderpant (1884 -1939) was born in the Netherlands, moved to Canada in 1911, and from the mid-1920s was prominent in the Vancouver art scene, operating a studio and making creative photographs until his death. Bilingual text in French and English. Spine lightly rubbed. $25

 

  1. VAN DER ZEE, James. The Harlem Book of the Dead, Dobbs Ferry, New York: Morgan and Morgan, 1978. Hardcover (gold-stamped leatherette), 10 ¾ x 9 ¼ inches, 86 pages, halftone illustrations, dust jacket.

Funerary images, primarily of bodies in open caskets, by the great black Harlem photographer. Some of them include mourners and text or heavenly imagery superimposed, and there are a few of parents holding their deceased children. Simultaneously chilling and intriguing, it is a great sociological study of customs, clothing, and interior design. The pictures are paired with short verse and prose, usually in the fictional first-person voice of the deceased, presumably written by Owen Dodson and Camille Billops, Van Der Zee’s collaborators on the project. Excerpts from an interview with the photographer are included, as is a foreword by Toni Morrison. Light wear to tips, dust jacket with a few scuffs and a small tear. $125

 

  1. WARHOL, Andy. Andy Warhol Nudes, Woodstock, New York: Overlook Press, 1995. Hardcover (paper over boards), 12 x 9 ¾ inches, 64 pages, 53 halftone illustrations (some in color).

This book, issued without a dust jacket, was published on the occasion of an exhibition at the Robert Miller Gallery, New York. It includes the essay, “Sex is so Abstract,” by art historian Linda Nochlin. Warhol’s images, primarily of men, include drawings from the 1950s, 1970s, and 1980s, and silkscreen paintings (of the 1970s), made from photographs. Mint condition, in shrink wrap. $35

 

  1. WATKINS, Carleton E. Peter E. Palmquist, Carleton E. Watkins: Photographer of the American West, Albuquerque: University of New Mexico Press, 1983. Hardcover (gold-stamped rust cloth), 9 ¼ x 12 3/8 inches, 236 pages, halftone illustrations, dust jacket. Stated first edition, signed by Palmquist.

A comprehensive book on the master nineteenth-century landscape photographer. Published on the occasion of an exhibition organized by the Amon Carter Museum (Fort Worth, Texas), with a foreword by curator Martha A. Sandweiss. Covers all his major bodies of work, such as San Francisco, Yosemite Valley, and Oregon’s Columbia River. Details Watkins’s published work and collections. This copy signed by Palmquist. Fine condition. $95

 

  1. WATSON-SCHUTZE, Eva. Jean F. Block, Eva Watson Schütze: Chicago Photo-Secessionist, University of Chicago Library, 1985. Softcover, 11 x 8 ½ inches, 42 pages, 20 halftone illustrations.

This publication, issued on the occasion of a show at the library, is the only one devoted exclusively to Watson-Schütze’s work. Block’s essay covers the photographer’s life and work, with a note on her evolving signature. The illustrations are all portraits of known Chicago figures, including her husband, educator John Dewey, and reformer Jane Adams. Watson-Schütze (1867-1935) ran a portrait studio in Philadelphia but relocated to Chicago in 1901 when she married. She was a founding member of Alfred Stieglitz’s Photo-Secession group and had two of her images appear as photogravures in Camera Work. Fine condition. $35

 

  1. WEBB, Todd. Gold Strikes and Ghost Towns, Garden City, New York: Doubleday, 1961. Hardcover (gold-stamped black cloth), 10 ½ x 7 ¼ inches, 160 pages, halftone illustrations, dust jacket. Inscribed by Webb.

Webb provides both the text and the pictures for this little volume on Western Americana, his first book. He tells the stories of famous gold, silver, and copper strikes and the colorful individuals who participated in the rush at the middle nineteenth century. Photographing in California and four other states, he presents the remaining vernacular architecture of towns with drastically reduced populations, such as Virginia City, Cripple Creek, and Rough and Ready. Webb (1905 -2000) actually prospected for gold himself at an early age. Later, he photographed for Fortune magazine and during the 1940s and 1950s his personal work comprised mostly street scenes in New York and Paris, both places he lived. This copy inscribed by Webb. Spine bottom bumped with light edge wear, the price-clipped dust jacket has a crease through the center, edge wear, and scuffing. $75

 

  1. WEGMAN, William. Lisa Lyons and Kim Levin, Wegman’s World, Minneapolis: Walker Art Center, 1982. Softcover, 9 ½ x 9 ½ inches, 80 pages, halftone illustrations (some in color), with ephemera.

Exhibition catalog for a retrospective of Wegman’s photographs, drawings, and videos. Many of the pieces use his pet Weimaraner dog, Man Ray, the work for which he is best known. Laid into this copy is the show’s checklist of 167 items. Near fine condition. $35

 

  1. WEINBERG, Adam D. On the Line: The New Color Photojournalism, Minneapolis: Walker Art Center, 1986. Hardcover (white and blind-stamped black cloth), 9 ¾ x 10 inches, 80 pages, 44 color illustrations, dust jacket. Signed by Weinberg.

Delineates a new generation of photographers who worked largely for magazines and newspapers, with a foreword by foreign correspondent Gloria Emerson. “Neither strictly documentary or unconditionally accepted by the art world, the vision of these men and women expressed in their work is ‘on the line,’ between ‘story,’ or meaning, and the ‘look,’ or form.” Among the dozen photographers represented are Mary Ellen Mark, Susan Meiselas, Gilles Peress, and Alex Webb. This copy signed by Weinberg. Fine condition. $75

 

  1. WEINER, Dan. Dan Weiner, 1919-1959, New York: Grossman, 1974. Hardcover (white-stamped black cloth), 8 ¾ x 7 ½ inches, 96 pages, screen-gravure illustrations, dust jacket.

Part of the International Center of Photography’s “Library of Photographers” series, it includes remembrances by playwright Arthur Miller and Weiner’s widow, plus running comments on the pictures by the photographer. Features his documentary work, made primarily during the 1950s, in America, Nova Scotia, Italy, Eastern Europe, and the Soviet Union. Dan Weiner (1919-1959), an early “concerned photographer,” was a member of the Photo League and contributed pictures to such magazines as Collier’s and Fortune. Near fine condition. $25

 

  1. WESTON, Edward. Enjoy Your Museum: Photography, Pasadena: Esto Publishing Co., 1934. Softcover, 6 ¼ x 4 ¼ inches, 16 pages, 1 halftone illustration.

A short piece written by Weston on the early years of photography, the straight approach, how he works, and “photography as expression.” Part of a series on various artistic media published by Esto. This copy has the thick gray outside covers, within which are the white paper covers with an illustration. First and last page creased, original price cancelled, and with faint stain to cover. $175

 

  1. WESTON, Edward. Merle Armitage, Fit for a King: The Merle Armitage Book of Food, New York: Duell, Sloan and Pearce, 1939. Hardcover (red-stamped black cloth), 9 ½ x 7 7/8 inches, 262 pages, 4 halftone illustrations, dust jacket.

This is a cookbook by the renowned graphic designer Merle Armitage, who had previously designed Weston’s first book and who laid out this one (with its distinct double title page). The only photographic illustrations, relegated to the rear, are by Weston, of a pepper, artichoke, eggplant, and kale, printed full-page bleed. Armitage gathered recipes from a number of sources, including Weston. The photographer contributed six examples of “outdoor cuisine” (pages 211-212), most of them relying heavily on canned food. According to the rear flap, this is the “revised edition (the first printing was exhausted a few months after publication).” Near fine condition, in a dust jacket that is not: it is browned, chipped, and separated at one edge of spine. $75

 

  1. WESTON, Edward. Edward Weston Nudes, Millerton, New York: Aperture, 1977. Hardcover (gold-stamped brown cloth), 11 5/8 x 9 ¾ inches, 120 pages, halftone illustrations, dust jacket, with ephemera.

A strong selection of Weston’s female nudes, one of his best known bodies of work. Dating from 1920 to 1945, they emphasize his classic images of the 1930s, and are interspersed with excerpts from his daybooks and letters. Includes a remembrance by Charis Wilson, long-time model and second wife, who is the subject of many of the photographs. Laid into this copy is Aperture’s announcement of the book. Near fine condition, with the previous owner’s initials and a date discretely written on the front pastedown (hidden by the jacket flap). $75

 

  1. WHITE, Clarence H. Camera Pictures, New York: Alumni Association of the Clarence H. White School of Photography, 1924. Softcover, 11 x 8 ¼ inches, 36 pages, 20 halftone illustrations.

This is the first of two annuals published by White school alumni. Henry Hoyt Moore declares in his foreword that the school “has had no small influence in raising the standards of photography and in spreading the belief, by demonstration, that it is one of the arts. The school’s alumni have been active in preaching the gospel.” The reproductions include work by Anton Bruehl, Laura Gilpin, Ira W. Martin, Doris Ulmann, and Margaret Watkins, but, undoubtedly, the most important picture is Paul Outerbridge’s “Ide Collar.” Mild cover creases and rust at the staples. $125

 

  1. WHITE, Clarence H. Camera Pictures, New York: Alumni Association of the Clarence H. White School of Photography, 1925. Softcover, 11 x 8 ¼ inches, 36 pages, 20 halftone illustrations.

The second and last annual of White school alumni, published the year of his death. Foreword by the association president, Stella F. Simon. All the reproduced pictures were included in a recent show of work by White students and alumni at the Art Center, New York. Among them were Antoinette B. Hervey, Bernhard S. Horne, and Joseph Petrocelli. Mild cover creases and rust at the staples. $75

 

  1. WHITE, Clarence H. Clarence H. White School of Photography, New York: Clarence H. White School of Photography, 1941. Softcover, 9 ¼ x 7 ¼ inches, 32 pages, 20 halftone illustrations.

This is the course catalog for the last season the White school operated, 1941-1942. It lists the board of advisors (Ansel Adams, Edward Steichen, and others), faculty members (Eliot Elisofon and others), and the administrators (including Clarence H. White, 2nd). The catalog touts the school’s physical facilities, philosophy, and describes over twenty specific classes being offered. Most of the illustrations are by former students, but there is also a 1912 portrait of White by Karl F. Struss. Near fine condition, except for light rust at the staples. $75

 

  1. WHITE, Clarence H. Marianne Fulton, Bonnie Yochelson, and Kathleen A. Erwin, Pictorialism into Modernism: The Clarence H. White School of Photography, New York: Rizzoli, 1996. Hardcover (silver and blind-stamped black cloth), 11 ¾ x 9 3/8 inches, 208 pages, halftone illustrations (some in color), dust jacket. Signed by Yochelson.

The definitive publication on the Clarence H. White School of Photography, which operated in New York from the 1910s to 1940s. Yochelson writes about White and his achievements, and Erwin addresses White’s teaching ideas and methods. Includes biographies of about fifty students of the school, among them Margaret Bourke-White, Dorothea Lange, and Paul Outerbridge, Jr. This copy signed by Yochelson. Fine condition, in opened shrink wrap. $75

 

  1. WHITE, Minor. Octave of Prayer, Millerton, New York: Aperture, 1972. Hardcover (gold-stamped maroon cloth), 10 x 8 5/8 inches, unpaginated, halftone illustrations (some in color), dust jacket.

One of Minor White’s many spiritual projects, in which he explores the capabilities and limitations of photography in terms of the traditional eight steps of the Mystic Way. The illustrations, which are completely devoid of captions, come from such figures as Manuel Alvarez Bravo, Carl Chiarenza, Josef Sudek, Jerry Uelsmann, Edward Weston, and, naturally, White himself. Near fine condition, in dust jacket with one short tear and mark to rear. $45

 

  1. WHITE, Minor, and Jonathan Green. Celebrations, Millerton, New York: Aperture, 1974. Hardcover (silver-stamped blue cloth), 10 ¾ x 9 ¼ inches, 88 pages, halftone illustrations, dust jacket.

White’s and Green’s selection of images that confirm positive elements of human life and landscape form, along with short text by them and Gyorgy Kepes. Images primarily by contemporary Americans, such as Walter Chappell, Leonard Freed, Emmet Gowin, Dennis Stock, and Max Waldman. Near fine condition. $45

 

  1. WHITE, Minor. Filippo Maggia, Minor White: Life is Like a Cinema of Stills, Milan, Italy: Baldini and Castoldi, 2000. Softcover, 9 ½ x 10 ½ inches, 168 pages, halftone illustrations. Signed by collector.

Catalog for exhibition presented in Italy and Germany, drawn from holdings of the Princeton University Art Museum, National Gallery of Canada, Howard Greenberg Gallery, and private collector Harry M. Drake. Includes biographical and critical essays by curator Maggia, and features two sequences by White and a general selection of his ethereal images. Trilingual text, in Italian, German, and English. This copy signed by lender Harry Drake. One corner bumped and one creased, in opened shrink wrap. $50

 

  1. WILCOX, Robert Gene. Judith A. Martin and Robert Silberman, The Gateway, Minneapolis: the authors, 1993. Softcover with metal spiral binding, 17 x 11 ¼ inches, 24 pages, halftone illustrations. Signed by Silberman.

This oversize volume explores the Gateway district of downtown Minneapolis that underwent urban renewal in the 1960s. Martin writes about the history and demolition of the area and Silberman places Wilcox’s photographs in the tradition of urban documentary work. Wilcox’s images provide the most significant visual record of a 25-block area that contained many once regal nineteenth-century buildings before they were razed. Includes a map of the district and many blocks systematically illustrated. The inside covers both feature a hand-cut pop-up of the famed Metropolitan Building, the centerpiece of the destroyed structures. Robert Gene Wilcox (1925 -1970) was one of Minnesota’s leading photographers during the 1960s. This is his most important body of work, drawn entirely from his archive at the Minneapolis Institute of Arts. Printed in an edition of only 375. This copy signed by Silberman. Fine condition. $95

 

  1. WILLIAMS, Jonathan. Portrait Photographs, Frankfort, Kentucky: Gnomon Press, 1979. Softcover, 8 ¼ x 7 ½ inches, 72 pages, 30 color halftones, dust jacket and glassine jacket, in original slipcase. Signed by Williams.

         This item comprises thirty color portraits by Williams of English and American authors, artists, and photographers, made mostly with a Rolleiflex in a straightforward manner. Opposite each tipped-in plate is a letterpress-printed paragraph describing the subject and the photographer’s interaction with him or her. Includes a preface by the critic/author Hugh Kenner. Among those pictured are Alvin Langdon Coburn, Allen Ginsberg, David Hockney, Claes Oldenburg, Ezra Pound, Aaron Siskind, and Minor White. Jonathan Williams (1929-2008) was a poet, writer, and photographer who published the work of avant-garde poets and other artists at his Jargon Society, in remote North Carolina. This book was issued simultaneously by Gnomon and London’s Coracle Press, in a total numbered edition of 1,800. This copy signed by Williams. Fine condition. $95

 

  1. WILLIAMS, Leonard A. Illustrative Photography in Advertising, San Francisco: Camera Craft Publishing Co., 1929. Hardcover (black and blue-stamped blue cloth), 10 3/8 x 7 inches, 96 pages, halftone illustrations. Stated first edition.

An often overlooked period volume on the subject, presumably issued without a dust jacket. It covers aesthetics, lighting, fashion, hand lettering, color, models, equipment, and the studio. The illustrations, most of them groups of ganged images, feature flapper clothing and Art Deco objects. Leonard A. Williams (? -1935), a member of both the Photographic Society of America and the Royal Photographic Society, was the director of visual and industrial education at the State Teachers College in St. Cloud, Minnesota. Two corners bumped, light edge wear and soiling. $30

 

  1. WINOGRAND, Garry. Women are Beautiful, New York: Farrar, Straus and Giroux, 1975. Hardcover (silver-stamped black cloth), 8 ¼ x 9 ¼ inches, unpaginated, halftone illustrations, dust jacket, with ephemera.

Winogrand’s important book, which drew feminist criticism for its title and voyeuristic outlook (in some people’s eyes). The renowned social-landscape photographer captures women largely walking down the street, often through a tilted viewfinder. The book begins (on the cover) and ends with the same, now iconic, image of a woman with an ice cream cone throwing her head back in laughter. Laid into this copy is the publisher’s press release for the book, calling it “an eloquently erotic statement from one of America’s foremost photographers.” Near fine condition, in lightly rubbed dust jacket with a tiny tear at top of spine. $1,250

 

  1. WINOGRAND, Garry. Public Relations, New York: Museum of Modern Art, 1977. Hardcover (gold and blind-stamped gray cloth), 8 ¾ x 11 ¾ inches, 112 pages, halftone illustrations, dust jacket.

Winogrand pursuing “the effect of the media on events,” funded with a Guggenheim fellowship. He frequented such public events as press conferences, art openings, demonstrations, and parties, to find subjects largely oblivious to his camera. With an introduction by fellow street photographer Tod Papageorge, who was the guest curator for a show of the same title at MOMA. Fine condition, in shrink wrap. $250

 

  1. WINOGRAND, Garry. Stock Photographs: The Fort Worth Fat Stock Show and Rodeo, Austin: University of Texas, 1980. Hardcover (black-stamped red cloth), 8 ¾ x 11 ¾ inches, 128 pages, 117 halftone illustrations, dust jacket.

The street photographer’s visual investigation of Fort Worth’s farm animal competition and rodeo for a few years during the mid-1970s. Often shot indoors with blaring flash, he shows the people and livestock interacting with each other, often in humorous ways. With an essay on the Southwestern Exposition and Fat Stock Show by Ron Tyler. Mint condition, in opened shrink wrap. $150

 

  1. WITKIN, Lee D. and Barbara London. The Photograph Collector’s Guide, Boston: New York Graphic Society, 1979. Hardcover (silver-stamped maroon cloth), 11 ¼ x 8 ¾ inches, 438 pages, halftone illustrations (some in color), dust jacket. Stated first edition, signed by Witkin.

This was one of the earliest authoritative reference books for serious photography collectors, co-written by the pioneering gallery owner Lee Witkin. It addresses the “art of collecting,” photographic processes, care and restoration, portfolios, and other related topics. It has extensive lists of museums, galleries, and little-known photographers and daguerreotypists. The core of the book, however, are its capsule biographies of leading figures, each of which includes a bibliography, example of their signature, and data about the availability and price of their work. This copy signed by Witkin. One corner bumped, in a dust jacket that has one tear and creases on the front. $125

 

Catalog 1 — February 2012