Catalog 6 – Sets and Runs

My family plays a card game called Monte Carlo that uses poker hands of sets and runs. A set comprises three cards of the same denomination and a run is four consecutive cards of the same suit. This catalog features books, not cards, in sets and runs. The sets are usually books that were issued together, say in a slipcase, or over time as a distinctly related group, like the four Atget books from the Museum of Modern Art in the 1980s. The runs tend to be periodicals—newsletters, magazines and annuals. I have also included multiple editions of some titles, if they are sufficiently different and of possible interest to the completist.

 

1. ABBOTT, Berenice. Berenice Abbott Photographer: A Modern Vision. Softcovers, 11 ¾ x 8 ½ inches each, in slipcase with label.

The first volume features a selection of images and essays, edited with an introduction by Julia Van Haaften, and was published by the New York Public Library in 1989. It has 96 pages and 49 halftone illustrations of portraits, New York City, science studies, and American scenes. The second, with a matching design, has essays by Naohito Okude and Michiko Kasahara (text in both Japanese and English) and was published by the Tokyo Metropolitan Museum of Photography in 1990. The 14 reproductions are after prints in the museum’s collection. While the New York Public Library catalog is common in the U.S., this boxed set is not. Near fine condition. $75

 

2. ALBUM.

This short-lived, London-based periodical was edited by Bill Jay, after he had worked at Creative Camera for two years. It lasted twelve issues, all but the last one published in 1970. Writing some years after its demise, Jay remembered, “I was in seventh heaven, collaborating with famous photographers. I was producing a magazine that I would want to buy, the only editorial policy that I ever had.” Despite glowing letters from the likes of curator Peter C. Bunnell and historian Helmut Gernsheim, subscriptions never covered the magazine’s expenses, forcing its early demise. Most issues focused on a pair of photographers.

No. 1. Bill Brandt and Eikoh Hosoe.

No. 3. Eugène Atget and Tony Ray-Jones.

No. 4. Lewis Hine and Les Krims.

No. 5. Imogen Cunningham and Emmett Gowin.

No. 6. George Eastman House collection (Gertrude Käsebier on the cover).

Group of five issues: $75

 

3. ALVAREZ BRAVO, Manuel. Revelaciones: The Art of Manuel Alvarez Bravo, San Diego: Museum of Photographic Arts, 1990.

Hardcover (black-stamped gray cloth with gelatin silver print affixed), 11 ¼ x 8 ¾ inches, 134 pages, duotone illustrations. This copy is one of a special edition, with a silver print made from a copy negative on the cover, of Alvarez Bravo’s image “The Daughter of the Dancers,” showing a woman looking in a circular window in a patterned wall.   Near fine condition, with light surface scratch to print.

Softcover, 11 x 8 ½ inches. This is the first printing of the exhibition catalog. It is distinguished by a cover reproduction and Alvarez Bravo’s name being tipped on to the cover. Features all of the photographer’s best known images, like the 1935 “Portrait of the Eternal,” picturing a woman combing her hair in a shaft of light (on the cover). Introduction by museum director Arthur Ollman and essay by Nissan N. Perez. All text bilingual in Spanish and English. This copy signed by catalog and exhibition designer Joseph Bellows, with his business card laid in. Near fine condition.

Softcover, 11 x 8 ½ inches. This is the second printing, published by the University of New Mexico Press, Albuquerque. The cover design is the same, but is fully printed, without tipped-on elements. Near fine condition. This copy inscribed by Arthur Ollman.

Education packet. Folder with materials for educators at the museums that took the show on its tour.

Group of four: $250

 

 

4. APERTURE.

         Indisputably, America’s premier photography periodical for decades, it began in 1952 under the editorship of Minor White, in Rochester, New York.

3:2 (1955). Covers “The Family of Man” and two other earlier exhibitions.

4:2, 3, 4 (1956). Frederick Sommer and photographic education.

5:1-4 (1957). Aaron Siskind, Walter Chappell, and others.

6:3 (1958). Features Paul Caponigro’s images of headstones.

8:1-4 (1960). Stieglitz monograph, abstract photography, Lange’s “Death of a Valley.”

9:1, 3, 4 (1961). Robert Frank, Walter Chappell, Wynn Bullock, and more.

10:2-4 (1962). Includes the monograph “Frederick Sommer: 1939-62 Photographs.”

11:1-4 (1964). Monographs on Barbara Morgan and Imogen Cunningham.

12:1-4 (1965). Edmund Teske and Edward Weston (Grossman) monograph.

13:1-4 (1967). Metzker, Uelsmann, Cartier-Bresson, and Caponigro monograph.

14:1-4 (1968). W. Eugene Smith monograph and “Light⁷” exhibition.

15:1-4 (1970). “Be-ing Without Clothes” show and Jerry Uelsmann monograph.

16:1-4 (1971). Edward S. Curtis monograph, Nathan Lyons, and Emmet Gowin.

17:1-4 (1972). “Octave of Prayer” show and Clarence John Laughlin monograph.

18:1-4 (1973). F. H. Evans and Meatyard monographs and “Celebrations” show.

19:1-4 (1974). “The Snapshot” and Peter Henry Emerson monograph.

This is a lengthy run, with some hard-to-find early issues and 11 compete volumes. Most in very good condition, a few in original mailing envelopes and, thus, near fine. Group of 50 issues: $1,500

 

5. APERTURE. Numbers 77-175 (1976-2004).

After the 1975 death of founding editor Minor White, Michael E. Hoffman standardized its size and began giving each issue a sequential number, instead of the previous system of four issues to a volume. Numbers 78 to 81 are hardcovers. Many 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

1. H. Cravens. The last issue offered here, #175, highlights photographs by Dona Ferrato, Doug and Mike Starn, and Paolo Woods. All in very good to fine condition. Uninter-rupted run of 98 issues: $350 (a deal, at three-and-a-half bucks each).

 

6. APPLIED PHOTOGRAPHY. Rochester: Eastman Kodak Co. Softcovers, 12 ½ x 10 inches, 32 pages, halftone illustrations.

A well-designed, oversize quarterly published by Kodak for professional industrial photographers. Its editorial note proclaimed that the magazine “turns with each issue to focus on a different phase in the cycle of production and marketing. Each time it brings into view some major business objective and shows how photography can aid in attaining it.” Only fourteen issues were published, in the early 1930s. Most of the illustrations are accomplished modernist images of machinery and mass-produced products, dramatically lit and composed. Frustratingly, none of the photographers are credited, but among the identifiable pictures are Anton Bruehl’s 1929 advertising shot of top hats lined up on shelves. It is likely that there are images here by the likes of Edward Steichen, Lejaren à Hiller, and Harry K. Shigeta.

2. Interpreting Quality, July 1931.
3. Picturing Products, September 1931.
4. Economizing Attention, November 1931.
5. Creating Interest, January 1932.
6. Contrasts, July 1933.

Light edgewear (as normal) and minor cover marks. Group of five: $150

 

7. ARETS BILDER.

Published in Stockholm, Swedish Pictures of the Year was an annual of creative photographs from Swedish contributors, first issued in 1933. Each one includes 80 rich photogravure illustrations, with technical information on the pictures. Most have a foreword by Carl-Julius Anrick and are softcovers, with the previous owner’s name on the title page. They comprise competent images of the country’s people, landscape, and built environment. The last one features a group of pictures showing a state visit by England’s Queen Elizabeth in June 1956. Minor wear to covers and one dustjacket.

1940, 1941, 1942, 1943, 1956/57.

Group of five: $50

 

8. ATGET, Eugène. John Szarkowski and Maria Morris Hambourg, The Work of Atget, New York: Museum of Modern Art. Hardcovers (gold-stamped maroon cloth), 12 x 10 ½ inches, dustjackets.

Volume I: Old France, 1981.

Volume II: The Art of Old Paris, 1982.

Volume III: The Ancien Régime, 1983.

Volume IV: Modern Times, 1985.

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: $450

 

9. AVEDON, Richard. James Baldwin, Nothing Personal.

1964, New York: Atheneum Publishers. Hardcover (black and silver-stamped white paper over boards), 14 ½ x 11 inches, unpaginated, screen-gravure illustrations, slipcase. A simultaneous portrait, in words and photographs, of the United States during the troubled mid-1960s. Time magazine characterized it as a “chilling, engrossing masterpiece.” It features many of Avedon’s now iconic studio portraits, with a few gatefolds, of such figures as governor George Wallace, president Dwight D. Eisenhower, and Marilyn Monroe. But the book also includes groups of images he made of patients at a mental institution and people on the beach, both rendered, uncharacteristically, grainy and impressionistic. Tiny wear to top and bottom of spine, in original slipcase that has scratching, rubbing, and minor wear.

1965, New York: Dell. Softcover, 9 ½ x 7 inches, unpaginated, halftone illustrations.     With ephemera. This is a drastically reduced version of the original, above, smaller in size and much poorer in reproduction quality. The cover proudly proclaims, “The complete $12.95 volume for $1.50.” While Dell obtained permission from the original publisher to issue this, they did not think to request Avedon’s approval. In 1989, when I sent this copy to Avedon for his signature, he responded with a typed, signed letter stating, “I cannot bring myself to sign your paperback of Nothing Personal. It was done without my permission, terribly printed and engraved, with no foldouts for the wedding pictures. It hurts my heart every time I see it.” A very revealing letter, laid in, with original envelope.

Pair: $350

 

10. AVEDON, Richard. Eye of the Beholder: Photographs from the Collection of Richard Avedon, San Francisco: Fraenkel Gallery, 2006. Softcovers, 9 x 4 inches, duotones illustrations, slipcase. With ephemera.

This set was published a few years after Avedon’s death and accompanied an exhibition seen at both the Fraenkel Gallery and New York’s Pace/MacGill. Gallery owner Jeffrey Fraenkel observes that “Richard Avedon knew a good photograph when he saw one. Though he was far more interested in making pictures than collecting them, he lived surrounded by photographs of every kind, from the exalted to the unknown.” Laid in is a complimentary card from Fraenkel and the New York Times review of the show at Pace/MacGill, on original newsprint.

1. Diane Arbus. Includes 12 reproductions: Arbus’ only portfolio, “A Box of Ten Photographs,” plus two additional prints by her. Avedon was friends with Arbus and was the first to purchase a copy of the portfolio.
2. The Countess de Castiglione. Features 16 images of one of the most beautiful woman of the 1860s. Made by Pierre-Louis Pierson, they include the famous one of her holding an oval picture mat over her eye.

III. Peter Hujar. Comprises 8 portraits by Hujar, part of New York’s artistic underworld during the 1980s.

1. Irving Penn. Reproduces 18 of Penn’s pieces, most of them from the cigarette butt series, nasty and large-scale. Penn was among Avedon’s few equals in New York as a professional photographer.
2. Etcetera. The largest of these little booklets, with 43 images, across a range of subjects and makers. Includes work by Cameron, Muybridge, Atget, Lartigue, Brassaï, Sander, Witkin, and others.

Near fine condition, in original box. Set of five: $75

 

11. BLOSSFELDT, Karl. Urformen der Kunst: Photographische Pflanzenbilder, Berlin: Verlag Ernst Wasmuth.

Second edition, 1929. Hardcover (gold-stamped turquoise cloth), 12 ½ x 10 inches, 260 pages, 120 screen-gravure illustrations. Art Forms in Nature was Blossfeldt’s great contribution to Germany’s New Objectivity. His close-up image of plants, sometimes presented in pairs and triptychs, make them look muscular and almost machine-made. Like the first edition, the plates, in rich gravure, are backed by blank pages. Introduction by Karl Nierendorf. Text in German.

Fifth edition, 1935. Hardcover (gray-stamped cream cloth), 12 ½ x 9 inches, 122 pages, 96 screen-gravure illustrations. Plates printed in green ink, back-to-back. Portion of original dustjacket laid in. Previous owner’s name, cloth quite clean except for light wear to two tips and spine.

Pair: $750

 

12. The BODY BEAUTIFUL.

Volume I, New York: Dodge, 1935. Softcover (spiral bound), 11 ¾ x 9 inches, unpaginated, 75 screen-gravure illustrations. Stated third edition. Compiled and edited by Heyworth Campbell, with an introduction by Dorothy Cocks. Includes rich full-page gravures by the likes of Fred P. Peel, Frank R. Fraprie, Lejaren à Hiller, William Rittase, and Ruth Bernhard. Light edgewear and surfacing cracking to front cover.

Volume 4, New York: Dodge, 1938. Softcover (spiral bound), 11 ¾ x 9 inches, unpaginated, 92 illustrations printed by “sheet-fed copperplate gravure.” Features images, often bleeding off the page, by Harry K. Shigeta, John Everard, Wynn Richards, Arnold Genthe, Stephen Deutch, and others. Compiled and edited by Heyworth Campbell, with a text by Dudley Lee. Covers quite clean, with minor edgewear.

Both have order blanks bound in. Pair: $250

 

13. BOUGHTON, Alice.

Four hardcover plays by Charles Rann Kennedy illustrated by Boughton. All were published by Harper Brothers (New York), feature the same elaborate embossed cover design created by the Decorative Designers, and measure 8 ¼ x 5 ½ inches.

The Servant in the House, 1908, 152 pages, 8 halftone illustrations.

The Terrible Meek, 1912, 44 pages, one halftone illustration.

         The Idol-Breaker, 1914, 178 pages, one halftone illustration.

The Rib of Man, 1917, 188 pages, one halftone illustration.

This group represents four of the five books Boughton illustrated for Kennedy, all featuring portraits of actors in the plays. 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 a 1906 issue of Camera Work, most of them picturing nude women and children. Minor wear to covers. Group of four: $35

 

14. BRANDEIS, Madeline.

During the late 1920s and thirties Madeline Brandeis wrote and illustrated approximately twenty children’s books in her series, “The Children of All Lands,” about subjects largely in Europe. In each, she described and photographed the everyday life of a single child and his or her friends and family members. Her goal 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 series was then continued by another author.

These hardcover books have cloth spines, printed paper over boards, and dustjackets. They were published by Grosset and Dunlap (New York), measure about 8 ¾ x 7 inches, run about 200 pages, and include about 40 halftone illustrations. They often have an inscription and lightly worn edges and dustjackets.

The Little Indian Weaver, 1928.

The Little Swiss Wood Carver, 1929.

Little Jeanne of France, 1929.

The Wee Scotch Piper, 1929.

Little Anne of Canada, 1931.

The Little Mexican Donkey Boy, 1931.

Little Tony of Italy, 1934.

Carmen of the Golden Coast, 1935.

Little Rose of the Mesa, 1935.

The Little Spanish Dancer, 1936.

Little John of New England, 1936.

Little Pepito of Central America, 1941, by Gladys Shaw Erskine.

Group of twelve: $35

 

15. BRITISH JOURNAL PHOTOGRAPHIC ALMANAC.

This was the longest lasting English annual of photography, beginning in 1861 and preceding Photograms of the Year by over thirty years. Among its noticeable features were tables, formularies, and extensive bodies of advertising pages, making it a key resource for research on equipment, processes, and photographic studios and businesses (facilitated by an index to advertisers). During the 1920s it featured photogravure frontispieces; in the 1940s gravure plates by the likes of Marcus Adams, F. J. Mortimer, and Julian Smith; during the 1950s articles like “The Importance of Colour Photography in Daily Life and Education;” and in the 1960s text on subjects such as the professional, flash photography, and “narrow-gauge” cinematography. Hardcovers (gold-stamped green cloth), 7 ½ x 5 ¼ inches, up to 800 pages.

1922, 1923, 1924, 1925, 1940, 1944, 1945, 1946, 1947 1948, 1949, 1950, 1951, 1952, 1953, 1954, 1956, 1958, 1961.

Very good condition or better. Run of 19 issues: $350

 

16. CAMERA.

The long-lasting quality Swiss periodical, printed in rich screen gravure and edited by Allan Porter. The issues were often theme-based, with well-designed text pages on colored stock and printed in letterpress. Issued in numerous language editions, these are all in English. These issues include portfolios by Judy Dater, René Burri, Paul Caponigro, Gisèle Freund, Jeanloup Sieff, John Pfahl, and others. With ephemera.

1968 (1 issue); 1969 (2 issues); 1970 (2 issues); 1971 (6 issues); 1972 (4 issues); 1973 (1 issue); 1978 (1 issue). Laid in is an invoice letter, dated 1971, for a year of the magazine, at $14, along with a cancelled check for that amount from a California subscriber.

Very good condition. Group of 17 issues: $100

 

17. CAMERA CLUB GUIDES. PSA Camera Club Guides, Philadelphia: Photographic Society of America, c. 1940s. Softcovers, 9 x 6 inches, 4-12 pages each, mostly unillustrated.
18. So You Want to Start a Camera Club? Covers such topics as organization, by-laws, officers, meeting places, dues, programs, and exhibitions.
19. Planning a Club Publicity Program. Addresses mailing lists, club bulletins, publicity releases, postcards, deadlines, and radio and television. Includes a sample news release from the Stamford (Connecticut) Camera Club.

III. Establishing and Editing a Camera Club Bulletin. This one deals with choosing an editor, methods of publication, name and format, content, and distribution. Features a two-page spread with the mastheads of seven newsletters, among them Light and Shade (Pictorial Photographers of America), Flash (Camera Club of Bozeman, Montana), and The Birdie (Merced Camera Club, California).

1. Camera Club Competitions. Details the six basic steps in running contests: collecting the prints and slides, display for judging, judging, scoring, compilation, and return of entries.
2. The Guest Speaker: How to Make the Most of Him. Covers choosing the speaker, publicity, technical arrangements, handling the speaker, and running the program. Includes a specimen news release from the Stamford (Connecticut) Camera Club.
3. Drafting a Club Constitution and by-Laws. Largely given over to samples of both, which include aims, meetings, membership, officers, committees, finances, and elections.

VII. Club Programming. Covers planning, frequency, timing, sources, and ideas. This is the most extensive of the guides, featuring typical yearly schedules for clubs that met monthly, twice a month, and weekly.

This is a detailed and very instructive set of pamphlets about American camera club activities at the middle of the twentieth century, issued by the top national organization of amateurs and clubs. Most near fine condition, with a little browning. Set of seven: $35

 

18. CAPA, Cornell, editor. The Concerned Photographer, New York: Grossman. Hardcovers, 9 ¾ x 8 ½ inches, dustjackets. Signed.

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. This copy signed by Marco Bischof (son of Werner) and Freed. A few bumps to cloth, in price-clipped dustjacket that has minor folds.

Two, 1972. Unpaginated, screen gravure and color halftone illustrations. Stated first printing. While comprising fewer pages 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. This copy signed by Riboud. Near fine condition, in dustjacket that is rubbed, chipped, and with a short tear.

Set of two: $95

 

19. CAPEK, Karel. Dashenka: The Life of a Puppy.

New York: Henry Holt and Co., 1933. Hardcover (silver-stamped red cloth), 11 x

8 ½ inches, 96 pages, screen-gravure illustrations. This is the playful tale of a terrier puppy and its youthful transgressions. It pictures Dashenka with various predictable props, like a shoe. The text includes a short chapter on how to photograph a puppy and fairy-tales to make her sit still. The book was “written, drawn, photographed, and endured” by Capek (1890-1938), a leading Czech author, who was known for his science fiction and introducing the word “robot.” It went through many printings, this being the first English one, issued the same year as the initial Czech edition. Covers worn.

London: George Allen and Unwin Ltd., 1949. Hardcover (printed paper over boards), 11 x 8 ½ inches, 76 pages, screen-gravure illustrations, dustjacket. This is the third impression of Dashenka, issued in England. Near fine covers in near fine dustjacket.

Prague: Albratros, 1976. Hardcover (printed paper over boards), 10 ½ x 8 inches, unpaginated, screen-gravure illustrations. This is the fifth Czech edition, and, indicative of the book’s popularity, was printed in an edition of 75,000 copies. Surprisingly, it features the richest gravures of the three offered here. Near fine condition.

Group of three: $75

 

20. CAPITAL CAMERA CLUB.

Tenth Annual Exhibition, Washington, D.C.: Capital Camera Club, 1901. Softcover (string ties), 7 ½ x 5 ½ inches, unpaginated, 12 halftone illustrations. Catalog of nearly 275 photographs presented at the Corcoran Gallery of Art. Charles E. Fairman, a director of the club, is the most well-known of the exhibitors. Lists the club’s officers and all its members, among them honorary member Frances Benjamin Johnston. Covers chipped, with a fold and light soiling.

Eleventh Annual Exhibition, Washington, D.C.: Capital Camera Club, 1902. Softcover, 8 ¼ x 5 inches, 40 pages, 12 halftone illustrations. Catalog for 200 photographs shown at the Corcoran Gallery of Art. Many of the reproductions are by women photographers and there is one of an old man with a cane by Will H. Towles, who went on to become a nationally prominent portrait photographer. Missing small pieces along bottom of front cover.

Eighteenth Annual Exhibition, Washington, D.C.: Capital Camera Club, 1909. Softcover, 9 x 6 inches, 32 pages, 9 halftone illustrations. Catalog for 166 photographs, once again hung at the Corcoran. While most of the exhibitors were members of the club, a few out-of-town pictorialists contributed, such as Pittsburgh’s O. C. Reiter. The reproductions feature mostly still lifes, portraits, and landscapes. The foreword stated that the Capital Camera Club “stands as one of the two oldest art organizations in the District of Columbia, and as one of the foremost photographic societies in the county. Its members till the field of the beautiful for the sole reward that consciousness of work well done may bestow.” Light edgewear to cover.

Early camera club catalogs like these, which hold a bounty of information, are rare. Group of three: $300

 

21. CATSKILL CENTER for PHOTOGRAPHY.

This non-profit photography organization presented exhibitions and ran workshops in the scenic upstate New York village of Woodstock. It was headed by the sister team of Colleen and Kathleen Kenyon, and early on included Howard Greenberg on its board, before he became a photography dealer and decamped for New York. Its publication was first called the Center Quarterly and subsequently the Photography Quarterly. Like other similar publications, it commenced as a newsletter and grew in size, always heavily covering the organization’s own activities, along with paying attention to matters elsewhere in the field.

Vol. 3, 1982 (1 issue); Vol. 4, 1983 (1 issue); Vol. 5, 1984 (2 issues); Vol. 8, 1986

(1 issue); Numbers 42, 46, 54, 57, 60, 67, 69, 70, 72 (1990-1998).

Group of 14 issues: $35

 

22. CHRISTENBERRY, William. Robert Sargent, A Woman from Memphis: Poems, 1960-1978, Washington, D.C.: Word Works. Softcovers with mounted original photograph, 8 ½ x 5 ½ inches, 42 pages. With ephemera.

         First edition, 1979. This diminutive and little-known item features an original color print by Christenberry on the cover, showing part of a boarded-up building on Beale Street in Memphis, before the area was revived. According to Christenberry, the first and second editions were each 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. One corner lightly bumped and tiny bend to one corner of photograph.

Second edition, 1987. Features a different image on the cover. Near fine condition.

Hand-written card from Christenberry (6 ¾ x 5 inches) which discusses the book and the poet Sargent. Dated July 7, 1998, in original envelope.

Group of three: $150

23. CHRISTIE’S. Photography auction catalogs.

Many copies, some with auction results. Please inquire.

 

24. CLARK, Larry. Teenage Lust. Softcovers, 11 ½ x 9 inches, unpaginated, halftone illustrations.

First edition, New York: Larry Clark, 1983. 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. Near fine condition.

Third edition, Tokyo: Taka Ishii Gallery, 1997. The only Japanese edition, it features about ten extra pictures and Clark’s 23-page autobiographical text in Japanese. Edition of 1,000 copies. Fine condition.

Pair: $1,000

 

25. CLOSE-UP.

Published by the Polaroid Corporation (Cambridge, Massachusetts) for “those interested in Polaroid instant photography.” As a well-produced promotional piece, subscriptions were complimentary, indicative of the financial success of the company during its heyday. Covers new Polaroid products and topics such as non-photographic uses of sonar technology, computer graphics, space-schuttle videoprints, and photomicrography.             Includes images by Danny Lyon, Sheila Metzner, David Hockney, Bill Burke, Philippe Halsman, William Christenberry, Lucas Samaras, and others.

Vol. 11, 1980 (2 issues); Vol. 12, 1981 (1 issue); Vol. 13, 1982 (2 issues); Vol. 14, 1983 (3 issues).

Group of eight issues: $75

 

26. CONTACT SHEET.

         Published by Light Work, a non-profit, artist-run photography organization on the campus of Syracuse University, headed by Jeffrey Hoone. The issues are often monographs that accompanied exhibitions at Light Work’s Robert B. Menschel Photography Gallery. However, some include images by more than one photographer, with articles on their work or other issues. They started out as newsletters, but around number 60 came to measure about 10 x 9 inches and run up to 48 pages. Photographers given full issues include Andrea Modica, Fazal Sheikh, Bill Arnold, Nathan Lyons, Toby Old, Peter de Lory, and Linda Connor.

Numbers 20, 28-31, 33, 37, 39, 40, 42, 43, 45, 47-53, 55, 57-78, 110-124, 130, 131, 134, 137, 139-145, 147-161, 173 (1979-2013). Accompanied by 18 issues of a related small publication from the Menschel Gallery, with its own numbering system.

Most in near fine condition. Group of 102 issues: $300.

 

27. CONTEMPORARY PHOTOGRAPHER.

This is a little-known but important early periodical of creative work, with Aperture among its few companions at the time. Thomas M. Hill, Jr., first issued it in Oberlin, Ohio; it continued under the Community Press (Culpeper, Virginia), and was finally edited by photographer/professor Carl Chiarenza in Boston. The issues in the first three volumes generally measured about 9 x 6 inches. The last three volumes were most consistent in their size (8 x 9 inches) and the quality of the writing and images; these are also the issues most frequently seen. With an original shipping envelope, dated July 1964.

Vol. 1, 1960 (2 issues). Covers the Museum of Modern Art’s exhibition “The Sense of Abstraction,” with images by Frances Bruguière, Alvin Langdon Coburn, Syl Labrot, Moholy-Nagy, Naomi Savage, Val Telberg, and others. Includes a signed letter from the editor and other ephemera.

Vol. 2, 1961 (2 issues). Covers the Eastman House show “Seven Contemporary Photographers,” with a foreword by director Beaumont Newhall. Among the contributors were Ralph Eugene Meatyard, Ray K. Metzker, and Don Worth.

Vol. 3, 1962 (4 issues). Includes an entire issue on Bruce Davidson’s two series “Gang” and “Clown.” Also features reproductions by George Krause and an article on “Socialist Realism in Photography” by Sergei Morozov.

Vol. 4, 1963 (4 issues). Includes one issue devoted to Jerome Liebling (signed by him) and Paul Caponigro, and one on John Brook and Lee Friedlander. Also runs the text from a symposium on photographic style with remarks by John Szarkowski, Walter Rosenblum, and Gordon Parks.

Vol. 5, 1964-1967 (4 issues). Features portfolios of images by Dave Heath, Jerry Uelsmann, Duane Michals, Charles Harbutt, Marie Cosindas, and others. Among those contributing text are Robert Sobieszek, Beaumont Newhall, and Robert Heinecken.

Vol. 6, 1967-1968, (2 issues). Number one is devoted entirely to the photographs of Charles Sheeler, with an essay by Charles W. Millard III. The last issue solely addresses “The Concerned Photographer,” Cornell Capa’s project on humanitarian photographers. It includes text by him and reproductions of work by Werner Bischof, Robert Capa, Leonard Freed, Andre Kertész, David Seymour, and DanWeiner.

These eighteen issues comprise the magazine’s full run; they vary in condition, from good to near fine. Set of 18: $650

 

28. DeCARAVA, Roy. Langston Hughes. The Sweet Flypaper of Life. Signed.

First edition, New York: Simon and Schuster, 1955. Softcover, 7 ¼ x 5 inches, 98 pages,141 screen-gravure illustrations. 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 darkened and edgeworn.

Second edition, New York: Hill and Wang, 1967. Hardcover (gold-stamped turquoise cloth), 8 ¼ x 5 ¾ inches, 96 pages, 141 halftone illustrations. Issued in a slightly larger format than the first and with the nearly identical sequencing of images and text. However, the pictures are reproduced in halftone and occasionally vary in their size and placement on the page. Near fine condition. This copy signed by DeCarava.

Pair: $550

 

29. DEMACHY, Robert. Anna B. Dodd, In and Out of Three Normandy Inns.

Boston: Little, Brown, 1910. Hardcover (gold-stamped blue cloth with mounted reproduction), 8 x 5 ½ inches, 398 pages, 32 halftone illustrations. This is the “revised and corrected edition” of the 1892 first, which did not have illustrations by Demachy. Dodd’s charming travelogue through the French countryside is interspersed with 24 of Demachy’s soft, evocative landscape and rural images, made especially for the book. The cover features a very painterly image by him of a stand of trees that also appeared as a photogravure in Camera Work. The leading French pictorialist around 1900, Robert Demachy (1859-1936) was most revered for his images of female nudes. He was a cofounder of the Photo-Club de Paris, exhibited extensively in photographic salons, and championed the gum-bichromate process, which allowed hand manipulation of the image during development. Wear to spine and cover, front hinge a little lose, and previous owner’s stamp and notation.

New York: G. P. Putnam’s Sons, 1929. Hardcover (red-stamped blue cloth),

9 x 6 ¼ inches, 356 pages, 19 halftone illustrations (1 in color), dustjacket. Stated first printing of this edition. This is a curious Demachy item, as it includes reproductions of drawings, not photographs, by him. After years as the top French pictorialist, Demachy gave up photography to pursue drawing at the outbreak of World War I, for unknown reasons. His crayon drawings (and pastel frontispiece) are competent renditions of specific scenes in the text. Demachy receives credit on both the front of the dustjacket and title page. Mild internal foxing, in a dustjacket that is chipped, torn, and faded on the spine.

Pair: $50

 

30. DINE, Jim. The Photographs So Far, Germany: Steidl, 2003. Hardcovers (black-stamped cloth), 11 ½ x 8 ½ inches, unpaginated, duotone illustrations, slipcase, 4 volumes.

This is the catalog raisonne of Dine’s photographs to date, compiled by Stephanie Wiles. Volume I: Heliographs; Vol. 2: Digital Prints; Vol. 3: Polaroids, Chromogenics, and Gelatin Silver Prints; Vol. 4: Text. Includes essays by Wiles, Andy Grundberg, and Marco Livingstone. Co-published with the Davison Art Center, Wesleyan University (Middletown, Conn.) and the Maison Européenne de la Photographie (Paris). Mint condition, in shrink wrap in slipcase, with original printed cardboard shipping box.

$250

 

31. DORR, Nell. Mother and Child.

New York: Harper and Brothers, 1952. Hardcover (silver-stamped red cloth and paper over boards), 8 ½ x 7 inches, 88 pages, 71screen-gravure illustrations, dustjacket. Dorr dedicated this book to one of her daughters who died the year of publication at 39 years of age. It includes a few pages of text but is largely comprised of photographs of infant girls alone and with their mothers. Although Dorr shows loving relationships, a somber mood is created by the dominance of dark tonalities in the images. This copy has a folded sheet of text “From the Author to the Reader” pasted onto the back of the front free endpaper, an item not present in all copies of the book. Light shelf wear, in a price-clipped dustjacket that is chipped, torn, and tape-repaired.

Second edition, San Francisco: Scrimshaw Press, 1972. Hardcover (silver-stamped red cloth and paper over boards), 10 x 8 ¼ inches, unpaginated, halftone illustrations. This reprise is slightly larger in format and printed in halftone, instead of gravure. Dorr’s brief text begins, “The story is from everlasting to everlasting. Yet when it happens to you, that your new-born is laid for the first time in your arms, it is the whole miracle of creation and your heart cries out as did Mary’s: ‘My soul doth magnify the Lord.’” Light wear to tips and edges of dustjacket, which is missing a small piece.

Pair: $75

 

32. DYER, William B. James Whitcomb Riley, Riley Love-Lyrics.

Indianapolis: Bowen-Merrill, Indianapolis, 1899. Hardcover (gold, black, and white-stamped green cloth), 8 x 5 ½ inches, 192 pages, 77 halftone illustrations. Dyer’s images are mostly figure studies with borders, vignetting, or other printer’s alterations, making them intimate and gemlike. William B. Dyer (1860 -1931) was a Chicago pictorial and professional photographer, specializing in portraits and book illustration. Alfred Stieglitz made him a member of his elite Photo-Secession group and ran two of his photogravures (both of female nudes) in a 1907 issue of Camera Work. This edition is the most common one. Miniscule covor wear.

New York: Grosset and Dunlap, New York, 1905. Hardcover (black and brown-stamped red cloth), 7 ¾ x 5 ¾ inches, 192 pages, 77 halftone illustrations, dustjacket. Contains a slightly altered set of images and rare dustjacket. Mild internal foxing and light wear to cloth, in dustjacket that is worn, torn, and missing small pieces.

Pair: $35

 

33. DYER, William B. Margaret E. Sangster, Winsome Womanhood: Familiar Talks on Life and Conduct, New York: Fleming H. Revell.

First edition, 1900. Hardcover (gold and white-stamped red cloth), 7 ¼ x 5 inches, 260 pages, 5 halftone illustrations, dustjacket. Sangster edited numerous popular magazines including Harper’s Bazaar. Here, she gives life advice to women aged fifteen and older. Dyer provides dark, moody images of individual women, each framed in a border with his stylized initials. According the front flap, 10,000 copies of the book sold in its first two months. Previous owner’s inscription, wear to cloth and dustjacket.

Second edition, 1901. Hardcover (gold, purple, and white-stamped purple cloth, with mounted reproduction), 9 x 6 ¼ inches, 260 pages, 12 halftone illustrations, dustjacket (with tipped-on reproduction). This is the deluxe edition, larger in size, with an elaborately designed cover and spine, thick deckle-edged paper, and illuminated pages. Dyer adds additional images of women, reading, walking outdoors, and congregating together. This is a tour-de-force of artistic bookmaking. Near fine condition, except for previous owner’s name inside and light scuffing to dustjacket.

Pair: $100

 

34. EASTMAN HOUSE.

The International Museum of Photography, in Rochester, New York. It is the world’s leading photography museum, housed in George Eastman’s mansion, with significant additions for the library, archives, galleries, and storage.

Newsletter. Naturally, it devotes most of its attention to the collections, exhibitions, and other events at GEH.

Vol. 5, 1983 (complete 4 issues); Vol. 6, 1984 (complete 4 issues); Vol. 7, 1985 (complete 4 issues); Vol. 8, 1986 (complete 4 issues); Vol. 9, 1987 (complete 4 issues);

Vol. 10, 1988 (complete 4 issues); Vol. 11, 1989 (3 issues); 1990 (complete 10 issues); 1991 (complete 10 issues); 1992 (complete 10 issues); 1993 (complete 6 issues); 1994 (complete 6 issues); 1995 (complete 6 issues); 1996 (complete 6 issues); 1997 (complete 6 issues); 1998 (complete 6 issues); 1999 (complete 6 issues); 2000 (4 issues).

Continuous run (except for one) of 103 issues: $100

 

35. EASTMAN HOUSE.

Annual Report. As is typical of such documents, it reviews the year, lists acquisitions, donors, staff, and finances.

1989, 1991, 1992, 1993, 1995, 1996, 1997, 1998, and 1999 (special fiftieth anniversary year).

Group of 9: $35

 

36. EVANS, Walker. American Photographs.

First edition, New York: Museum of Modern Art, 1938. Hardcover (black cloth with printed label on spine), 9 x 8 inches, 204 pages, 87 halftone illustrations. Evans’s masterpiece and one of the most important photography books of the twentieth century. The first of two sections reference the photographic medium by beginning with pictures of two photographers’ studios. It then proceeds to emphasize people, such as visitors to Coney Island, tenant farmers, children, and workers. The second section, nearly bereft of people, reads like a catalog of vernacular architecture, one of Evans’s dearest subjects, with the buildings often approached in his formal, frontal manner. Lincoln Kirstein provides the afterword for what was the “catalog” of the first one-man show of photographs at the Museum of Modern Art, printed in an edition of 5,000. Errata slip pasted in and lacking the rare dustjacket. Previous owner’s stamp on the front free endpaper, light foxing to the first few and last few blank pages, the covers have light scratches and light wear to the tips and top and bottom of the spine, with the spine label darkened and a little worn at two corners.

Second edition, New York: Museum of Modern Art, 1962. Hardcover (gold-stamped black cloth), 9 x 8 inches, 196 pages, 87 halftone illustrations, dustjacket. This is the first reprint of American Photographs, issued because of increased interest in the long out-of-print original. The same printing plates were used for the illustrations but the book’s 1962 date, confusingly, does not appear in it. The major changes were an added foreword by Monroe Wheeler, captions appearing opposite the images (rather than listed separately), and a different dustjacket, with an image of houses on the front (unlike the first that featured text only). Printed in an edition of 4,000. Previous owner’s signature on front free endpaper, cloth rubbed, tops of pages spotted, dustjacket rubbed, chipped, and torn in a few places.

Third edition, New York: East River Press, 1975. Softcover, 8 ¾ x 8 inches, 192 pages, 87 halftone illustrations. This third edition of the title appeared in the year of Evans’s death and after the book had gone out of copyright. It is the most pedestrian of them, due to it being issued in softcover and the illustrations being mere reproductions from a copy of the original book. A few minor nicks to cover edge and original price marked over.

Fiftieth-anniversary edition, New York: Museum of Modern Art, 1988. Hardcover (blind-stamped black cloth), 9 x 8 inches, 206 pages, 87 duotone illustrations, dustjacket. This edition of the book most closely replicates the original and provides the highest quality illustrations, as duotones that are much better than the single-impression letterpress reproductions of the first. Includes an essay by MOMA curator Peter Galassi that details the differences in the four editions (all offered here). Near fine condition.

Set of four: $1,000

 

37. EVANS, Walker. James Agee, Let Us Now Praise Famous Men, Boston: Houghton Mifflin. Hardcovers (silver-stamped black cloth), 8 ½ x 6 inches, 472 pages, halftone illustrations, dustjackets.

First edition, 1941. This was a defining book for Evans, Agee, and the Great Depression. The writer and photographer were originally commissioned by Fortune to document poor Southern sharecroppers, but the magazine never ran the project. Published a few years later as this book, it received good reviews but sold only about 600 copies, as the general public wished to forget about the previous decade’s economic woes. Agee’s extensive text is often in the hard-to-read stream-of-consciousness mode. Evans’s photographs, on the other hand, are sharp and searing. Notably, his portfolio of images is placed before even the title page, signifying its importance beyond merely illustrating the text. The pictures essay three main families, each group introduced by a portrait of the patriarch. Includes the poignant portrait of Allie Mae Burroughs, tight-lipped, modestly dressed, and backed by raw clapboard siding. Owner’s inscription and signature on the front free endpaper, cloth rubbed and lightly worn at the tips and top and bottom of spine, while the rare dustjacket is faded on the spine, with a three-inch split, chipped, and missing small portions at the top and bottom of spine.

Second edition, 1960. This is the first reprint and most common edition of the above, produced after Agee had won a Pulitzer Prize. It features twice as many pictures by Evans (62 total), with better halftones, most of the added ones being additional Southern subjects like vernacular architecture, unrelated to the three sharecropper families emphasized in the first edition. The dustjacket was redesigned, dropping the photographic background of the original for plain gray, and with portraits of Agee and Evans on the back. Light edgewear to the spine and bottom tips, the dustjacket is lightly soiled, darkened, and worn along the edges, with previous owner’s signature on the front free endpaper.

Pair: $3,000

 

38. EVANS, Walker. Belinda Rathbone, Walker Evans: A Biography.

Boston: Houghton Mifflin, 1995. Hardcover (silver-stamped black cloth and black paper over boards), 9 ¼ x 6 ¼ inches, 358 pages, 46 halftone illustrations, dustjacket. For this first full biography of Evans, Rathbone interviewed hundreds of friends and colleagues, former wives, and dug into archives of his personal papers and professional work. The dustjacket flap states, “A man in love with Americana, Evans was a sensualist, a junk collector, a connoisseur, a wit, a perpetual weekend guest. Charismatic and seductive, he attracted many of the brightest talents of his day. He counted Hart Crane, James Agee, Lincoln Kirstein, Ben Shahn, and Berenice Abbott among his closest friends, and with them he reveled in the intellectual and sexual freedom that distinguished the New York art world during his lifetime.” In a nod to Evans’s and Agee’s 1941 book Let Us Now Praise Famous Men, the portfolio of photographs also appears here first up—before the title page. Tiny wrinkles at bottom of dustjacket spine.

China: Zhejiang Photographic Press, 2000. Softcover, 9 ¼ x 6 ¾ inches, 198 pages, 25 halftone illustrations. Though the Chinese are notorious for pirating books and other pieces of Western intellectual property, this one appears to be legitimate, as it gives copyright credit to Rathbone. It is apparently a full translation but reproduces fewer images and a different selection. Near fine condition.

Pair: $45

 

39. EXPOSURE.

The quarterly journal of record for the Society of Photographic Education (S.P.E). Begun in the 1960s, it has, over the years, addressed individual photographers, theory, photographic education at the college level, and the society’s annual conventions.

Vol. 11, 1973 (2 issues); Vol. 12, 1974 (4 issues); Vol. 13, 1975 (4 issues); Vol. 14, 1976 (4 issues); Vol. 15, 1977 (1 issue); Vol. 16, 1978 (3 issues); Vol. 17, 1979 (3 issues); Vol. 18, 1980 (3 issues); Vol. 19, 1981 (4 issues); Vol. 20, 1982 (3 issues); Vol. 21, 1983

(1 issue); Vol. 22, 1984 (4 issues); Vol. 23, 1985 (2 issues); Vol. 27, 1990 (1 issue); Vol. 37, 2004 (2 issues); Vol. 39, 2006 (1 issue).

Represents good coverage of the 1970s, when S.P.E. was particularly active. Group of 42 issues: $350

 

40. FAMOUS PHOTOGRAPHERS MAGAZINE.

         Published by the Famous Photographers School, in Westport, Connecticut. The director and publisher was Victor Keppler, with illustrious contributing editors such as Richard Avedon and Irving Penn. They measure 13 x 8 ½ inches, run 40 pages each, and feature rich color and black-and-white screen-gravure illustrations. With ephemera.

Issues 1-17 (Vol. 1-5, 1967-1971), a complete run. Among the contents are numerous successful professionals telling about their first sale, and articles by or on Keppler, Penn, Phillip Halsman, Alfred Eisenstaedt, Arthur Rothstein, and Margaret Bourke-White. Avedon discusses “How to Shot a Psychedelic Beatle,” which resulted in his famous color image of John Lennon. Three of the issues of have typed, signed letters to photographer Joseph Costa from editor Arthur Goldsmith. An important resource on professional photography and photographic education around 1970. Very good or better condition, one with mailing label. Full run of 17 issues: $325

 

41. FRANK, Robert. The Americans, Göttingen, Germany: Steidl, 2008. Hardcovers (gray-stamped black cloth), 7 ½ x 8 ½ inches, unpaginated, 83 tritone illustrations, dustjackets. Four language editions.

In 2008, the high-end German publisher Steidl pulled out all the stops for the fiftieth-anniversary of The Americans. With Frank’s deep input, it returned the book to its original page size and quantity of pictures. Original vintage prints were scanned and printed in rich tritone lithography, which Frank reviewed on press. And, it was issued in six different languages—English, French, Germany, Italian, Spanish, and Chinese. Robert Delpire, the original publisher of Les Americains and copyright owner of the book in French, was not consulted and immediately suppressed the French-language edition, making it a true rarity. Offered here are all but the unobtainable French and common English-language editions:

Die Amerikaner.

         Gli Americani (distributed by Contrasto).

Los Americanos (distributed by La Fabrica and issued with a red belly band).

Chinese edition.

A desirable grouping for the Frank completist. All in mint condition, in individual shrink wrap. Set of four: $500

 

42. FRANK, Robert. The Lines of My Hand.

First edition, Tokyo: Yugensha/Kazuhiko Motomura, 1972. Hardcover (white-stamped black cloth), 13 ¾ x 10 ¼ inches, 120 pages, halftone illustrations, slipcase and pamphlet.        The deluxe first edition of this important book, issued without a dustjacket in a slipcase with a mounted reproduction (one of two: here “Platte River, Tennessee”). It is Frank’s “autobiography,” beginning with images of deceased friends and his son and daughter. Then, he arranges pictures from his known bodies of work in rough chronological order; they commence in his native Switzerland, move through Peru, Paris, London, Spain, and include a number of images made in the mid-1950s that do not show up in The Americans. After his 1958 bus pictures, which represented, at the time, his last photography project, Frank includes stills from his first four films, his new focus. Deeply aware of the book as a retrospective project and involved in its layout and sequencing, he begins and ends it with references to the publisher, mentioning Mr. Motomura’s first visit and reproducing a later note to him. Limited edition of 1,000. Includes the 30-page pamphlet with the Japanese translation. Near fine condition, with the slipcase covering separating a little on the inside.

Second edition, New York: Lustrum Press, 1972. Softcover, 12 x 9 inches, unpaginated, halftone illustrations. This is the first American edition, presented in a more down-to-earth fashion than the Japanese one, issued by Ralph Gibson’s Lustrum Press. It is smaller in page size and has fewer and some different images. The cover features a drawing of a hand by Frank’s wife, June Leaf, inspired by a photograph he made in Paris of a mystic’s sign (reproduced in the book). He still provides minimal text, but adds a paragraph stating, “I have come home and I’m looking through the window. I am looking back into a world now gone forever.” Many of the photographs are now grouped in more distinct categories of place and time. Covers creased, spotted, and browned, with brown stain to bottom of last six pages (four of which are blank).

Third edition, New York: Pantheon Books, 1989. Hardcover (printed paper over boards), 12 ¾ x 10 inches, unpaginated, halftone illustrations (some in color), printed glassine dustjacket. This is the second American edition, despite the copyright page declaring it’s the first. Slightly bigger in size and now in hardcover, it also includes added material by Frank. The last quarter of the book comprises work created since the original 1972 publication. Much of it is multi-image pieces made in Nova Scotia of still lifes, landscapes, and portraits, with hand-scrawled lettering. A gatefold features four color stills from Frank’s 1983-84 video “Home Improvements.” Mint condition in shrink wrap.

Group of three: $4,000

 

43. FRAPRIE, FRANK R. Photographic Amusements, Including Tricks and Unusual or Novel Effects Obtainable with the Camera, Boston: American Photographic Publishing Co.

With Walter E. Woodbury, 1931, tenth edition. Hardcover (black and gold-stamped red cloth), 9 ¼ x 6 ¼ inches, 272 pages, 178 halftone illustrations. Among the darkroom antics covered are double exposures, bas-reliefs, fotomontages, creating artificial mirages, photographing electricity and the invisible, and printing on apples, eggs, and fabrics. Images by Lászlo Moholy-Nagy, Frances Bruguière, and other modernists are featured. Frank Roy Fraprie (1874-1951) was the most influential author/publisher of American pictorial photography after World War I. As editor, he resided over both the monthly American Photography and the American Annual of Photography for decades and still found time to make his own soft-focus landscapes and European figure studies. Covers worn.

With Florence C. O’Connor, 1937, eleventh edition. Hardcover (orange-stamped black cloth), 11 x 8 ¾ inches, 248 pages, 250 halftone illustrations.                This revised and enlarged edition, with a new coauthor, is larger in scale and possibly the final edition of this venerable title. Includes hilarious table-top images of grasshoppers smoking, driving, and canoeing. Among the advertising pictures are those of eggs cracking themselves over a bowl and skulls with human eyes. An entertaining and instructive publication. Near fine condition.

Pair: $35

 

44. FRIENDS of PHOTOGRAPHY. Carmel, California.

Portfolio I: The Persistence of Beauty, 1969. Folder (blind-stamped), 14 ½ x 11 ½ inches, folded sheet, with 12 lose duotone plates. Introduction by Nancy Newhall. The photographers represented are all big names: Adams, Brandt, Bullock, Callahan, Cartier-Bresson, Cunningham, Siskind, Smith, Sommer, Strand, Weston, and White.

Portfolio II: Discovery: Inner and Outer Worlds, 1970. Folder, 14 ½ x 11 ½ inches, folded sheet, with 15 lose duotone plates. Includes images by Paul Caponigro, Judy Dater, and Gordon Parks; the most experimental pieces are by Ray Metzker, Jerry Uelsmann, and Todd Walker.

Accompanied by an order form. Each printed in an edition of 2,500. Both are in near fine condition, housed in their original cardboard boxes. Pair: $125

45. FRIENDS of PHOTOGRAPHY. Carmel, California.

This is the Friends’ members’ publication. It began in 1978 as its Newsletter and was renamed re-view in 1987. It extensively covers the exhibitions, publications, workshops, and other programs of the Friends, but also addresses topics and events of the field in general.

Vol. 1, 1978 (4 issues); Vol. 2, 1979 (10 issues); Vol. 3, 1980 (9 issues); Vol. 4, 1981 (12 issues); Vol. 5, 1982 (complete 12 issues); Vol. 6, 1983 (11 issues); Vol. 7, 1984 (complete 12 issues); Vol. 8, 1985 (complete 12 issues); Vol. 9, 1986 (complete 12 issues); Vol. 10, 1987 (complete 12 issues); Vol. 11, 1988 (complete 12 issues); Vol. 12, 1989 (complete 10 issues); Vol. 13, 1990 (complete 6 issues); Vol. 14, 1991 (complete 6 issues); Vol. 15, 1992 (complete 6 issues); Vol. 16, 1993 (complete 6 issues); Vol. 17, 1994 (complete 6 issues); Vol. 18, 1995 (complete 4 issues); Vol. 19, 1996 (complete 3 issues); Vol. 20, 1997 (2 issues); Vol. 21, 1998 (1 issue).

Run of 168 issues, many years complete: $125

 

46. The GALLERY: A Monthly Review of International Pictorial Photography. Worchester, England. Softcovers, 12 x 9 ½ inches, 34 pages each, halftone illustrations.

April 16, 1934 (vol. 2, no. 2). Includes twenty full-page reproductions, by Italy’s Joaquem Pla Janini and lesser-known pictorialists from Austria, Belgium, Denmark, England, Germany, Hungary, Poland, South Africa, Yugoslavia, and the U.S.A. The lead article is a conversation between a photographer and a painter, and Herbert Bairstow provides comments on the plates.

May 15, 1934 (vol. 2, no. 3). Among the photographers represented this time is Eugen Wiskovsky of Czechoslovakia and the American B. J. Ochsner, with commentary by the English pictorialist J. Dudley Johnston and Czech critic Jiri Jenicek. Articles include “Emphasis of Character: Atmosphere” and “Still Photography—Is it a Legitimate Medium for Artistic Expression?”

June 15, 1934 (vol. 2. No. 4). Features reproductions by Jeno Dulovits, Cesare Guilio, Jan Lukas, and seventeen others. Includes a lead article on carbon printing and one titled “Painter and Photographer” by English critic F. C. Tilney.

Three consecutive issues edited by Edgar Firth and Percy Hopcroft, both active pictorialists and fellows of the Royal Photographic Society. All contain information on technique, upcoming and past exhibitions, society activities, book reviews, and correspondence. Covers worn and a bit marked.

Group of three: $30

 

47. GIBSON, Ralph. The Black Trilogy, New York: Lustrum Press. Signed.

         The Somnambulist, 1970. Softcover, 12 ¼ x 8 ¾ inches, 48 pages, duotone illustrations. Gibson’s short introduction begins: “Gentle Reader, A Dream Sequence in which all things are real. Perhaps even more so.” Covers worn and wrinkled.

Deja-Vu, 1973. Softcover, 11 ¾ x 8 ½ inches, 52 pages, duotone illustrations. Light cover rubbing and corner nicks. Laid in is Gibson’s signed business card.

Days at Sea, 1974. Softcover, 12 x 8 ½ inches, 72 pages, duotone illustrations. This copy signed by Gibson. Tiny wear to one corner and top of spine.

Gibson’s ground-breaking set of artist’s books, named for the predominance of black on the covers and in the pictures. The images are variously grainy, formalistic, erotic, and, by intent, do not provide obvious narratives. Complete set of three: $250

 

48. GOSSAGE, John. Here, Rochester, Minnesota: Rochester Art Center, 2010.

Unbound (as issued), 22 ¼ x 12 ½ inches, 80 newsprint pages, bellyband, in original plastic sleeve. Signed, with original photograph. This unusual “catalog” accompanied an exhibition at the art center, made up of photographs it commissioned Gossage to take in Rochester. After an introduction by curator Kris Douglas, come 72 large-scale, full-page halftones of typical street images by Gossage, showing yards, telephone poles, houses, and people, in both detail and from afar. Indicative of the inclusive nature of the project, the entire guts of this catalog was inserted in an issue of the city’s daily paper, the Post-Bulletin. This copy is from the special limited edition of only 15 that includes a mounted silver print (measuring 8 x 6 ½ inches), signed and numbered 11/15. The image is of a small clapboard house with a picket fence and American flag that Gossage shot from the driver’s seat of a car, suggesting a surveillance photograph. Both the cover page and the photograph are signed. Fine condition.

A copy of the above mentioned Rochester Post-Bulletin, of January 27, 2010. The entire newspaper, including the inserted advertising. Undoubtedly, the vast majority of these were recycled by baffled subscribers. This copy signed by Gossage. Near fine condition.

Pair: $1,500

 

49. HAMMOND, Arthur. Pictorial Composition in Photography, Boston: American Photographic Publishing Co.

First edition, 1920. Hardcover (gold-stamped red cloth), 9 ½ x 6 ¼ inches, 218 pages, 48 halftone illustrations, dustjacket. This title was the most enduring and important book on pictorial composition for a quarter century. It covers principles, practices, and technique, illustrated with Hammond’s own photographs. English-born Arthur Hammond (1880-1962) was prominent in this country primarily as an author of columns, articles, and books on pictorial photography, from the late 1910s into the 1940s. He was on the editorial staff of both the American Annual of Photography and the monthly American Photography. Light edgewear, in the rare dustjacket that is missing a few pieces.

Second edition, 1932. Hardcover (gold-stamped red cloth), 9 ½ x 6 ¼ inches, 212 pages, 48 halftone illustrations. This “revised and enlarged” printing features a different selection of the author’s images. Minor edgewear.

Third edition, 1939. Hardcover (brown and gold-stamped brown cloth), 10 ¼ x 7 ½ inches, 204 pages, 48 halftone illustrations, dustjacket. Another “revised and enlarged” edition,” sporting a larger page size. Unlike previous editions, this one segregates the reproductions to the rear and includes work by other pictorialists, such as Gustav Anderson, Adolf Fassbender, and Frank R. Fraprie. Near fine condition, in price-clipped dustjacket missing a few pieces.

Fourth edition, 1946. Hardcover (brown and gold-stamped brown cloth), 9 ½ x 6 ¼ inches, 204 pages, 48 halftone illustrations, dustjacket. The final edition, with just a few changes to the reproductions. Most importantly, they now include Hammond’s most important image, Semi-Lunar, an understated modernist masterpiece he made at the 1939 New York World’s Fair. Near fine condition, in chipped dustjacket.

Complete set of four: $50

 

50. HANSCOM, Adelaide. The Rubáiyát of Omar Khayyám, New York: Dodge.

Popular edition, 1914. Hardcover (brown and gold-stamped brown cloth), 6 ¼ x 5 inches, 110 pages, 8 halftone illustrations. Hanscom’s heavily allegorical images show primarily figures in ancient Middle-Eastern costume enacting Khayyam’s verse. The text pages bear decorations and the reproductions are tipped in. Dodge published many editions of this title in different sizes, this “Popular Edition” being the smallest. Adelaide Hanscom (1876-1932) worked in Seattle and San Francisco and is best known for her illustrations to this book. Previous owner’s label, minor edgewear to covers.

Another edition, 1916. This medium-sized edition of the book features text pages with floral borders printed in green. The reproductions, protected by ribbed tissue guards, have been colorized, giving them a fanciful, painterly quality. Previous owner’s signature and date, tips and top of spine worn.

Pair: $65

 

51. HENNING, Paul.

         ABC Picture Book, New York: Platt & Munk, 1948. Hardcover (black-stamped red cloth), 7 x 7 ¼ inches, 56 pages, 26 color halftone illustrations, dustjacket. This is an attractive children’s book for learning the alphabet. It comprises two-page spreads with letters opposite a color reproduction of such everyday objects as an apple, clock, house, and spoon. According to the brief foreword, “Great care has been taken to select the right subjects from the child’s point of view. Children are shown simple objects in their natural color in this book.” Near fine condition, in dustjacket that is very mildly rubbed, scratched, and worn.

First Things, New York: Platt & Munk, 1948. Hardcover (black-stamped blue cloth), 7 x 7 ¼ inches, 56 pages, 24 color halftone illustrations, dustjacket. This companion book dispenses with the alphabet and focuses on “things,” as it is a “picture book of objects.” Singular items such as an orange, egg, ball, comb and scissors are isolated on neutral backgrounds. This cute little title is very reminiscent of Edward Steichen’s earlier First Picture Book (1930), except for the use of color. One corner bumped, in dustjacket with light-struck spine, minor rubbing, and tiny missing piece.

A great pair, in rare dustjackets: $125

 

52. HISTORY of PHOTOGRAPHY.

         The scholarly journal in the field, it began in 1977 under the editorship of Heinz K. Henisch as “An International Quarterly.” During the 1990s it was edited by Mike Weaver and Anne Hammond, and it continues to this day under Professor Graham Smith, published in London. With ephemera.

April 1980. Covers Gustave Le Gray, Frances Benjamin Johnston, and others.

July-September 1990. “Early Medical Photography in Estonia” and other articles.

Summer 1991. Four articles on Alfred Stieglitz, plus other subjects.

Summer 1994. Covers the Photo League and early color and the Autochrome.

Spring 1997. Ten articles on “Anthropology & Colonial Endeavour.”

Spring 2003. Six articles on David Octavius Hill, and other 19th-century topics.

Autumn 2006. 30th anniversary issue, covering panoramas and other topics.

Winter 2006. Addresses early post-mortem portraiture in Britain, and more.

Printed in small quantities and available only by (very expensive) subscription. Accompanied by three different brochures on the periodical. All in very good to near fine condition. Group of eight: $75

 

53. 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, published during the 1960s in a standard format. 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 Steidl.

1962. 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, dustjacket. Bottom of spine bumped, light edge wear to dustjacket.

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, dustjacket. Remnants of sticker on front free endpaper, inside flap folded.

1965. 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, dustjacket. Price-clipped dustjacket, with one short tear and minor edgewear.
1966. 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, dustjacket. Fine condition, in a dustjacket with a tiny tear on the front and a few folds to 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, dustjacket. Front free endpaper creased, light foxing to cloth and inside of dustjacket, which is price-clipped with light edgewear.

Overall, a very nice grouping of books that are often found in poor condition. The set of five: $50

 

54. HOMAGE: The Lumiere Press Collection. Toronto: Lumiere Press.

This is the first set of five monographs on photographers produced by the press, run by Michael Torosian. The hardcover books measure 9 ¼ x 6 ¼ inches and have mylar dustjackets. They are elegantly designed and letterpress printed. The gelatin silver prints were made from copy negatives and are tipped in. Each book was printed in a numbered edition of 150 and a lettered edition of 26, this being set “O.” Accompanied by related ephemera.

Edward Weston: Dedicated to Simplicity,1986, 24 pages, 3 silver prints. Reminiscence by Cole Weston.

Michael Lambeth: The Confessions of a Tree Taster, 1987, 36 pages, 2 illustrations and 2 silver prints. Preface by Michael Torosian.

         David Heath: Extempore, Reflections & Ruminations on Art & Personal History, 1988, 36 pages, 1 illustration and 2 silver prints. Elicited and edited by Michael Torosian.

The Siskind Variations: A Quartet of Photographs & Contemplations by Aaron Siskind, 1990, 36 pages, 4 duotone illustrations and 2 silver prints. Orchestrated and edited by Michael Torosian.

Paul Strand: Orgeval, 1990, 36 pages, 2 duotone illustrations and 2 silver prints. Remembrance by Naomi Rosenblum.

Housed in the original box, all in fine condition. Set of five: $1,250

 

55. IMAGE.

         The long-running journal of the George Eastman House (International Museum of Photography), in Rochester, New York. Issued in various formats and most frequently as a quarterly, it covers current photographic topics, the museum’s exhibitions, and its collections of prints, film, and apparatus. While its first few years were newsletter size, by the 1970s, Image had grown to forty pages, measuring 8 x 9 inches. The last issues were 11 x 8 ½ inches in size and frequently included color reproductions. Each of the following volumes is complete.

Vol. 1, 1952 (9 issues); Vol. 14, 1971 (5 issues); Vol. 15, 1972 (4 issues); Vol. 16, 1973 (4 issues); Vol. 17, 1974 (4 issues); Vol. 18, 1975 (4 issues); Vol. 19, 1976 (4 issues); Vol. 20, 1977 (3 issues); Vol. 21, 1978 (4 issues); Vol. 22, 1979 (4 issues); Vol. 23, 1980

(2 issues); Vol. 24, 1981 (2 issues); Vol. 25, 1982 (3 issues); Vol. 26, 1983 (4 issues); Vol. 27, 1984 (4 issues); Vol. 28, 1985 (2 issues); Vol. 29, 1986 (2 issues); Vol. 30, 1987

(1 issue); Vol. 31, 1988 (2 issues); Vol. 32, 1989 (2 issues); Vol. 33, 1990 (2 issues); Vol. 34, 1991 (2 issues); Vol. 35, 1992 (2 issues); Vol. 36, 1993 (2 issues); Vol. 37, 1994 (2 issues); Vol. 38, 1995 (2 issues); Vol. 39, 1996 (2 issues); Vol. 40, 1997 (1 issue); Vol. 41, 1998

(1 issue).

Includes the important first volume and then a long, unbroken run of almost thirty years. Most in near fine condition, some with the original kraft-paper mailing cover. Run of 85 issues: $850

 

56. INFINITY.

         This is the monthly magazine of the American Society of Magazine Photographers, commenced in the 1950s. Among the issues and photographers covered in the following issues were the Met’s “Harlem on My Mind” exhibition, the Famous Photographers School, and photographing at nudist camps. Images by Hiro, Ansel Adams, Bill Brandt, Joel-Peter Witkin, Josef Sudek, William Klein, Duane Michals, Lisette Model, and James Van Der Zee, and many others.

1962 (1 issue); 1964 (complete 12 issues, bound); 1967 (1 issue); 1968 (2 issues); 1969 (10 issues); 1970 (3 issues).

Group of 28 issues: $125

 

57. HOSOE, Eikoh. Betty Jean Lifton, Taka-chan and I: A Dog’s Journey to Japan.

New York: W. W. Norton, 1967. Hardcover (blue and brown-stamped yellow cloth), 11 ¼ x 9 ¼ inches, 64 pages, screen-gravure illustrations, dustjacket. Stated first edition, with signed ephemera. A children’s book about a Weimaraner that digs a hole all the way through the earth to Japan, where it befriends a young Japanese girl and rescues her from a dragon. Eikoh Hosoe (born 1933) is most known for his figure work but produced another book with Lifton on a dog in Japan. Laid into this copy is a 1998 letter signed by Hosoe. A few small bumps to cloth, in dustjacket with mild edgewear and wrinkles.

Tokyo: Chihiro Ishizu, 1997. Hardcover (printed paper over boards), 10 ½ x 8 ½ inches, unpaginated, duotone illustrations, dustjacket and bellyband. Signed. This is the first (and maybe only) Japanese edition of Taka-chan, with rich reproductions and the text printed in black and red. Though slightly smaller, it largely follows the layout of the first. This copy is signed by Hosoe in gold ink on the half-title page. Fine condition.

Pair: $275

 

58. LOCK & WHITFIELD. Men of Mark: A Gallery of Contemporary Portraits, London: Sampson Low, Marston, Searle, and Rivington, 1876 and 1877. Hardcover (gold-stamped black and maroon leather and cloth), 10 ½ x 8 ½ inches, unpaginated, 72 mounted woodburytypes.

This volume contains the first and second series of seven, showing English and European men who were distinguished in government, religion, science, literature, art, military, law, and medicine. Thompson Cooper provides brief biographical notes on each subject. Among the impressive array of eminent Victorians are His Royal Highness the Prince of Wales (first series frontispiece), Victor Hugo, Gustave Dore, and Jules Verne. The portraits were taken expressly for the publication and are presented as oval woodburytypes, each 4 ½ x 3 ½ inches, in a printed border. Samuel Lock and George Whitfield ran a London portrait studio from 1856 to 1894, and are most remembered for their contributions to Men of Mark. See: George Eastman House, Imagining Paradise. Occasional foxing, wear to cover edges and tips. $650

 

59. LYON, Danny. The Bikeriders. Signed.

New York: MacMillan, 1968, stated first edition. Softcover, 9 ¼ x 6 ½ inches, 94 pages, halftone illustrations. Lyon’s rode with the Chicago Outlaw Motorcycle Club between 1963 and 1967 in order to produce this insider’s account of its members’ lifestyle, on and off their bikes. In his introduction, Lyons states that it was “an attempt to record and glorify the life of the American bikerider. It is a personal record, dealing mostly with bikeriders who I know and care for.” To increase the social value of the book, he includes personal statements from about a dozen individuals, such as Zipco, Cockroach, and Funny Sonny. Indicative of the small market for creative photography books at the time, is the publisher’s classification of the book on its back cover: “Adventure.” This copy boldly signed by Lyon. Tiny edgewear and tiny piece missing at top of spine.

Santa Fe: Twin Palms, 1997. Hardcover (red-stamped black cloth), 11 x 8 inches, 100 pages, screen-gravure illustrations, dustjacket. The same text and images as the original, in a slightly larger format and with much richer reproductions. Includes Lyon’s introduction to this new edition, in which he indicates that the first was eventually remaindered, as was the case with many early photography books that are now collectible. This copy boldly signed by Lyon. Near fine condition.

Pair: $950

 

60. LYONS, Nathan. Contemporary Photographers, Rochester: George Eastman House. Hardcovers, 8 ¼ x 8 ¾ inches, 68 pages, 55 halftone illustrations, dustjackets. Signed.

         Toward a Social Landscape, 1966. 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 has an exhibition prospectus laid in and is neatly signed by Lyons. Near fine condition, with previous owner’s bookplate, in dustjacket with tiny scuffs. Rare in hard and in such good shape.

The Persistence of Vision, 1967. This exhibition catalog came shortly after the above and mimics its size and format. However, now the pictures are not street photographs but experimental pieces, 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. Near fine condition, with previous owner’s name (Minneapolis photographer Gary Hallman), in dustjacket that is rubbed, torn, and missing a small piece. Pair: $500

 

61. MAGRITTE, René.

         René Magritte: Photographs, New York: Pace/MacGill Gallery, 1990. Softcover, 11 x

8 ½ inches, unpaginated, 21 halftone illustrations. Snapshots by the painter of friends and himself, dating from the 1920s to 1940s. Some reveal Surrealistic elements, such as a woman holding a glass and a leaf. Text by Pierre Sterckx. Die-cut cover with portrait of Magritte showing through. Laid in is a card announcement of the accompanying exhibition.

René Magritte: Paintings/Drawings/Sculpture, New York: Pace Gallery, 1990. Softcover, 11 x 8 ½ inches, unpaginated, 30 halftone illustrations (some in color). Offers work in various media, from the 1920s to sixties. Includes a few gatefolds and commentary by Magritte himself.   The die-cut cover reveals a classical female figure, which in the full painting is superimposed on the back of a man in a bowler, contemplating a forest.

Two volumes housed in the original slipcase that reproduces Magritte’s painted images of clouds. Books near fine, the slipcase with a few wrinkles along spine. $35

 

62. MANDEL, Mike. The Baseball-Photographer Trading Cards, published by the photographer, 1975. Box (with label), complete with 36 unopened packs of ten cards each (3 ½ x 2 ½ inches) and gum. Signed.

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. It is unknown how many boxes he issued, but this one is signed and dated 1992 (the year I bought it directly from Mandel). There was only one printing of the cards. Near fine condition. $5,000

 

63. MAN RAY.

Self Portrait, Boston: Little, Brown and Co., 1963. Hardcover (pink and gold-stamped black cloth), 9 ½ x 6 ¼ inches, 402 pages, 36 halftone illustrations, dustjacket, stated first edition. The pioneer Dadaist, Surrealist, expatriate, and bohemian recounts his free-wheeling times in New York, Paris, and Hollywood. The lively reminiscences are rich in anecdote and told with disarming candor. Near fine condition, in dustjacket that has minimal wear and wrinkling.

Omakuva, Helsinki: Odessa, 1987. Softcover, 8 ¼ x 5 ¾ inches, 398 pages, 38 halftone illustrations, slipcase and poster. This appears to be the first and only Finnish language edition of Man Ray’s autobiography. It features a completely different set of images and the original cardboard slipcase with a few of his works reproduced on it. In addition, there is a folded poster (24 x 17 inches) with “Objets de Mon Affection” printed on one side and nine ganged images on the other, rendered in rich screen-gravure. Near fine condition; slipcase and poster with minor wear. A rare edition.

Pair: $250

 

64. MINNEAPOLIS SALON of Photography.

First Exhibition, 1932. Softcover, 10 ¼ x 7 ¼ inches, 24 pages, 12 halftone illustrations. This first salon was limited to Minnesota pictorialists, forty of which were accepted by the jury, which included painter Cameron Booth.

         Second Annual Exhibition, 1933. Softcover, 10 ¼ x 7 ¼ inches, 36 pages, 16 halftone illustrations. Now open to pictorialists from throughout the country, it features images by William Mortensen, Max Thorek, and others.

Third Annual Exhibition, 1934. Softcover, 10 ¼ x 7 ¼ inches, 24 pages, 8 halftone illustrations. Among those with reproductions are Edward Alenius, Axel Bahnsen, and Rowena Brownell.

Fourth Annual Exhibition, 1935. Softcover, 10 ¼ x 7 ¼ inches, 32 pages, 8 halftone illustrations. Images by D. J. Ruzicka, Adolf Fassbender, Christine B. Fletcher, and others.

Fifth Annual Exhibition, 1936. Softcover, 10 ¼ x 7 ¼ inches, 24 pages, 8 halftone illustrations. Includes reproduction of Max Thorek’s “Despair,” showing a crouched nude.

Sixth Annual Exhibition, 1937. Softcover, 10 ½ x 7 inches, 24 pages, 8 halftone illustrations. Among those with images are Rowena Brownell and Richard Greenville Spencer.

Seventh Annual Exhibition, 1938. Softcover, 10 ¼ x 7 inches, 28 pages, 8 halftone illustrations. The images include one of the painter Diego Rivera.

Eighth Annual Exhibition, 1939. Softcover, 10 ¼ x 7 inches, 28 pages, 8 halftone illustrations. Includes a reproduction of “Penguins Three” by Eleanor Parke Custis.

Ninth Annual Exhibition, 1940. Softcover, 10 ¼ x 7 inches, 24 pages, 7 halftone illustrations. Includes an image by Newell Green and Lo Tak-Cho of Hong Kong.

Tenth Annual Exhibition, 1941. Softcover, 10 ¼ x 7 inches, 24 pages, 8 halftone illustrations. Among those with reproductions are Axel Bahnsen and Harry K. Shigeta.

Twelfth Annual Exhibition, 1943. Softcover, 6 x 4 ½ inches, 12 pages, 2 halftone illustrations.

Thirteenth Annual Exhibition, 1944. Softcover, 7 ½ x 5 ½ inches, 16 pages, 4 halftone illustrations. Features a nude study of P. H. Oelman.

Fourteenth Annual Exhibition, 1945. Softcover, 9 x 6 inches, 20 pages, one halftone illustration, showing the façade of the exhibiting Minneapolis Institute of Arts. Laid into this copy is an exhibition sticker for the show.

Fifteenth Annual Exhibition, 1946. Softcover, 9 x 6 inches, 24 pages, 5 halftone illustrations. Reproduces images by Francis Wu and others.

Sixteenth Annual Exhibition, 1947. Softcover, 9 x 6 inches, 24 pages, 4 halftone illustrations. Among those with images is Dom Chiesa. Laid in is an exhibition label.

Eighteenth Annual Exhibition, 1948. Softcover, 8 ½ x 5 ¾ inches, 28 pages, unillustrated. Now includes color work.

The annual salons were sponsored by the Minneapolis Camera Club and hung at the Minneapolis Institute of Arts. They were among the leading pictorial shows in the Midwest during the time, sharing the spotlight with Detroit, Chicago, and St. Louis. These accompanying catalogs usually include an introduction by the club’s president, a full checklist, and advertisements. A near complete run, most of them in very good to near fine condition. Group of 16: $175

 

65. MODERN PHOTOGRAPHY.

This is the annual of the Studio Ltd., London and New York, edited by C. G. Holme. Hardcovers, with halftone and screen-gravure illustrations. It is nearly complete, missing only the 1938-39 volume. Includes images by Adams, Bayer, Brandt, Bruguière, Cunningham, Drtikol, Funke, Hine, Kertész, Man Ray, Moholy-Nagy, Renger-Patzsch, Steichen, Umbo, Weston, Zwart, and others. With ephemera.

1931. 1931. “Modern Photography: Its Development, Scope, and Possibilities.” Dustjacket.
1932. 1932. Essay “Recent Progress in Photography.”

1933-34. Introduction by E. O. Hoppé. Dustjacket.

1934-35. “The New Photography” by Ansel Adams. Dustjacket.

1935-36. “Creative Photography” by Francis Bruguière. Dustjacket.

1936-37. Includes color plates and tipped-in halftones. Book announcement laid in.

1937-38. Eight tipped-in color plates, by Anton Bruehl and others. Dustjacket.

1939-40. Essay “One Hundred Years of Photography” by the R.P.S. president.

1940-41. Missing one page, ex-library copy.

1941-42. Sections on peace, war, color, and “The World Goes On.”

1942-43. Essay “What of the Future?”

Run of 11: $350

 

66. MONTGOMERY WARD. Camera and photographic catalogs, Chicago. Softcovers (9 ½ x 6 ½ inches) and hardcovers (11 x 8 inches), screen-gravure and color halftone illustrations.

1941 Camera Catalog, 36 pages. Includes much more than just cameras—light meters, film, enlargers, chemicals, paper, books, and film equipment.

1942 Camera Catalog, 36 pages. The cover promotes color photography with a viewer for Kodachrome slides.

1943 Photographic Catalog, 36 pages. Begins with “Photographic Tips for Wartime Photographers.”

1943 Revised Edition. Similar to above catalog.

1944-45 Photographic Catalog, 40 pages. The front cover and last two pages promote albums for photographs.

1944-45 Revised Edition. Similar to the above catalog.

1947 Photographic and Optical Goods Catalog, 120 pages. A greatly expanded offering of items, including clocks, thermometers, binoculars, and other non-photographic items.

1948 Photographic Catalog, 124 pages. Among the most entertaining items are nearly two dozen “smart sun glasses,” in which today one would look very hip.

1950 Photographic Catalog, 104 pages. Features a two-page spread, “Planning the Home Darkroom,” and offers complete plans for 50 cents (postpaid).

1951 Photographic Catalog, 104 pages. Solicits customers to write in to the company’s Bob Adams, for “answers to all your photographic problems.”

1952 Photographic Catalog, 104 pages. The first two pages highlight three “ready-to-use camera outfits,” priced between $8.95 (for a simple box camera, with flash and case) to $130 (for an Argus 35mm camera, with slide projector and screen).

1953 Photographic Catalog, 104 pages. Includes the Polaroid Land Camera and touts their easy payment plan and mail order business.

         1955 Photographic Book, 104 pages. Commences with the highest quality miniature cameras they offered, among them the Leica M3. Laid into this copy is an unused order form and envelope.

A great selection of mid-century department store catalogs that offer more than their own brand of equipment, including Kodak, Leica, and Speed Graphic. Wear to the softcovers, and previous owner’s name sometimes appears. Group of 13: $150

 

67. MUYBRIDGE, Eadweard.

The Human Figure in Motion, New York: Dover, 1955. Hardcover (gold-stamped brown cloth), 11 x 8 inches, unpaginated, 195 halftone illustrations, dustjacket. A large selection from Muybridge’s unequaled study of motion, performed at the University of Pennsylvania in the 1880s. It shows men, women, and children, usually undressed, in all states of activity against a gridded backdrop. Introduction by photography historian Prof. Robert Taft. Tiny edgewear, price-clipped dustjacket that is rubbed, wrinkled, and torn.

Animals in Motion, New York: Dover, 1957. Hardcover (gold-stamped brown cloth), 11 x 8 inches, unpaginated, 183 halftone illustrations, dustjacket. Features horses, cows, pigs, camels, dogs, cats, and such wild animals as lions and tigers and bears (oh, my!). Includes Muybridge’s text from the original 1887 edition. A few lightly bumped corners, in price-clipped dustjacket that is rubbed and wrinkled.

These are the first Dover editions (reprinted many times as softcovers), not particularly common, especially with dustjackets. The pair: $100

 

68. NARES, George S. Narrative of a Voyage to the Polar Sea, London: Sampson Low, Marston, Searle, and Rivington, 1878. Hardcovers (gold and black-stamped green cloth), 2 volumes, 9 x 6 inches, 396 pages (each), 6 mounted woodburytypes.

Captain Nares’ account of the North Pole expedition of two English ships during the season of 1875-1876. In the preface he admits that they did not reach their goal and indicates that the photographs were made by paymaster F. Mitchell and engineer George White. The rich, full-page woodburytypes depict the ships ominously ensconced in snow and ice, at Floeberg Beach, Cape Beechey, and Discovery Bay (with pitched tents), and serenely afloat in Cape Prescott. Only one crew member appears in the photographs, standing on a floeberg and peering up at large-scale “pressed-up rubble ice.” In addition to the photographic illustrations are woodcuts, diagrams, and fold-out maps. Mounts of each frontispiece browned (due to tissue guard, but not affecting the prints), some lose signatures, and covers worn. Two volume set: $1,000

 

69. N.A.S.A. (National Aeronautics and Space Administration). Earth Photographs from Gemini, Washington, D.C. Hardcovers (gold-stamped red cloth), 11 ¾ x 9 ¼ inches, color halftone illustrations.

Gemini III, IV, and V, 1967, 266 pages, slipcase, with ephemera. This book 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. Issued without a dustjacket, but with the unusual original 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.” Near fine condition.

Gemini VI through XII, 1968, 328 pages. A follow-up to the above, identical in format, but with more pages and pictures. Indicative of the speed of the American lunar flights, these seven missions all took place within an eleven-month period in 1965 and 1966. Minor wear and scuffing to covers, an ex-library copy, with only a mark on front cover and 2 notations on front free endpaper.

Pair: $50

 

70. The NATION’S CAPITAL in PHOTOGRAPHS, 1976, Washington, D.C: Corcoran Gallery of Art, 1976. Softcovers, 8 x 8 inches, 20 pages, halftone illustrations.

The complete set of exhibition catalogs for a Bicentennial project at the Corcoran, led by chief curator Jane Livingston. Most contain a brief introduction by her and biographical information on the photographer.

Lewis Baltz: Maryland.

         Joe Cameron: The Extended Mall.

         Robert Cumming.

         Roy DeCarava.

         Lee Friedlander.

         John R. Gossage: Better Neighborhoods of Greater Washington.

         Jan Groover.

         Anthony Hernandez.

Very good (tiny stains and creases to a few covers) to near fine condition. Set of eight: $500

 

71. NATIVE AMERICAN.

Crafts, Tahlequah, Oklahoma: Sequoyah Orphan Training School, 1934. Hardcover (cross-stitched fabric over boards, with yarn ties), 11 ¾ x 9 inches, 36 pages, 11 gelatin silver prints. This is undoubtedly a unique album, showing Cherokee women and their wares. The title page is hand-lettered and dated June 1, 1934. The five sections cover beading, cross-stitching, pottery, weaving, and sewing. Each begins with a type-written description, followed by snapshots (3 ½ x 5 ½ inches) that are held in place by black photo corners. The young women stand outside the school, proudly holding up examples of their crafts. Commences with an introduction that states, “The craft classes have done good work for the first year. We are eagerly looking forward to the time when we can take up leather and silver (piercing and etching) work with the vocational boys.” Faint stains to cover and minor wear to edges of pages.

Report of Home Economics Department, Salem, Oregon: Chemawa Indian School, 1936. Hardcover (cross-stitched fabric over boards, with ties), 11 ½ x 9 inches, 76 pages, 33 gelatin silver prints. Another unique album presenting female Native American students learning various house-making skills. They include sewing, knitting, crocheting, braiding, laundering, gardening, cooking, canning, hygiene, and nursery school and child care. The text is type-written and the snapshots (measuring 3 ½ x 5 ½ and 5 x 7 inches) are inserted into corner slots. The most intriguing images depict a woman in a chicken coop with chicks, the nursery with children and wooden toys, and tables of homemade food for events. The album concludes with a group of photographs of the girls’ dormitory, showing students lining up for mail and meals, playing tennis, and reading in the living room. Some pages disbound and mildly edgeworn.

These albums, probably made by a student or teacher common to both schools, are extremely unusual and very instructive on Native American school life during the 1930s. Images sent on request. Pair: $750

 

72. NATKIN, Marcel. Photography and the Art of Seeing, London: Fountain Press. Hardcovers, 11 ¼ x 8 ¾ inches, 72 pages, screen-gravure illustrations, dustjackets.

First edition, 1935. This beautifully designed and printed book covers the leading trends in photography, such as pictorial and advertising. 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 the likes of Laure Albin-Guillot, Brassaï, Alexander Keighley, Andre Kertész, and Man Ray. Previous owner’s name on front free endpaper, light scuffing to cloth, in dustjacket that is worn, torn, and missing pieces.

Second edition, 1948. Here Natkin covers most of the same territory, but with a completely different selection of images. Among those represented are Pierre Boucher, Robert Doisneau, Erno Vadas, and the author himself. Previous owner’s name on front fee endpaper, one corner bumped, in dustjacket that is rubbed, worn, torn, and tape-repaired.

Pair: $125

73. NEWHALL, Beaumont. The History of Photography, New York: Museum of Modern Art.

         Photography: 1839-1937, 1937. Hardcover (silver-stamped black cloth), 10 x 7 ¾ inches, 228 pages, 95 halftone illustrations, dustjacket. This is the first state of Newhall’s history, a book which has gone through five editions, eventually becoming one of the medium’s standard references. This one accompanied an exhibition at the Museum of Modern Art, where Newhall was the librarian, preceding the establishment of a curatorial department of photographs. 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. I never understood why Newhall and the museum couldn’t wait another two years and make this a true centenary of the invention of photography. Light edgewear, in the rare dustjacket that is worn, chipped, and missing pieces.

Photography: A Short Critical History, 1938. Hardcover (silver-stamped black cloth), 10 x 7 ¾ inches, 220 pages, 95 halftone illustrations, dustjacket. Newhall revised the text slightly, but the main changes are the elimination of the checklist, seen in the above, and the addition of a biographical section on over one hundred photographers. This edition was 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, in the rare price-clipped dustjacket that has edgewear, creases, and chips.

         The History of Photography, from 1839 to the Present Day, 1949. Hardcover (black-stamped gray cloth), 10 ¼ x 7 ¾ inches, 256 pages, halftone illustrations, dustjacket. The third edition 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. Near fine condition, in a dustjacket with a little wear and loss.

The History of Photography, from 1839 to the Present Day, 1964. Hardcover (gold-stamped blue cloth), 11 ¼ x 8 ½ inches, 216 pages, screen-gravure illustrations, dustjacket. 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 dustjacket that is browned at the edges and missing a few small pieces on the back.

Set of four: $350

 

74. NEW PICTORIALIST. Edward H. Romney, editor, The New Pictorialist Bulletins: A Textbook of Classic Photography, Ellenboro, North Carolina: New Pictorialist Society, 1973. Hardcover (black-stamped gray cloth), 10 x 7 inches, 110 pages, 12 halftone illustrations (some in color).

This is a compilation of the first five volumes of the quarterly The New Pictorialist. The first three volumes are represented by a combined early issues reprint covering 1969-1971, while the last two volumes appear as original full issues. The masthead for the magazine reads: “A quarterly journal devoted to photography as a branch of the fine arts, and an organization working to preserve classic photographic philosophy and techniques.” The contents include articles on composition and using the Graflex camera, along with reprints of essays by Alfred Stieglitz and others. Among those whose work is reproduced are Adolf Fassbender and José Ortiz-Echagüe. Exemplifies how enduring the movement was. Fine condition. $35

 

75. NEW PICTORIALIST SOCIETY.

New Pictorialist Quarterly Bulletin. Vol. 3, 1971 (1 issue); Vol. 4, 1972 (2 issues);

Vol. 5, 1973 (2 issues); Vol. 6, 1974 (1 issue); Vol. 7, 1975 (1 issue); Vol. 9, 1977 (1 issue); Vol. 11, 1979 (1 issue); Vol. 12, 1988 (3 issues).

Aviso. 1974 (1 issue); 1986 (5 issues); 1987 (complete 6 issues); 1988 (3 issues); 1989 (1 issue).

The New Pictorialist Society’s two publications, covering their activities, reprinting earlier articles by Alfred Stieglitz and Adolf Fassbender, and covering processes such as bromoil and multiple gum-bichromate printing. Very good to near fine condition. Group of 27 issues: $75

 

76. 150 Years of Photography, 1839-1989: Sesquicentennial Calendar. San Francisco: Friends of Photography, 1989. Softcovers, 11 x 8 ½ inches, 16 pages each, halftone illustrations.

This is a set of three booklets that listed the exhibitions, events, and publications of photography’s 150^th anniversary year, 1989. While many of the entries are from the United States, it is international in scope, including shows and books from Canada, South America, England, Europe, Australia, and Asia. A little-remembered, informative resource. Set of three: $25                 

 

77. ORTIZ-ECHAGUE, José.

España: Tipos y Trajes, Madrid: Publicaciones Ortiz-Echagüe, 1957. Hardcover (gold-stamped blue cloth), 12 ¼ x 10 ½ inches, 372 pages, 272 screen-gravure and 34 color halftone illustrations, dustjacket. Stated tenth edition. The first of a set of four books, this one depicts Spanish village people in their traditional clothing. The quality gravures show men and women dancing, playing instruments, worshipping, and interacting in other ways; there are fishermen, horse riders, and students, wearing a wide variety of hats, jewelry, and other rich accessories. The photographer provided notes for most images and others wrote about the three areas from which the subjects hailed: Andalusia, Aragon, and Castile. Among the color images, all tipped-in, is the cover showing a brightly dressed young woman with a water jug on her head. One corner bumped, in a dustjacket that is torn and missing a few small pieces.

España: Pueblos y Paisajes, Madrid: Publicaciones Ortiz-Echagüe, 1954. Hardcover (black and gold-stamped red cloth), 12 ¼ x 10 ½ inches, 388 pages, 288 screen-gravure and 34 color halftone illustrations, dustjacket. Stated sixth edition. Tomo 2 pictures the cities and landscape of Spain. Architecture dominates, from both large and small locales: private houses, churches, bridges, castles, and museums, with a cover image of the Fortress of Segovia. Prologues by Azorin and José M. Salaverria, with notes on the plates by the photographer. Near fine condition, in a dustjacket with a few marks and creases.

España Mistica, Madrid: Publicaciones Ortiz-Echagüe, 1964. Hardcover (gold-stamped maroon cloth), 12 ½ x 10 ½ inches, 330 pages, 289 screen-gravure and 12 color halftone illustrations, dustjacket. Stated fourth edition.           Tomo 3, includes a prologue by Miguel Herrero Garcia and notes on the images by the photographer. Easily the most spiritual of the books, Mistica pictures various aspects of Spain’s religious traditions, including ceremonies, rituals, statues, churches, monasteries, and graveyards. Most haunting are images of monks in hooded robes praying and performing other activities. Previous owner’s stamp, light bumping to cloth, in dustjacket with creases and tears.

España: Castillos y Alcázares, Madrid: Publicaciones Ortiz-Echagüe, 1964. Hardcover (gold-stamped black cloth), 12 ½ x 10 ¾ inches, 384 pages, 396 screen-gravure and 16 color halftone illustrations, dustjacket. Stated fourth edition. Tomo 4, the final volume in the set. In this one Ortiz-Echagüe presents a vast selection of the castles and fortresses of Spain, in locations from Alava to Zaragoza. He frequently captures them from below, producing dramatic compositions with billowing cloud formations. All the color images are full bleeds, resulting in oversize reproductions. Text by the photographer and Fray Justo Pérez de Urbel. Light edgewear to cloth, in dustjacket that is worn, torn, tape-repaired, and missing a few small pieces.

José Ortiz-Echagüe (1886-1980) is the internationally best-known Spanish photographer of all time, working in a hybrid pictorial/ethnographic style. Active for over sixty years, he was the leader of the photographic community in Madrid and active as a salon exhibitor worldwide. He was widely heralded for his Fresson (direct-carbon) prints, which showed masterful manipulation. The major vehicle for Ortiz-Echagüe’s images was this set of four titles; “his tetralogy of books constitute an impressive compendium of Iberian stereotypes.” They were printed over twenty-five years, in numerous editions, to the tune of more than 200,000 volumes. Set of four $150

 

78. OWENS, Bill. Documentary Photography.

         Livermore, California: Bill Owens, 1978. Softcover, 11 x 8 ½ inches, 58 pages, halftone illustrations.                A self-published how-to book, with the intent of improving the work of aspiring photojournalists. Owens covers magazines, camera stores, books, lighting, tone, equipment, photographic style, publishing, and grants, all in typewritten text. Covers browned and lightly bent.

Danbury, New Hampshire: Addison House, 1978. Softcover, 10 x 8 inches, 64 pages, halftone illustrations. This is a revised edition of the above title, put out the same year by a major publisher. Addison House tightened the text and cleaned up the design, and claimed it was a “Photographic Survival Kit.” Covers bent and chipped.

Pair: $35

 

79. PARIS.

         Jean Roman, Paris Fin de Siècle, New York: Arts, Inc., 1960. Hardcover (printed paper over boards), 7 ½ x 8 ½ inches, 108 pages, screen-gravure illustrations (some in color), dustjacket. This is an attractive little volume on life in gay Pare at the turn of the twentieth century. Includes high-quality gravure reproductions of photographs by Eugène Atget, Jacques Henri Lartigue, Edward Steichen, Alfred Stieglitz, and others. Among the leading painters represented by color images are Degas, Manet, Seurat, and Toulouse-Lautrec. Light bumps to cover, in price-clipped dustjacket with tiny edgewear and faded spine.

Armand Lanoux, Paris in the Twenties, New York, Arts, Inc. 1960. Hardcover (printed paper over boards), 7 ½ x 8 ½ inches, 108 pages, screen-gravure illustrations (some in color), dustjacket. This companion volume essays the jazz age of the roaring 1920s in France’s capital. “Sandwiched between two wars, the Parisians of the ’twenties defied destruction and annihilation, not only by indulging in every pleasure and luxury, but by bringing about significant revolutions in literature, art, politics, and all other fields.” Features rich gravure images by the likes of Lartigue and Man Ray, and color ones by Léger, Miro, Picasso, and more. Light cover edgewear, in price-clipped dustjacket with minor wear and a few tears.

Both edited and designed by Robert Delpire, who two years earlier issued Robert Frank’s Les Americains in a similar format. Pair: $50

 

80. PERESS, Gilles.

         Telex Persan, Paris: Contrejour, 1984. Softcover, 15 x 10 ½ inches, 102 pages, screen-gravure illustrations. Comprises photographs that French photographer Peress made in1979, during Iran’s turbulent Islamic Revolution, when American hostages were snatched from the country’s embassy. Countering the routine photojournalistic conceit of presenting an objective view of his subject, he instead pursued a highly personal approach. Many of his resulting images are fragmented and disorienting, like the one on the cover of the book that is presented as a bleed image across front, spine, and back. Inside, telex communications between Peress and his agency are interspersed among the images. Texts by Claude Nori and Gholam-Hossein Sa’dei, in French. This is one of the most important photography books from the late twentieth century and is included in Parr and Badger’s The Photobook: A History. Miniscule edgewear.

Telex Iran: In The Name of Revolution, New York: Aperture, 1983. Softcover, 15 x

10 ½ inches, 102 pages, screen-gravure illustrations. With ephemera. Despite the 1983 date, the American edition was issued simultaneously with the French, which is the true first, as this edition states that it was “originated and produced by Contrejour.” This edition included in Roth’s Book of 101 Books. Laid in are Peress’ business card (with tape) and a 1991 issue of the members’ magazine of the Minneapolis Institute of Arts that features a cover story on an exhibition of work from the project. Both editions are   notoriously fragile, due to their size and being issued only in soft. The cover has edgewear and is separated from the body of signatures.

Pair: $650

 

81. PHILLIPS. Photography auction catalogs.

Many copies, some with auction results. Please inquire.

 

82. PHOTOGRAMS of the YEAR.

Photograms of the Year was England’s most important annual of photography for decades, that country’s equivalent of the American Annual of Photography. It began in 1895, long before modernists adopted the word “photogram” to designate a camera-less picture, and it continued after 1960 as New Photograms. It was largely devoted to pictorial photography, with many related reproductions and articles. Most feature tipped-in frontispieces and a few general articles, plus comments on the images by pictorialists like Harold Cazneaux, Frank R. Fraprie, Alexander Keighley, F. J. Mortimer, Chin-San Long, Max Thorek, and Francis Wu. Most are hardcovers, the last one with a dustjacket and containing rich screen-gravure illustrations.

1943, 1946, 1947, 1948, 1949, 1950, 1951, 1952, 1954.

Group of nine: $150.

 

83. PHOTOGRAPH.

         Perhaps the most simply named periodical, it came out of New York and was edited by Will Faller. Measuring 14 x 11 inches and printed on quality newsprint, they comprised thirty to forty pages. Despite the goal of being published ten times a year, it is possible that these four issues represent the full run.

Vol. 1, no. 1 (Summer 1976). Feature article on Weegee.

Vol. 1, no. 2 (November 1976). Cover article “Steichen and the Bunch at 291.”

Vol. 1, no. 3 (February 1977). Lead article on Helen Gee’s Limelight Gallery.

Vol. 1, no. 4 (July 1977). The feature is an interview with Harry Callahan.

Group of four: $35

 

84. PHOTOGRAPHIC RESOURCE CENTER.

Another of the regional, non-profit photographic centers, this one on the campus of Boston University. It’s newsletter transformed into the magazine In the Loupe by 1999.

Vol. 18, 1994 (4 issues); Vol. 19, 1995 (2 issues); Vol. 23, 1999 (2 issues); Vol. 24, 2000 (1 issue); Vol. 25, 2001 (4 issues); Vol. 26, 2002 (4 issues); Vol. 27, 2003 (5 issues); Vol. 28, 2004 (1 issue).

Group of 23 issues: $35

 

85. PHOTOGRAPHIC SOCIETY of AMERICA.

This leading national organization held annual conferences at which it presented a juried exhibition of work from its international members. While the majority of the photographs were pictorial, the shows also included sections of color slides and nature, technical, and press pictures.

1946, Rochester: Memorial Art Gallery. Softcover, 9 ½ x 6 ½ inches, 48 pages, 22 halftone illustrations. Includes reproductions by Jean Elwell, O. E. Romig, and others.

1947, Oklahoma City: Oklahoma Art Center. Softcover, 9 x 7 inches, 32 pages, 12 halftone illustrations. Features a snow scene by Gustav Anderson on the cover. The show included nearly thirty photographs from the permanent collection of the Oval Table Society, a newly formed group of pictorialists. Photographers represented included Frantisek Drtikol, Rudolf Koppitz, Léonard Misonne, William Mortensen, José Ortiz-Echagüe, and D. J. Ruzicka.

1948, Cincinnati Art Museum. Softcover, 9 x 7 inches, 32 pages, 10 halftone illustrations. Reproductions by Cecil B. Atwater, A. Aubrey Bodine, and others.

1956, Denver: Shirley-Savoy Hotel. Softcover, 9 x 6 inches, 54 pages, 22 halftone illustrations. Curator Beaumont Newhall served on one of the committees and among the reproductions is a landscape by Arthur W. Underwood. Laid in is an exhibition sticker and sheet with list of color division winners.

Group of four: $50

 

86. PHOTOGRAPHIE.

         This was the premier modernist French annual during the 1930s, comprising rich screen-gravure illustrations, spiral bound, in a substantial 12 ¼-x-10-inch format.

1938. 1938. Features work by Herbert List, Pierre Boucher, Man Ray, Laurie Albin-Guillot, Erwin Blumenfeld, and others. Covers edgeworn and folded.
1939. 1940. Among the contributors are Blumenfeld, Louise Dahl-Wolfe, Jan Lukas, Bill Brandt, George Platt Lynes, Brassaï, Ylla, and Gisèle Freund (a color portrait of Madame Colette). Covers rubbed, with tiny wear.

1930-1947. Dortmund, Germany: Harenburg, 1983. Softcovers, 7 x 4 ¾ inches, unpaginated, halftone illustrations. This is a miniature reprint of the entire run of eleven issues of Photographie, appearing 1930-1940 and 1947. Handy for reference purposes. Copies very good condition, in cardboard case that is edgeworn.

Pair with reprints: $200

 

 

 

87. PHOTOGRAPHY in the FINE ARTS.

In 1959, photojournalist Ivan Dmitri organized the first of a series of exhibitions called “Photography in the Fine Arts” (PFA), which were embraced by America’s art museums, among them the Met in New York. At the time, few such institutions paid serious interest to the medium, a situation that changed decidedly over the next decade.

Here is Your Invitation to Submit Pictures, Philadelphia: Photographic Society of America, 1960. Folded sheet, 11 x 8 ½ inches, four panels, unillustrated. This society of amateurs partnered with the PFA this year to encourage more of its members to submit their work to the shows. Includes an entry blank and a section titled, “The PFA Project is Not a Contest, Nor is It a Salon.”

Photography in the Fine Arts: Exhibit 2, Minneapolis Institute of Arts, 1960. Softcover, 11 x 8 inches, 24 pages, halftone illustrations (some in color). Comprises an offprint from Saturday Review magazine that describes the PFA organization and its second show, profiles the jurors, reproduces pictures, and prints a checklist. Among the photographers with images were Ernst Haas, Dorothea Lange, Irving Penn, and Arnold Newman (his great Stravinsky portrait at the piano). It appears that each venue printed up its own covers and inserted the offprint.

Photography in the Fine Arts: Third Exhibit, Minneapolis Institute of Arts, 1961. Softcover, 11 x 8 inches, 22 pages, halftone illustrations (some in color). Same format at above, with reproductions by Wynn Bullock, Yousuf Karsh, Eliot Porter, and others. Features a map of the United States with over fifty cities marked where the first two PFA exhibitions were shown.

Photography in the Fine Arts: Exhibit IV, Minneapolis Institute of Arts, 1962. Softcover, 11 x 8 inches, 28 pages, halftone illustrations (some in color). Now a more finished catalog, printed on decent paper. Includes an introduction by Dimitri and pictures of the jurors looking at prints, such as Eastman House director Beaumont Newhall. Among the newcomers with illustrations are Paul Caponigro, Carl Chiarenza, William Garnett, and Gordon Parks (on the cover).

Photography in the Fine Arts: Museum Directors’ Selections for the 1965 New York World’s Fair Exhibition, New York: PFA, 1965. Softcover, 11 x 8 inches, 32 pages, halftone illustrations. With ephemera. Features images by Richard Avedon, Cornell Capa, Elliot Erwitt, W. Eugene Smith, John Szarkowski (before he was a curator), and Brett Weston. Much of the catalog is devoted to the jurors, each with a two-page spread featuring a portrait (by Karsh) and their short essay about photography. They were the directors at the Metropolitan Museum of Art, Addison Gallery of Art, National Gallery of Art, Virginia Museum of Fine Arts, and the city museums in Seattle, Cleveland, Toledo, Philadelphia, Boston, and Brooklyn—quite impressive. Taped to the cover is Evan Dimitri’s PFA business card.

An enlightening collection about an overlooked, early attempt at integrating photography into the fine arts. All in near fine condition. Group of five: $125

 

88. PICTORIAL PHOTOGRAPHY in AMERICA. New York: Pictorial Photographers of America.
89. 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. Unbeknownst to most, this book was issued with a thin glassine jacket, which is present here with a few small pieces missing. As a result, the cover is in stunning, near fine condition.
90. Hardcover (gray cloth and gold-stamped paper over boards), 11 ¼ x 8 ¼ inches, 82 pages, 57 halftone illustrations. The second annual, with the same Goudy typography. Text begins with Arthur Wesley Dow’s “Painting with Light,” followed by an interview with Clarence H. White, and then analysis of some of the illustrations by the makers. Contributing pictures are Clark Blickensderfer, John Paul Edwards, Forman Hanna, William Macnaughtan, D. J. Ruzicka, and others. Covers lightly rubbed, with tiny edgewear, one bumped corner, and fading.
91. Hardcover (gray cloth and gold-stamped paper over boards), 11 x 8 inches, 110 pages, 75 halftone illustrations. Includes an essay on progress in pictorial photography over the last year, plus one titled “On Ideas” by Condé Nast art director Heyworth Campbell. Among those contributing images are Arnold Genthe, Johan Hagemeyer, Jane Reece, Clara E. Sipprell, Margaret Watkins, Edward Weston, and Clarence H. White. Little rubbing to cover, tips, and top and bottom of spine.

Set of three: $300

 

89. PSA ANNUAL.

For a time, the Photographic Society of America published a special issue of its PSA Journal as an annual, issued late in the preceding year. In addition to many reproductions, they featured a regular mixture of articles on pictorial, color, nature, and other types of photography, along with technical information and news on the society.

1949. 1949. Includes halftone illustrations by Frank R. Fraprie, Mildred Hatry, George Hoxie, Thomas Limborg, L. Whitney Standish, and Maurice Tabard, who contributed the cover image and is the subject of a feature article. Ansel Adams and Harry K. Shigeta also wrote articles.
1950. 1950. Includes an article on outdoor fashion photography by Fritz Henle and a profile of the Texas portrait photographer Paul L. Gittings. Features ten plates printed in high-quality collotype on heavy paper, with images by A. Aubrey Bodine, Dom Chiesa, Arnold Newman (portrait of artist Jean Arp), P. H. Oelman, and Dan Weiner.
1951. 1951. This annual includes an article on Ansel Adams and one by J. Dudley Johnston on “Progress in Photography,” covering William Henry Fox Talbot, Henry Peach Robinson, Paul Strand, Man Ray, Pierre Dubreuil, and others. P. H. Oelman contributes an illustrated article on the nude. Once again there are collotype plates and for the first time color reproductions, of flower images.

Light wear to covers. Set of three: $30

 

90. PSA JOURNAL.

The PSA Journal was the monthly magazine of the Photographic Society of America, which was founded in the mid-1930s as a national organization of pictorialists and still operates today, though with a different emphasis. Its first issue was dated March 1935. The magazine features articles, reproductions, book and exhibition reviews, and membership lists and news.

1936 (September and December), 1937 (March), 1938 (Summer), 1940 (January), 1941 (October), 1942 (January, April, May, June-August, September, October), 1943 (missing one of 9 issues that year), 1944 (complete 10 issues that year, bound together), 1945 (complete 10 issues that year, 7 bound together), 1946 (complete 11 issues that year, 8 bound together), 1950 (March-November: 9 of 12 issues), 1951 (missing January and May: 10 of 12 issues),             1952 (missing December: 11 of 12 issues), 1953 (missing November: 11 of 12 issues), 1954 (complete 12 issues), 1955 (complete 12 issues), 1956 (complete 12 issues), 1957 (complete 12 issues)

An extended run of 140 issues: $275

 

91. QUIVER.

         Edited by photographers Michael Becotte and William Larson and published by the photography department of Temple University in Philadelphia. It appears to have lasted only three years. The issues measure 8 x 8 ¾ inches, and comprise 48 pages or more. Features primarily contemporary color work by the editors, N.A.S.A., Leland Rice, Suda House, Barbara Kasten, Bea Nettles, Sonia Sheridan, Keith A. Smith, John Pfahl, Joan Lyons, Jo Ann Verburg, and others.

Numbers 3-7 (1978-1981). Very good to near fine condition.

Run of 5 issues: $50

 

92. RUSCHA, Edward.

         Various Small Fires and Milk, Los Angeles: Edward Ruscha, 1964. Softcover, 7 x 5 ½ inches, unpaginated, 16 halftone illustrations. Stated second edition of 3,000 copies, 1970. Near fine condition, in original glassine sleeve that is browned on the spine and lightly chipped.

Nine Swimming Pools and a Broken Glass, Los Angeles: Edward Ruscha, 1968. Softcover, 7 x 5 ½ inches, unpaginated, 10 color halftone illustrations. Stated second edition of 2,000 copies, 1976. Light rubbing and tiny wear to covers.

Real Estate Opportunities, Los Angeles: Edward Ruscha, 1970. Softcover, 7 x 5 ½ inches, unpaginated, 25 halftone illustrations. First edition, with original glassine sleeve, signed. A small compendium of Ruscha’s deadpan pictures of empty lots with “For Sale” signs, and identified by their address in Los Angeles. Near fine condition, in glassine that is browned on the spine, with two tears. This copy signed by Ruscha.

Group of three: $2,500

 

93. SALOMON, Erich.

Porträt einer Epoche, Berlin: Verlag Ullstein GMBH, 1963. Hardcover (brown-stamped gray cloth), 11 ¼ x 9 inches, 238 pages, 216 screen-gravure illustrations, dustjacket. This remains the authoritative book on Salomon, the German photojournalist whose work elicited the first use of the phrase “candid camera.” Using a small-format Ermanox camera with a large lens, he documented social and political events off limits to most other photographers, during the 1920s and thirties in Europe and America. He made the first photograph of the U.S. Supreme Court in session, and also turned his lens on notable figures such as Neville Chamberlain, Charlie Chaplin, Winston Churchill, Marlene Dietrich, Benito Mussolini, and Richard Strauss. Biography and notes by the photographer’s son, Peter Hunter-Salomon. Richly printed in gravure, with text in German. Small tear to cloth, in dustjacket that is rubbed, torn, and missing a few pieces.

Portrait of an Age, New York: MacMillan, 1967. Hardcover (black and gold-stamped brown cloth), 238 pages, 216 screen-gravure illustrations, dustjacket. This is the English-language translation of the above. Front hinge lose, in dustjacket that is slightly edgeworn and missing a sliver.

Pair: $125

 

 

 

94. SEE.

         This “Journal of Visual Culture,” was published by the Friends of Photography, after it ceased its periodical Untitled (see listing in this catalog) and the organization moved from Carmel, California, to San Francisco. Laid into the first issue is a printed letter from the Friends’ new director Andy Grundberg stating that the new magazine “addresses the full spectrum of photography and lens-based visual culture, serving the Friends’ long-time goal of placing photographs within the context of human life and experience.” Issues measure 12 x 9 inches and contain 80 pages of high-quality halftone illustrations (some in color).

Premiere Issue, 1994. Carrie Mae Weems, Henry Wessel, and others.

1:1, 1995. Among those featured are Pierre et Gilles (on the cover).

1:2, 1995. Jo Ann Callis, William Christenberry, David Levinthal and more.

1:3, 1995. Includes images by Nan Goldin and Mike and Doug Starn.

1:4, 1995. Features work by Ellen Carey, Catherine Chalmers, and others.

2:1, 1996. Presents portraits from Cambodia’s killing fields from the late 1970s.

2:2, 1996. Images by John Pfahl, Felix Gonzalez-Torres, and others.

2:3, 1996. Among those represented are James Casebere, and Merry Alpern.

This is the complete run of the magazine, as the Friends’ soon faced financial challenges that put them out of business. Run of 8 issues, most in near fine condition: $125

 

95. SMITH, Michael A. Landscapes 1975-1979: Photographs by Michael E. Smith, Revere, Pennsylvania: Lodima Press, 1981, two volumes. Numbered and signed, with ephemera.

Volume I. Hardcover (silver-stamped black cloth with mounted gelatin silver print), 11 ¼ x 13 inches, 110 pages, 42 duotone illustrations, mylar dustjacket. Includes an introduction by James L. Enyeart and a statement by the photographer, printed in elegant letterpress. The highly-detailed tipped-in plates were made from 8-x-10-inch negatives.

Volume II. Hardcover (silver-stamped black cloth with mounted reproduction), 11 ¼ x 23 ½ inches, 52 pages, 15 duotone illustrations, mylar dustjacket. Similar letterpress printing and tipped-in plates, this time made from 8-x-20-inch negatives.

Originally planned in an edition of one thousand copies, only 600 were realized. Each is signed and numbered; this set is #568. It was awarded the best photography book of the year at the Rencontres Internationales de al Photographie (Arles, France). Laid in is a handwritten and signed letter from Smith, dated 1999, a prospectus for the book set, and a few other Smith items. Both books in fine condition, in original shipping box. $1,250

 

96. SOTH, Alec. Sleeping on the Mississippi. Signed.

Minneapolis: Alec Soth, c. 2002. Softcover (spiral-bound with clear plastic front cover and black back card cover), 11 x 9 inches, 56 pages, 50 color ink-jet illustrations. This is the first prototype for what became one of the most revered photography books of the first decade of the twenty-first century. Influenced by his teacher Joel Sternfeld, Soth ventured up and down the route of the Mississippi River, using a large format-camera to capture solemn landscapes and everyday people. This self-made booklet was produced in a very small number, which he distributed to curators and other tastemakers. This copy signed by Soth. Front cover lightly rubbed and back with tiny wear.

Minneapolis: Alec Soth, c. 2003. Hardcover (gold-stamped brown cloth with mounted ink-jet print), 11 x 8 ½ inches, 60 pages, 45 color ink-jet illustrations. This is the second prototype but still rare, as Soth produced only sixty copies total, in two editions. It features a few less images and a slightly altered sequence. Famously, it retains the misspelled “Mississippi” (with an additional “s”) on the title page. On the cover, it has been corrected. This copy signed by Soth and numbered a very low 3/30. Near fine condition.

Göttingen, German: Steidl, 2004. Hardcover (black-stamped pictorial cloth), 11 x

11 ½ inches, unpaginated, 47 halftone illustrations. The first trade edition now features another slight variation of the pictures and their order. The cover presents a detail of a yellow wall, with picture hooks and faded areas where frames previously hung, a subtle ode to memory and loss. Includes text by Minnesota writer Patricia Hampl and Houston curator Anne W. Tucker. Born in 1969, Alec Soth has remained in his native Minneapolis most of his life and is now a member of the Magnum photo agency. He worked as a darkroom technician and digital specialist at the Minneapolis Institute of Arts from 1996 until he burst on the international photographic scene in 2004. In that year he exhibited at the Whitney and Sâo Paulo Biennials and Steidl published this volume. This copy signed by Soth. Near fine condition.

Göttingen, German: Steidl, c. 2006. Hardcover (printed paper over boards). This is the second edition, identical to the first except for the cover, which pictures a man in a flight suit holding two model airplanes. The subject here was Charles, an affable eccentric who Soth posed outdoors in the winter on a roof. The colophon mistakenly indicates that this is the first edition. This copy signed by Soth. Near fine condition.

Göttingen, German: Steidl, 2008. Hardcover (black-stamped gray cloth with mounted reproduction). The third edition, which is correctly identified, with the cover showing two men with their car, fishing from a dirt-road bridge, photographed in Wickliffe, Kentucky. This copy signed by Soth. Near fine condition.

A complete set of every prototype and edition of this important book, all signed. Set of five: $18,000

 

97. SOTHEBY’S. Photography auction catalogs.

Many copies, some with auction results. Please inquire.

 

98. STEICHEN, Edward.

         Richard Pratt, The Picture Garden Book and Gardner’s Assistant, New York: Howell, Soskin, 1942. Hardcover (gold-stamped orange cloth), 10 ½ x 8 inches, 144 pages, 18 color halftone illustrations. Among the types of gardens that Pratt and Steichen jointly essay are wire, jungle, Spring, annual, window, Picasso, and indoor ones. Near fine condition, in dustjacket with light edgewear.

Richard Pratt, Gardens in Color, Garden City, New York: Garden City Publishing, 1944. Hardcover (gold-stamped brown cloth), 10 ½ x 8 inches, 144 pages, 18 color halftone illustrations. Seemingly the same as the above, except for the title, dustjacket design, cloth, and publisher (Garden City Publishing in Garden City, how appropriate). Near fine condition, in dustjacket that is wrinkled, torn, and worn.

Pair: $35

 

99. STEINERT, Otto. Subjektive Fotografie.

Subjektive Fotografie: A Collection of Modern European Photography, Bonn, Germany: Brüder Auer Verlag, 1952. Hardcover (gold-stamped cream cloth), 12 x 9 inches, 152 pages, 112 halftone illustrations. Includes essays by Dr. Steinert, Franz Roh on “The Imaginative Range of Photography,” and another scholar. Among the contributing photographers are Herbert Bayer, Christer Christian (great name, huh?), Heinz Hajek-Halke, Man Ray, Laszlo Moholy-Nagy, and Steinert. All text trilingual in German, French, and English. Folds to a few pages, light ink loss on spine, lacking dustjacket.

Subjektive Fotografie 2: A Collection of Modern Photography, Munich, Germany: Brüder Auer Verlag, 1955. Hardcover (white-stamped black cloth), 12 x 9 inches, 140 pages, 112 halftone illustrations. This is the companion volume to the above, issued a few years later. Steinert writes the essay “On the Creative Possibilities of Photography,” which appears in German, French, and English. The selection of images this time is more international, including work from countries such as Holland, England, Japan (Yasuhiro Ishimoto), France (Daniel Masclet), Germany, and the United States (Harry Callahan, William Klein, and Minor White). Fold to half-title page, cloth with a few scuffs, spots, and bumped corners, lacking dustjacket.

The pair: $750

 

100. STEREO-CLINIC. Dr. Howard A. Kelly, Troy, New York: Southworth Company. Hardcovers (gold-stamped tan cloth, ring-bound), 9 x 7 ¼ inches, about 40 pages each, stereo gelatin silver prints.

These are instructional medical booklets, with original photographs tipped on to many of the pages. Doctor Kelly (1858-1943), an American surgeon, gynecologist, and professor, was one of the founders of Johns Hopkins Hospital, in Baltimore. Seven ring-bound books, with two original slipcases. Fascinating material, for both medical historians and the ghoulish. There is much blood and guts in these images; they are not for the faint of heart, especially in three-dimensions.

Abdominal Hysterectomy for a Fibroid Uterus, 1909.

Examining and Recording a Pelvic or Other Abdominal Tumor, 1909.

Dr. J. A. Bodine’s Operation for Inguinal Hernia, Under Cocaine: Part First, 1909.

         Dr. J. A. Bodine’s Operation for Inguinal Hernia, Under Cocaine: Part Second, 1909.

Suspension of the Uterus, 1909.

Bismuth Paste Injections: Part First, 1911.

         Bismuth Paste Injections: Part Second, 1911.

Edgewear and occasional foxing. Set of seven: $1,250

 

101. STIEGLITZ, Alfred. Sarah Greenough, Alfred Stieglitz: The Key Set, Washington, D.C.: National Gallery of Art, and Harry N. Abrams, New York, 2002. Hardcovers (black-stamped tan cloth), 12 ¾ x 10 inches, 1,012 pages, 1,642 duotone illustrations (some in color), 2 volumes in slipcase.

Hands down, the most comprehensive visual guide to Stieglitz’s work. It reproduces the over 1,500 photographs by him owned by the National Gallery, given by his widow, Georgia O’Keeffe, as the “key set” of his photographs. Greenough’s introduction describes periods in Stieglitz’s life and is followed by the pictures in chronological order, dating from 1886 to 1937. Mint condition, in shrink wrap and original shipping carton. $300

 

102. STRAND, Paul. A Retrospective Monograph, Millerton, New York: Aperture, 1972. Hardcovers (black-stamped tan cloth), 12 ¼ x 10 ¼ inches, unpaginated, screen-gravure illustrations, dustjackets. With ephemera.

The Years 1915-1946. Commences with Strand’s early abstract still lifes, seen in the last issues of Camera Work, and moves on to his images of machines, nature forms, Gaspé, Mexico, and New England. Features short excerpted texts by Alfred Stieglitz, Helmut Gernsheim, Nancy Newhall, and others. Laid in is an order form for this volume. Near fine condition, with miniscule wear to top of dustjacket spine.

The Years 1950-1968. Includes such foreign subjects as France, Italy, Egypt, Ghana, and the Outer Hebrides. Among the those contributing text are Claude Roy, Cesaré Zavattini, and Basil Davidson. Near fine condition, in dustjacket with faint scratch and fold. Set of two: $275

103. SUN ARTISTS. W. Arthur Boord, editor, New York: Arno Press, 1973. Hardcover (blue-stamped silver cloth), 12 ¼ x 9 ¼ inches, unpaginated, 32 halftone illustrations.

This volume, issued without a dustjacket, reprints the complete but short run of this quarterly English magazine. Originally published in London between October 1889 and July 1891, each issue was devoted to a single naturalistic photographer, with an essay and four lose photogravure plates signed by the artist. They cover, in chronological order: James Gale, Henry Peach Robinson, J. B. B. Wellington, Lydell Sawyer, Julia Margaret Cameron, B. Gay Wilkinson, Mrs. F. W. H. Myers, and Frank Meadow Sutcliffe. While the two women provided mostly portraits, the men preferred landscapes and figure studies, heavily influenced by fellow countryman Peter Henry Emerson, the progenitor of naturalistic photography. Previous owner’s name on front pastedown, with minor marks to cloth. $45

 

104. SWANN GALLERIES. Photography auction catalogs.

Many copies, some with auction results. Please inquire.

 

105. SWEDLUND, Charles. Circa 1955. Chicago: Stephen Daiter Gallery, 2010. Softcovers, 9 ½ x 8 ½ inches, box.

Volume I: Chicago, 76 pages, 52 halftone illustrations. Comprises primarily street photographs, some made at night. Essay by curator Keith F. Davis. Laid in is a form letter from the Daiter Gallery.

Volume II: Firefighters, 70 pages, 47 halftone illustrations. Features nocturnal scenes of firemen on the job, often rendered grainy and impressionistically. Includes the transcript of a conversation Swedlund had with the Daiter Gallery’s Paul Berlanga.

Volume III: Roadtrips, 90 pages, 36 halftone illustrations. Includes mostly landscapes that Swedlund made between Chicago and California.

Charles Swedlund was born in Chicago in 1935, attended the Institute of Design, and then went on to teach for many years at Southern Illinois University. All of the pictures in these three books were made in 1955, when Swedlund was only twenty years old. Housed in original box, all in fine condition. Set of 3: $75

 

106. TWICE A YEAR. New York, edited by Dorothy Norman. 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 dustjacket.

III-IV. No photographic contents. Hardcover, in dustjacket 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 dustjacket with two tears.

VII. Halftone by Ansel Adams, “Photograph, 1940.” Hardcover, in dustjacket 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 dustjacket 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 dustjacket.

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 dustjacket. 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 dustjacket with two tears, creases, and small stains.

Accompanied by a prospectus for the periodical. Complete set of 9 issues: $500

 

107. UNTITLED. Carmel and San Francisco: Friends of Photography.

A complete run of 58 numbers in 56 issues (1972-1987). An important periodical of the time, usually focusing on a theme or single photographer.

1: Edward Weston. 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. 19: Vilem Kriz. 20: Ruth Bernhard. 21: Diana Camera. 22: Edmund Teske. 23: 9 Critics 9/Photographs. 24: New Landscapes. 25: Discovery and Recognition. 26: John Pfahl. 27: Roy DeCarava. 28: Marsha Burns. 29: Wright Morris. 30: The Contact Print, 1946-1982. 31: Nicholas Nixon. 32: Mario Giacomelli. 33: Samuel Bourne. 34: Marion Post Wolcott. 35: Observations: Essays on Documentary Photography. 36: Harry Callahan. 37: Ansel Adams. 38: Todd Walker. 39: Mary Ellen Mark. 40: Don Worth. 41: Edward Weston. 42: Eikoh Hosoe. 43: Light Years. 44: Olivia Parker. 45: Judith Golden. 46: Frank Gohlke. 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. 53: Zeke Berman. 54: Lorna Simpson. 55: Ansel Adams. 56: Special Collections. 57: Albert Chong. 58: Joel Sternfeld “American Prospects.”

All in very good to fine condition (a few in shrink). Complete set of 56 issues: $750

 

108. VAN DER ELSKEN, Ed. Love on the Left Bank.

London: André Deutsch, 1956. Hardcover (white-stamped black cloth), 10 ¾ x 7 ¾ inches, unpaginated, screen-gravure illustrations, dustjacket. Dutch photographer Elsken’s gritty story of a young bi-racial couple living it up and down in the beat culture of Paris. “They dine on half a loaf, smoke hashish, sleep in parked cars or on benches under the trees, sometimes borrowing a hotel room from a luckier friend to shelter their love.” In Roth’s Book of 101 Books. Near fine condition, in dustjacket that is torn, rubbed, and missing small pieces.

Tokyo: Syoseki, 1998. Hardcover (white-stamped black cloth), 10 ¾ x 7 ½ inches, unpaginated, halftone illustrations, dustjacket and two bellybands. The much later Japanese edition. One bellyband is the publisher’s and the other if from the Yaesu Book Center, where the book was purchased in Tokyo. Fine condition.

Pair: $350

 

109. WESTON, Edward. Anita Brenner, Idols Behind Altars.

New York: Payson & Clarke, 1929. Hardcover (brown-stamped brown cloth), 9 x 6 inches, 360 pages, line drawings and halftone illustrations. This is a substantial investigation of Mexican art, commissioned by the National University of Mexico, from the Aztecs to Diego Rivera. Weston and Tina Modotti provided most or all of the photographic images, apparently sometimes in collaboration. Some document Mexican craft objects, while others are Weston’s known Mexican images, such as those picturing an ancient pyramid, pulquerias, and a Maguey cactus plant. Bookstore label inside back cover, cloth sunned with minor shelf wear and a small tear.

New York: Harcourt, Brace and Co., 1929. Hardcover (black-stamped red cloth),

8 ¾ x 6 inches, 360 pages, line drawings and screen-gravure illustrations. This edition features a slightly smaller page size and thinner paper. Though printed in gravure the reproductions are actually of lesser quality than the above and exhibit some rather unfortunate retouching in the frontispiece. Previous owner’s name and bookplate, cloth with very minor rubbing.

These are the only editions printed during Weston’s lifetime. Pair: $75

 

110. WESTON, Edward. “Fit for a King:” The Merle Armitage Book of Food, New York: Duell, Sloan and Pearce.

First edition, 1939. Hardcover (red-stamped black cloth), 9 ½ x 7 ¾ inches, 262 pages, line drawings and four halftone illustrations. 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 a distinctive 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; he contributed six examples of “outdoor cuisine” (pages 211-212), most of them relying heavily on canned food. Spot and light rubbing to cloth.

Revised edition, 1949. Hardcover (red-stamped turquoise cloth), 9 ½ x 7 ¾ inches, 262 pages, line drawings and four halftone illustrations, dustjacket. Signed. This edition features a different pepper image and the artichoke is orientated differently. According to the dustjacket, the first edition was selected as one of the fifty books of the year by the American Institute of Graphic Arts, and went out of print after only a few months. This copy boldly inscribed by Armitage. Near fine condition, in price-clipped dustjacket that is rubbed.

Pair: $150

111. WESTON, Edward. The Daybooks of Edward Weston.

Volume I: Mexico, Rochester: George Eastman House, 1961. Hardcover (black-stamped brown cloth), 10 ¼ x 8 ¾ inches, 254 pages, 40 halftone illustrations, dustjacket. Near fine condition, in price-clipped dustjacket that is rubbed, chipped, and with tiny tear.

Volume II: California, New York: Horizon Press, 1966. Hardcover (black-stamped brown cloth), 10 ¼ x 8 ¾ inches, 330 pages, 40 halftone illustrations, dustjacket. Front paistdown wrinkled and slight loss of front free endpaper, dustjacket rubbed, with a short tear and tiny piece missing.

The extensive journals of Weston, edited by Nancy Newhall. Pair: $150

 

112. WESTON, Edward. Ben Maddow, Edward Weston: The Definitive Volume of His Photographic Work, Millerton, New York: Aperture. Signed.

Fifty Years, 1973. Hardcover (silver-stamped green and black cloth), 12 ¼ x 13 ½ inches, 286 pages, screen-gravure illustrations, dustjacket. Maddow provides the biography and son Cole a statement. The images, reproduced the same size as Weston’s original prints, are organized in five chronological periods, beginning with Glendale, California (pre-Mexican), 1918-1923, and ending with post-Guggenheim, 1939-1948. Near fine condition, in dustjacket that is rubbed, lightly edgeworn, torn, and missing a small piece.

His Life and Photographs, 1979. Hardcover (gold-stamped brown and tan cloth), 12 ¼ x 13 ½ inches, 300 pages, screen-gravure illustrations, dustjacket. This is the “revised edition” of the above, with more pictures and an afterword by Cole Weston. This copy boldly signed by Cole on the title page. Near fine condition, in very clean dustjacket with just a hint of wear.

Two handsome, large-scale productions. Pair: $400

 

113. WHITE, Clarence H. Camera Pictures, New York: Alumni Association of the Clarence H. White School of Photography. Softcovers, 11 x 8 ¼ inches, 36 pages, 20 halftone illustrations.
114. 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, 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.
115. 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 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.

Pair: $150

 

114. WHITE, Minor. Parabola.

Winter 1976 (vol. 1, no. 1), “The Diamond Lens of Fable,” four-page article by White with two of his images, as halftone illustrations. White was a co-founder and contributing editor to this magazine, subtitled “Myth and the Quest for Meaning.”

Summer 1976 (vol. 1, no. 3), obituary, one-page notice of his death, with a portrait of him.

Fall 1976 (vol. 1, no. 4), “Rite of Passage,” ten-page feature with eight of his halftone images and poetry.

Group of three: $25

 

115. WILSON, George Washington. Sir Walter Scott, The Lady of the Lake, Edinburgh: Adam & Charles Black.
116. Hardcover (gold-stamped maroon cloth), 7 x 4 ¾ inches, 340 pages, 10 mounted albumen prints, gilt edges. Scott’s influential nineteenth-century poem, set in Scotland over six days. Wilson’s rich albumen prints (about 4 x 3 inches each, with tissue guards) are primarily landscapes, accompanied by specific lines from the poem. They show woods, lakes, a waterfall, a boathouse, and Stirling Castle. Listed in Gernsheim, Incunabula of British Photographic Literature. Rear hinge lose and covers worn.
117. Hardcover (gold-stamped blue cloth), 7 x 4 ½ inches, 354 pages, 5 mounted albumen prints, gilt edges. Another edition, with a different selection of fewer images, which are uncredited. They picture Doune Castle (frontispiece), Loch Katrine, Glenfinlas, Benvenue, and Loch Lubnaig. See: Goldschmidt and Naef, The Truthful Lens. Front hinge lose and covers lightly worn.

Pair: $500

 

116. The YEAR’S PHOTOGRAPHY.

This annual was published by London’s Royal Photographic Society, as an alternative to England’s Photograms of the Year. While the early years focused on pictorialism, later issues expanded coverage to color, scientific, medical, nature, stereoscopic, architecture, news, industrial, and advertising photography, plus motion pictures. Includes essays by critics such as F. J. Mortimer and J. Dudley Johnston, and some rich, full-page screen- gravure illustrations. Among the photographers who contributed images are Adolf Fassbender, Alexander Keighley, José Ortiz-Echagüe, D. J. Ruzicka, and Julian Smith. Softcovers, except for the last issue, which features a color portrait of a child on the dustjacket.

1935-1936, 1938-1939, 1939-1940, 1940-1941, 1941-1942, 1942-1943, 1943-1944,

         1944-1945, 1945-1946, 1946-1947, 1950-1951, 1951-1952.

Run of 12 issues: $125

 

Catalog 6 — January 2014