1. ADAMS, Ansel. Ansel Adams: Images, 1923-1974, Boston: New York Graphic Society, 1974.  Hardcover (gold-stamped black and gray cloth), 14 ¼ x 17 ¼ inches, 128 pages, duotone illustrations, dustjacket, in original slipcase, with ephemera.  Signed.

This largescale book includes an introduction by Adams, a foreword by Wallace Stegner, and many high-quality illustrations.  A full-page sheet pasted in between the frontispiece and title page indicates that this copy is from a “special edition prepared for Time-Life Books subscribers with the signature of the photographer,” signed by Adams in ink.  Laid into this copy are two pieces of ephemera on Adams books and posters published by the New York Graphic Society.  The front and rear hinges have been reinforced by thin strips of archival paper but show no signs of separating; the slipcase has minor wear at a few corners and a few spots.  $250

  1. ADAMS, Ansel. Yosemite and the Range of Light, Boston: New York Graphic Society, 1979.  Hardcover (tan cloth and leather spine and printed label), 12 ¼ x 15 ¼ inches, unpaginated, 116 halftone illustrations, dustjacket.  Deluxe edition, with clamshell box, signed.

An oversize, well-printed book of some of Adams’ classic landscapes from Yosemite National Park.  With a foreword by Adams and an introduction by author/conservationist Paul Brooks.  This edition was issued with an original photograph, which is not included here.  Limited to 250 numbered copies, signed by Adams.  Fine condition, in the original shipping cardboard box.  $375 

  1. ADAMS, Robert. Interiors 1973-1974, Tucson: Nazraeli Press, 2006.  Hardcover folder (yellow-stamped green cloth), 14 ½ x 11 ½ inches, 27 loose plates, 24 duotone illustrations, original box.  Signed and numbered special edition, with ephemera.

This is a group of pictures Adams made in Denver in the early 1970s, rediscovered and published here for the first time.  All quiet, square-format images, they “offer new insight into the photographer’s way of seeing and thinking about the human condition.”  Of the one thousand copies printed, 100 were numbered (this is 5/100), signed by Adams, and presented in a clamshell box.  Additionally, this copy has the 2005 Nazraeli Press catalog in which the book was offered.  Mint condition, with the original opened shrink wrap laid in.  $250 

  1. AVEDON, Richard. Richard Avedon: Made in France, San Francisco: Fraenkel Gallery, 2001.  Hardcover (black-stamped cream cloth spine and heavy boards), 15 x 11 ¼ inches, unpaginated, 26 halftone illustrations.

Issued without a dustjacket, this book is an inventive, oversize compendium of photographs that appeared in Harper’s Bazaar between 1955 and 1959.  Each is reproduced with its original surrounding mount and back, which has illuminating typed labels, wet stamps, and handwritten notes.  Though printed in an edition of 5,000 copies, it quickly went out of print and up in price.  Mint condition, in shrink wrap.  $250 

  1. BALTZ, Lewis. The New Industrial Parks Near Irvine, California (Das Neue Industriegelände in der Nähe von Irvine, Kalifornien), New York: Leo Castelli/Castelli Graphics, 1974.  Hardcover (black-printed gray cloth), 10 ¾ x 11 ¾ inches, 108 pages, 51 halftone illustrations, dustjacket.

Baltz’s first and most iconic book, appearing a year before his work was included in the defining Eastman House show and catalog The New Topographics.  Other than captions and basic publishing info, the book is devoid of text, reflecting the stark nature of the photographs.  Baltz photographed new suburban architecture that didn’t reveal it purpose and that is usually seen frontally, creating people-less, formalist images of black-and-white rectangles.  Tiny scuffs to bottom edge, spotting to top edge of pages, in dustjacket with mild rubbing, wrinkles, and one short tear.  $250

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

Baltz’s assessment of the wholesale construction of a development of new homes outside of Salt Lake City.  He reveals a wasteland that once it was covered with residential and commercial buildings only “increased the sense of starkness and desolation.” A key body of work and book from the “New Topographics” movement.  Gus Blaisdell provides the essay “Skeptical Landscapes.”  Printed in an edition of 3,000 copies.  Laid into this copy is a small, folded poster announcing the book and a 1981 show of the work at Castelli Photographs, New York.  Back corner of the lower spine very lightly bumped.  $250

  1. BALTZ, Lewis. Candlestick Point, Tokyo: Gallery Min, 1989.  Hardcover (gray-stamped black cloth with label), 10 ½ x 13 ½ inches, unpaginated, 72 duotone and 12 color halftone illustrations, slipcase.  Special edition, signed, with ephemera.

Comprises Baltz’s typical deadpan assessment of an undeveloped, trash-strewn, section of San Francisco, later turned into a park.  Full-page, well reproduced images, including three gatefolds.  Afterword, in both Japanese and English, by Gus Blaisdell.  At some point after the original publication, Distributed Art Publishers obtained 45 copies of the book from Baltz and issued it as this limited, collector’s edition.  They inserted a letterpress-printed page before the title page and had the photographer sign and number them; this one is 22/45.  Laid into this copy is a prospectus.  Near fine condition.  $500

  1. BEARD, Peter. Longing for Darkness: Kamante’s Tales from Out of Africa, New York: Harcourt Brace Jovanovich, 1975.  Hardcover (printed paper over boards), 12 ¼ x 8 ¼ inches, unpaginated, halftone illustrations (some in color), dustjacket.  Signed.

This journal-like book, combines photographs by Beard and Isak Dinesen (Karen Blixen) with the stories of Dinesen’s lead servant, Kamante, along with his fanciful drawings.  It comprises Kamante’s version of Blixen’s classic book Out of Africa, told in a personal and enlightening manner.  Beard idolized Dinesen to the point of buying land next to her estate outside of Nairobi, Kenya, and befriending Kamante.  Demonstrating how well connected Beard was, he got Jacqueline (Kennedy) Onassis to write an afterword for the book.  This copy with drawings and an inscription by Beard.  Previous owner’s inscription, mild edgewear, and chipping and tears to dustjacket.  $250

  1. BEARD, Peter. Peter Beard: The Last Word from Paradise, New York: International Center of Photography, 1977. Single folded sheet, 58 x 42 inches, halftone illustrations.

This large-scale piece accompanied a solo show that Beard presented at ICP.  Printed on quality newsprint, one side features eight double-page spreads from Beard’s diaries and a text by Nelson Doubleday.  The flip side is an homage to Beard’s great cause of the survival of African elephants; it presents largescale images of elephant carcasses and herds, all aerial shots.  Laid out by the talented graphic designer Marvin Israel, it is a rare early Peter Beard item.  Mild stains to one corner.  $500

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

The book is filled with full-bleed color photographs by Beard of his richly collaged diary pages.  While they feature his distinctive handwriting, there is an overabundance of visual material, such as newspaper clippings and photographs, plus three-dimensional objects placed on the pages before he photographed them.  Includes two short essays and an artist’s chronology, in Japanese.  The copyright page states, “Catalogue for show ‘Diary,’ From a Dead Man’s Wallet: Confessions of a Bookmaker.”  Laid into this copy are a few pieces of ephemera from the publisher.  Fine condition.  $250

  1. BLOSSFELDT, Karl. Urformen der Kunst: Photographische Pflanzenbilder, Berlin: Verlag Ernst Wasmuth, 1929 (second edition).  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 images 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.  Covers worn and missing a small piece at bottom of spine.  $375

  1. BOURKE-WHITE, Margaret. Eyes on Russia, New York: Simon and Schuster, 1931.  Hardcover (black-stamped tan cloth), 11 ¼ x 8 inches, 136 pages, 40 halftone illustrations.  Signed.

This is Bourke-White’s first and most significant book, produced when she was only twenty-five years old.  She both wrote the text and provided the images, primarily of male and female workers and the dynamic architecture of Soviet industry.  The dustjacket quotes her as saying, “Things are happening in Russia, and happening with staggering speed.  I could not afford to miss any of it.  I wanted to make the pictures of this astonishing development, because, whatever the outcome, whether success or failure, the plan is so gigantic, so unprecedent-ed in all history, that I felt that these photographic records might have some historical value.  I saw the five-year plan as a great scenic drama being unrolled before the eyes of the world.”  This copy is inscribed to an individual, “in remembrance of one of my [illegible] photographing days in the open iron mines.”  This probably refers to Bourke-White’s 1936 visit to the Mesabi Iron Range in northern Minnesota.  Pasted onto a preliminary blank page is a portrait of the photographer, cut from the original dustjacket, the rest of which is missing.  Front hinge separating, covers lightly browned, with faint ring mark.  $1,250

  1. BRANDT, Bill. Perspective of Nudes, New York: Amphoto, 1961.  Hardcover (red-stamped paper over boards), 11 x 9 ½ inches, 106 pages, 90 screen-gravure illustrations, dustjacket.

Preface by Lawrence Durrell and introduction by Chapman Mortimer.  Brandt’s most revered book, with quality, gravure plates.  Near fine condition, in dustjacket that has a few tears, is chipped and missing a small piece from the back.  $750

  1. BRODOVITCH, Alexey. Ballet, New York: J. J. Augustin, 1945.  Hardcover, 9 x 11 ¼ inches, 144 pages, halftone illustrations, dustjacket.

This is Brodovitch’s groundbreaking and influential book of photographs of various dance companies performing.  The impressionistic images, some gritty, some soft, bleed off the pages and into one another on two-page spreads.  A delicate book, due to the thin dustjacket and absence of a spine board.  Dustjacket lightly soiled and edgeworn, missing the spine.  $2,500

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

Cartier-Bresson’s most influential book, comprising pictures from the United States, Europe, Middle East, and Asia.  They are printed large and in high-quality gravure. Henri Matisse provided the cover design (seen on both the paper boards and dustjacket) specifically for the book.  Light wear to covers, rear hinge loose, in dustjacket that is missing small pieces.  $750

  1. CLARK, Larry. Tulsa, New York: Larry Clark, 1981. Hardcover (silver-stamped black cloth), 12 ¼ x 9 ¼ inches, 64 pages, 50 halftone illustrations, dustjacket.  Second edition, signed, with ephemera.

Clark’s first book, initially published in 1971, is a searing personal document of drug culture in Oklahoma around 1970.  The photographer states, “I was born in Tulsa, Oklahoma, in 1943.  When I was sixteen I started shooting amphetamine.  I shot with my friends every day for three years and then left town, but I’ve been back through the years.  Once the needle goes in it never comes out.”  He presents sex, gun violence, and, most shockingly, a very pregnant woman shooting up, in an image beautified by glowing natural light.  Some of the portraits are accompanied by the simple caption “Dead.”  Clark self-published this first hardcover edition, printing 3,000 copies and signing all of them.  Laid into this copy is an order form for the book.  Near fine condition, with miniscule edgewear to dustjacket.  $375

  1. CLARK, Larry. Teenage Lust, New York: Larry Clark, 1983.  Softcover, 8 ½ x 9 inches, unpaginated, halftone illustrations.

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.  Clark declares the book an autobiography and includes childhood and youthful images of himself, such as with his parents and musician Jimmy Reed, and as an adult, doing drugs and other mis-adventures.  He owns up to his criminal activities by including newspaper clippings and a police report.  The book ends with a long, rambling autobiographical text by the photographer.  Near fine condition.  $375

  1. CLARK, Larry. Teenage Lust, Tokyo: Taka Ishii Gallery, 1997. Softcover, 11 ½ x 8 ¾ inches, unpaginated, halftone illustrations.

This is the third incarnation of Teenage Lust and the only Japanese edition.  It has about ten extra pictures and Clark’s 23-page autobiographical text in Japanese, printed in an edition of 1,000 copies.  Fine condition.  $250

  1. CLARK, Larry. Larry Clark 1992, New York: Thea Westreich, and Gisela Capitain, Köln, 1992.  Softcover, 10 ¾ x 8 ¼ inches, 336 pages, halftone illustrations.

A thick book, without text and featuring bleed halftones of primarily adolescent boys, with guns, nooses, and in various stages of undress.  Though designated in an edition of one thousand copies, about half of them were inadvertently destroyed.  Mint condition, in shrink wrap.  $375

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

This two-inch thick book continues Clark’s autobiographical publishing streak.  It features reproductions of records, baseball cards, newspaper clippings, letters, and images from his projects such as Tulsa, Teenage Lust, and Kids.  The book’s title was coined by David Denby, who referred to Clark as a “punk Picasso” in a review of the photographer’s 2001 film, Bully.  Printed in a numbered edition of 1,000, it includes a folded sheet of three color pictures of his nineteen-year old girlfriend, and is signed and dated 2003 by Clark.  Mint condition.  $375

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

The influential book accompanying Eggleston’s 1976 exhibition at the Museum of Modern Art, which was considered to be the coming out of color photography for the art world (even though it was not the first show of color photographs at the museum, as is often misstated).  Sporting the look of a children’s book, it features green pages for John Szarkowski’s introductory essay and Eggleston’s now famous tricycle picture on the cover.  Near fine condition.  $250

  1. EVANS, Walker. American Photographs, New York: Museum of Modern Art, 1938.  Hardcover (black cloth with printed label on spine), 9 x 8 inches, 204 pages, 87 halftone illustrations, dustjacket.

Evans’ masterpiece and one of the most important photography books of the twentieth century.  The first of two sections references 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’ 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.  Minor wear to the tips and top and bottom of spine, water damage to the top of the back cover and wrinkling to the pages in the second half of the book; the dustjacket is missing small pieces at the tips and top and bottom of darkened spine and blackened along top of the back, but professional conservation of the jacket makes it look better than it sounds here.  $250

  1. EVANS, Walker. James Agee, Let Us Now Praise Famous Men, Boston: Houghton Mifflin, 1941.  Hardcover (silver-stamped black cloth), 8 ½ x 6 inches, 472 pages, 31 halftone illustrations, dustjacket.

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’ photographs, on the other hand, are sharp and searing.  Notably, his portfolio of images is placed even before 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 husband/father.  Includes the poignant portrait of Allie Mae Burroughs, tight-lipped, modestly dressed, and backed by raw clapboard siding.  The cloth is rubbed and lightly worn at the tips and top and bottom of spine, while the dustjacket is faded on the spine, with a three-inch split, chipped, and missing small portions at the top and bottom of spine, with owner’s inscription and signature on the front free-end paper.  $1,250

  1. EVANS, Walker. Many Are Called, Boston: Houghton Mifflin, 1966.  Hardcover (white-stamped black cloth), 8 ¾ x 7 ¼ inches, 178 pages, 89 halftone illustrations, dustjacket.

Evans’ coherent set of subway photographs made surreptitiously between 1938 and 1941, with Helen Levitt often accompanying him.  James Agee, who famously collaborated with Evans on their book Let Us Now Praise Famous Men, wrote the introduction used here in 1940, but died a decade before this book came out.  Evans’ intimate pictures, completely devoid of captions, show his unsuspecting subjects sitting directly across the aisle from him, neatly framed by windows and bits of signage.  Erratum slip pasted in.  The cloth has some minor scuffing to the back, the dustjacket is edgeworn, torn, and taped.  $375

  1. FRANK, Robert. The Americans, New York: Grossman, 1969.  Hardcover (gold-stamped black cloth), 7 ½ x 8 ½ inches, unpaginated, 89 halftone illustrations, dustjacket.

Frank’s monumental classic, considered by many to be the most influential book of photographs from the twentieth century, with an introduction by Jack Kerouac.  This is the second American edition, coming ten years after the Grove Press first.  It is designated the “revised and enlarged edition” on the front flap and “An Aperture Book” on the title page.  The major change is the “Continuation” at the end, in which Frank added film strips from his first four movies: “Pull My Daisy,” “The Sin of Jesus,” “O.K. End Here,” and “Me and My Brother.”  Previous owner’s stamp on front paste-down, faint wear to lower cloth edges and tips, in a lightly browned dustjacket with a few tiny tears and wrinkles.  $375

  1. FRANK, Robert. The Lines of My Hand, 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.  $2,250

  1. FRIEDLANDER, Lee. Self Portrait, New City, New York: Haywire Press, 1970.  Softcover, 8 ½ x 9 ¼ inches, 88 pages, 43 duotone illustrations.  Signed.

Friedlander’s first solo effort, published by his own Haywire Press, only in soft and perhaps his signature publication.  Includes many of his now classic self- portraits, like the one where his shadow falls on the back of a woman, implying stalking, and his hair is rendered spikey by the subject’s fur collar.  In his brief introduction, Friedlander claims that he did not make the pictures as a project, instead finding them among his other work.  “They began as straight portraits but soon I was finding myself at times in the landscape of my photography.

I might call myself an intruder.”  A modestly sized book that packed great  punch.  This copy signed by Friedlander.  Light rubbing to covers, with tiny wear to the top and bottom of spine.  $375

  1. FRIEDLANDER, Lee. The American Monument, New York: Eakins Press Foundation, 1976.  Hardcover (black and gold-stamped turquoise cloth), 12 x 17 inches, 170 pages, 213 halftone illustrations.

As a book, equal in standing to his earlier and much smaller Self Portrait.  This project, published in the year of the country’s Bicentennial, reveals Friedlander as a patriot, humorist, and cataloger.  He pictures statues, plaques, and other monuments large and small, some still highly revered and others overlooked.  Some images receive full-page treatment, while others are ganged in groups of up to nine, suggesting a catalog or inventory of the subjects.  Printed without a dustjacket in an edition of 2,000 copies, with an afterword by Leslie George Katz.  The book is actually loose bound, with three screw posts, that allow individual sheets to be removed (for framing?).  Minor scuffing to covers.  $750

  1. FRIEDLANDER, Lee. Lee Friedlander: Photographs, New City, New York: Haywire Press, 1978.  Hardcover (silver-stamped blue cloth), 10 ¾ x 11 ½ inches, 106 pages, 137 duotone illustrations.

This catalog for a show at the Hudson River Museum, in Yonkers, New York, was issued without a dustjacket and contains very little text—only acknowledgements and a quotation by Marcel Proust.  The reproductions cover work from the early 1960s to mid-1970s; still lifes, landscapes, party pictures, and images that appeared in Friedlander’s previous books Self Portrait and The American Monument.  Near fine, in opened shrink wrap.  $125

  1. FRIEDLANDER, Lee. Flowers and Trees, New City, New York: Haywire Press, 1981.  Hardcover (black-stamped purple cloth, with internal spiral binding), 15 x 12 inches, 88 pages, 40 tritone illustrations.  Signed.

An elegant, oversize production, issued without a dustjacket.  Features Friedlander’s attractive and sometimes challenging images, all dating from the 1970s.  The minimal text is in letterpress and the inside covers sport a dark green cloth that compliments the outside purple.  This copy signed by Friedlander.  Near mint condition, in opened shrink wrap.  $750

  1. 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 “catalog” accompanied an exhibition at the art center of photographs it commissioned Gossage to take in Rochester.  After an introduction by curator Kris Douglas, come 72 largescale, 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.  Mint condition.  $750

  1. GOWIN, Emmet. Photographs, New York: Alfred A. Knopf, 1976.  Hardcover (gold and blind-stamped black cloth), 10 ¼ x 9 ½ inches, 102 pages, duotone illustrations, with ephemera.  Signed.

Gowin’s first monograph, containing his most appreciated body of work, depicting his wife, Edith, and other family members, richly reproduced.  Features short quotations by Frederick Sommer and James Agee, and a brief afterword by the photographer.  This copy inscribed “with a handshake” and dated 1981.  Laid in is a hand-written letter from Gowin, indicating that 2,000 hardcovers were issued.  Near fine condition, in dustjacket, with tiny edgewear.  $375

  1. GOWIN, Emmet. Petra: In the Hashemite Kingdom of Jordon, New York: Pace/McGill Gallery, 1986.  Softcover, 14 x 11 inches, 40 pages, 14 duotone illustrations, dustjacket.   Signed.

This elegant, oversize publication chronicles the ancient capital of a pre-Islamic Arab culture that flourished from the fourth century B.C. to the sixth century A.D.  Subsequently lost to the outside world until 1812, it was photographed by Gowin between 1982 and 1985.  With a large-format camera and a keen eye, he examines the passageways, rock formations, tombs, and palaces of the “city of rose-red stone.”  Features an introduction by Gowin, an historical essay by anthropology professor Phillip C. Hammond, and a dustjacket with a tipped-on reproduction.  A hard-to-find title, this copy is discretely signed by Gowin after his text.  Faint scuff to front cover, in opened shrink wrap.  $375

  1. HEATH, David. A Dialogue with Solitude, Culpepper, Virginia: Community Press, 1965.  Hardcover, 11 ¼ x 8 ¾ inches, 100 pages, halftone illustrations, dustjacket.  Signed.

According to the front flap, the book is “a paean to life—tragic, comic, and lyrical. It begins with a photographic prologue that sets the theme: the solitude of the individual.  Photographs of lovers pursue the theme, suggesting that even this relationship may not be enough to alter the essential loneliness of the soul.  A series of photographs taken in Korea shows the frustration, hardship, and ennui of Army life.  A group of Negro portraits and another group exploring the bewilderments of youth further reveal the undeniable and haunting aspects of alienation.  In seeking to probe the meaning of the world around him and his relation to it, Dave Heath has transmuted into photographic images his intense feeling and concern for the world.  He concurs with W. B. Yeats’ assertion that creative expression is the social act of the solitary man.”  A groundbreaking and influential book in American photography.  This copy inscribed and dated 1994.  Light shelf wear, in a dustjacket that is lightly rubbed, creased, and with a few small tears.  $1,500

  1. HOSOE, Eikoh. Embrace, Tokyo: Shashin Hyoronsha Publishing, 1971.  Hardcover (silver-stamped black cloth), 14 ¼ x 10 ½ inches, unpaginated, screen-gravure illustrations, dustjacket, slipcase, and bellyband.  With signed ephemera.

Similar in subject matter and treatment to Man and Woman, but much larger in scale and more consistently abstract in its imagery.  Arms, legs, breasts, and other body parts graze, caress, and embrace one another, in a tour-de-force of human fleshiness.  Laid into this copy is a 1988 letter signed by Hosoe.  Near fine condition, in original slipcase that is lightly rubbed.  $1,000

  1. HOSOE, Eikoh. Kamaitachi, New York: Aperture, 2005.  Hardcover (printed cloth), 15 x 12 ¼ inches, unpaginated, 34 tri-tone illustrations, glassine dustjacket, box.

Another oversize and deluxe publication illustrated by Hosoe, first published in 1969.  This one was a collaboration with the dancer Tatsumi Hijikata, who performed a series of “happenings” in the Japanese countryside, invoking the aura of the Kamaitachi, legendary Japanese tricksters.  The book features 34 gatefold bleed images, hidden by dense blue pages.  Issued in a signed, numbered edition of 500 in Japan and 500 in the U.S., in a Pop-Art-designed clamshell box.  Mint condition, in original plastic sleeve.  $375

  1. KLEIN, William. Tokyo, New York: Crown, 1964.  Hardcover (white and red-stamped black cloth), 14 x 10 ¼ inches, 184 pages, screen-gravure illustrations, dustjacket.

According to the inside flap, this is a “book of magnificent photographs.  Here is Tokyo.  Not Tokyo for the tourist or Tokyo for travel posters, but everyday Tokyo in all its contradictions, discords, beauty, and appeal.”  Tiny wear to tips and bottom of spine, in dustjacket that is wrinkled, scuffed, chipped, and with a 2-inch tear.  $500 

  1. KOUDELKA, Josef. Gypsies, Millerton, New York: Aperture, 1975.  Hardcover (blind and silver-stamped brown cloth), 11 x 12 inches, unpaginated, halftone illustrations, dustjacket.  First printing.

Koudelka’s first and still most revered book.  He made most of the images in East Slovakian gypsy settlements in the early 1960s.  Short texts by John Szarkowski and Czech photo historian Anna Fárová.  Near fine condition, in dustjacket that is rubbed and with tiny edgewear.  $250

  1. KOUDELKA, Josef. Limestone, Paris: Lhoist, 2001.  Hardcover (printed paper over boards), 9 x 12 inches, 36 halftone illustrations, box.

The result of Koudelka being commissioned by the French limestone mining company Groupe Lhoist.  Working in both Europe and the United States, he presents landscapes, mines, and machinery of the industry.  The book is one continuous accordion binding, with largescale panoramic images, a rich and elaborate production.  Introduction by board chairman Jean-Pierre Berghmans and captions by plant managers.  Trilingual text in French, German, and English.  Produced in a numbered edition of 2,000, this is #259, in the original cardboard box.  Near fine condition.  $750

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

The outstanding collaboration between Levitt and author James Agee, published a decade after his death.  Levitt’s lyrical photographs, presented in rich gravure, picture primarily poor children in Harlem and include some of her most revered images.  Agee declared in his text that the project was a “major poetic work” and “an uninsistent but irrefutable manifesto of a way of seeing.”  Laid into this copy is the New York Times obituary for Levitt, dated March 30, 2009, on original newsprint.  Additionally, this copy signed by Levitt on the title page.  Near fine condition.  $1,000

  1. LYON, Danny. The Bikeriders, New York: MacMillan, 1968.  Softcover, 9 ¼ x 6 ½ inches, 94 pages, halftone illustrations.

Lyon’s first and most important book.  Working in the personal documentary mode, he became a member of the Chicago Outlaw Motorcycle Club and photographed its activities as an insider.  He shows its members riding, racing, partying, and burying one of its own.  Includes substantial statements by over a dozen individuals, like Cockroach, Funny Sonny, and Zipco.  Indicative of the meager number of creative photography books being issued at the time, the publisher suggested its classification for booksellers on the back cover as “Adventure.”  Minor edgewear.  $250

  1. LYON, Danny. Conversations with the Dead, New York: Holt, Rinehart and Winston, 1971.  Hardcover (black-stamped white and gray cloth), 8 ½ x 11 ¼ inches, 196 pages, halftone illustrations, dustjacket.  Signed.

In 1967 Lyon gained nearly unfettered access to the inside of Texas penitentiaries, an unimaginable feat today.  He proceeded to befriend many inmates and captured them working in fields, eating, showering, and being strip searched.  The final section features the compassionate letters and drawing of Billy McCune, inmate #122054.  This copy boldly signed on the title page.  Small sticker marks to front pastedown, otherwise in near fine condition (unusual in this shape, in hardcover, and signed).  $500 

  1. MANDEL, Mike, and Larry Sultan. Evidence, Santa Cruz: Clatworthy Colorvues, 1977.  Hardcover (gold-stamped blue cloth), 9 ¼ x 10 inches, 72 pages, 59 halftone illustrations, with ephemera.

Sultan and Mandel’s renowned selection of documentary photographs that are variously mysterious and entertaining.  Robert F. Forth provides the afterword “The Circumstantial and the Evident.”  A year later the Center for Creative Photography (University of Arizona, Tucson) traveled an exhibition of the material.  Laid into this copy is an original Newsweek review of the show when it appeared at Harvard’s Fogg Art Museum, written by Douglas Davis, who calls it a “baffling” exhibition.  Top and bottom of spine lightly bumped.  $375

  1. MEATYARD, Ralph Eugene. The Family Album of Lucybelle Crater, Winston-Salem, North Carolina: Jargon Society, 1974.  Hardcover (black-stamped white cloth), 10 ¾ x 9 ½ inches, 88 pages, 64 screen-gravure illustrations, dustjacket.

Compiled shortly before he died, this is Meatyard’s most revered and cited book.  It comprises images of his wife as the fictional Lucybelle Crater, posing outdoors with other figures, everyone masked.  The accompanying text is equally mystifying, with contributions by Jonathan Greene, Jonathan Williams, Meatyard, and others.  Diana Emery Hulick devoted an entire article to deciphering the book in the Winter 1992 (vol. 16) issue of History of Photography.  Rare in hard and in unusually near fine condition, with a few marks to the rear of dustjacket.  $250

  1. MEATYARD, Ralph Eugene. Father Louie: Photographs of Thomas Merton by Ralph Eugene Meatyard, New York: Timken, 1991.  Hardcover (gold-stamped green cloth), 10 ¼ x 10 ¼ inches, 108 pages, duotone illustrations, slipcase.  Special edition, with original photograph.

Thomas Merton was a poet, social activist, Trappist Monk, and a close friend of Meatyard’s.  The pictures show him reading, socializing, and posing in rural Kentucky, some with Meatyard’s telltale blurring and most made in the few years before Merton died in 1968.  Includes an essay by Guy Davenport about the relationship of the subject and photographer, correspondence between the two, and a eulogy by Meatyard.  This copy is from the numbered edition of 125, signed by Davenport and with a gelatin silver photograph, printed posthumously from the original negative by Meatyard’s son Christopher.  Near fine condition.  $250

  1. MISRACH, Richard. [a photographic book], San Francisco: Grapestake Gallery, 1979.  Softcover, 12 x 9 ¾ inches, 58 pages, 56 halftone illustrations.  Signed.

This is the desirable early monograph of Misrach’s important series of split-toned photographs of the desert, taken at night.  This copy signed and dated 1983.  Light rubbing to covers and one corner lightly bumped.  $750

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

An ambitious project, this is one of the few catalog raisonnés for a photographer.  It includes an introduction by Dines, Howe, and Bernard Barryte, a 1940 essay by Outerbridge on the color carbro process, a selected bibliography, and, most importantly, every image by him known at the time. Featured are his modernist ink drawings, delicate platinum prints, and color nude and advertising images.  The challenging cover image shows a nude woman wearing only a mask and gloves with metal fingertips.  Laid into this copy is a prospectus for this limited edition of 1,500 copies.  Fine condition, in a rubbed jacket.  $350

  1. PARKER, Fred R. Attitudes: Photography in the 1970’s, Santa Barbara Museum of Art, 1979. Softcover with plastic spiral binding,

11 ¼ x 9 ¼ inches, unpaginated, halftone illustrations, sheet of 20 color slides and pieces of original art, with ephemera.  Signed.

This is an elaborate catalog for a large show at the Santa Barbara Museum of Art—something of a West Coast answer to John Szarkowski’s “Mirrors and Windows” book and exhibition at New York’s Museum of Modern Art, of the previous year.  The original items are a screen print by Keith A. Smith (signed), an offset lithograph by Todd Walker (signed), an offset lithograph by Alex Sweetman (signed and numbered), and a piece by Robert Heinecken.  The latter is a unique page extracted from a popular magazine (Vogue, in this case) over which Heinecken printed (on both sides) the grizzly image of a Vietnamese soldier holding two severed human heads.  Laid into this copy is a 1982 typed and signed letter from curator Fred R. Parker.  Printed in an edition of 1,000 copies, all of which were numbered and signed by Parker; this one is #827. The fragile covers have minor wear along the edges and a spot on the back.  $375

  1. ROTH, Andrew. The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, New York: PPP Editions, 2001.  Hardcover (gray-stamped gray cloth), 12 x 9 ¾ inches, 308 pages, halftone illustrations (some in color), dustjacket.

An important scholarly study of the subject, handsomely designed and printed.  It begins with The North American Indian (volume one, 1907) by Edward S. Curtis and ends with David LaChapelle’s LaChapelle Land (1996).  Among the other photographers represented are Edward Weston, Walker Evans, William Eggleston, Larry Clark, and Susan Meiselas.  Features essays by Richard Benson, Jeffrey Fraenkel, Daido Moriyama, and others.  Mint condition, in shrink wrap.  $250

  1. RUSCHA, Edward. Various Small Fires and Milk, Los Angeles: Edward Ruscha, 1964 (second edition, 1970).  Softcover, 7 x 5 ½ inches, unpaginated, 16 halftone illustrations.

The fires include a candle, a cigarette, a gas stove burner, and others, all rendered in yellow duotone.  However, the sole glass of milk, at the end, is seen in straight black and white.  Near fine condition, in glassine that is chipped, browned, and missing a tiny piece on the spine.  $250

  1. RUSCHA, Edward. Royal Road Test, Los Angeles: Edward Ruscha, 1967 (third edition, 1971).  Softcover (spiral bound), 9 ½ x 6 ¼ inches, unpaginated, halftone illustrations.

Collaborating with Mason Williams and Patrick Blackwell, Ruscha documents the results of tossing a Royal typewriter from a car traveling at 90 miles-per-hour.  Most of the images are close-ups of mangled pieces of the contraption along the side of a highway in Nevada.  Perhaps they should perform an updated version with a laptop computer.  Previous owner’s wet stamp (photographer Betty Hahn), tiny edgewear and scuffing to covers.  $250

  1. RUSCHA, Edward. Nine Swimming Pools and a Broken Glass, Los Angeles: Edward Ruscha, 1968 (second edition, 1976).  Softcover, 7 x 5 ½ inches, unpaginated, 10 color halftone illustrations.

Contains Ruscha’s typically mundane snapshots of private swimming pools, presumably in Los Angeles, finished off by an image of a broken drinking glass that apparently had water in it, presented on a blue background.  Near fine condition.  $250

  1. RUSCHA, Edward. Real Estate Opportunities, 1970.  Softcover, 7 x 5 ½ inches, 48 pages, 25 halftone illustrations.  Signed.

Here we have Ruscha as real estate agent, turning his camera on empty urban and rural lots of property, each sporting a “For Sale” sign.  They were all in the Los Angeles area and are identified by street address.  This copy signed by Ruscha.  Fine condition, in glassine with browned spine, one chip, and two tears.  $750

  1. SANDER, August. Rheinlandschaften: Photographien, 1929-1946, Munich, Germany: Schirmer, Mosel, 1975.  Hardcover (white paper over boards), 12 ¾ x 10 ¾ inches, 140 pages, 40 duotone and 21 halftone illustrations, dustjacket.

This oversize book features Sander’s German landscapes.  Among the subjects are Westerwald, Löwenburg, and the Rhine River.  The quality plates end with a set of views of Wolkenburg, made in all four seasons.  German text by Wolfgang Kemp.  Near fine, in dustjacket that is missing one small piece.  $250

  1. SANDER, August. August Sander: Menschen des 20. Jahrhunderts: Portraitphotographien, 1892-1952, Munich, Germany: Schirmer, 1980.  Hardcover (silver-stamped black cloth), 11 ½ x 9 ¼ inches, 560 pages, 431 screen-gravure illustrations, dustjacket, slipcase.  Inscribed by the photographer’s grandson.

This thick volume is one of the most comprehensive collections of Sander’s German portrait work, with over four hundred high quality gravure reproduc-tions.  They are grouped in the following sections: archetypes, farmers, rural characters, small-town folk, athletes, workers, craftsmen, manufacturers, technicians, mothers and children, families, society ladies, students, scholars, officials, doctors, lawyers, judges, soldiers, aristocrats, clergymen, teachers, businessmen, politicians, artists, writers, actors, architects, painters and sculptors, composers, musicians, circus performers, itinerants, servants, traveling salesmen, handicapped children, and, lastly, Jewish victims of Nazi persecution.  Major text, in German, by Ulrich Keller.  This copy with a full-page, playful inscription from Gerd Sander, August’s grandson, dated in the year of publication.  Near fine condition.  $250

  1. SOMMER, Frederick. The Constellations that Surround Us: The Conjunction of General Aesthetics and Poetic Logic in an Artist’s Life, Toronto: Lumiere Press, 1992.  Hardcover (gray cloth with printed label on spine and printed paper over boards), 9 ¼ x 6 ¼ inches, 36 pages, 4 gelatin silver prints, with ephemera.

This elegant book features letterpress printing and four actual photographs made from copy negatives, tipped in.  Among them are the frontispiece portrait of Sommer by Edward Weston.  The book is a unique window into the artist’s personal history and thoughts.  Editor/printer Michael Torosian interviewed Sommer and presents the artist’s reflections on formative episodes of his life and the philosophy they engendered.  Printed in a limited edition, this one numbered 61/200.  Laid into this copy is a prospectus and order form for the book.  Fine condition.  $250

  1. SOTH, Alec. Sleeping by the Mississippi, Minneapolis: Alec Soth, 2003.  Hardcover (gold-stamped brown cloth with mounted ink-jet print), 11 x 8 ½ inches, 60 pages, 45 color ink-jet illustrations.  Signed.

This is the second maquette for what became one of the most revered photography books of the first decade of this century.  Influenced by his teacher Joel Sternfeld, Soth ventured up and down the route of the Mississippi River, the main artery of America’s heartbeat.  Using a large format-camera, he captured solemn landscapes and everyday people.  Soth hints at tales about marginal and disregarded lives, which give both consequence and dignity to their subjects, creating a contemplative book, full of quiet, lyrical, and poignant pictures.  The first maquette was less elegant, being spiral bound with plastic covers.  In 2004 the high-end German publisher Steidl issued the book with a slightly different set of images and format, to universal praise.  This prototype has original ink-jet prints made by Soth, features the famously misspelled Mississippi on the title page, and is signed and numbered by him (two editions for a total of 60 copies).

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.  This maquette and the Steidl edition are included in The Photobook: A History, Volume II (Martin Parr and Gerry Badger, Phaidon, 2006).  Fine condition, obtained directly from the photographer.  $4,500 

  1. SOTH, Alec. The Last Days of W., St. Paul, Minnesota: Little Brown Mushroom, 2008.  Softcover, 16 ½ x 12 inches, 48 pages, color halftone illustrations.  With placemat with original photograph.  Signed.

Self-published on quality newsprint, this selection of images presents Soth’s take on the American psyche in the final year of George W. Bush’s tenure as President of the United States. About half of the pictures were made in Soth’s native Minnesota and further his interest in everyday people and vernacular architecture.  The newsprint is signed and dated.  However, this one is from the special edition with placemats, each of which features a digital print of an image of a mockup of the President’s Oval Office desk.  This copy is numbered 99/100 and signed by Soth.  Fine condition.  $250

  1. STERNFELD, Joel. American Prospects, New York: Times Books, 1987.  Hardcover (blind and silver-stamped gray cloth), 10 ¼ x 12 inches, unpaginated, 54 color illustrations, with ephemera.  Signed.

This important and influential book comprises Sternfeld’s look at the American landscape and urban scenes, from the 1970s to early eighties.  With wit and discovery he surveys both the mundane and the exalted.  The now famous image of a fireman choosing a pumpkin while a farmhouse burns in the background appears on the cover.  With an introduction by critic Andy Grundberg and an afterword by curator Anne W. Tucker.  Indicative of its stature, American Prospects appears in both Andrew Roth’s The Book of 101 Books: Seminal Photographic Books of the Twentieth Century and Parr and Badger’s The Photobook: A History.  This copy is inscribed by both Sternfeld and Tucker and dated in the year of publication.  In addition, an invitation to the accompanying exhibition at the Museum of Fine Arts, Houston, is laid in, making for a fabulous package.  Near fine condition.  $750

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

This is French poet Claude Roy’s and Strand’s sensitive evocation of small-town and rural life in France at the middle of the twentieth century.  It features photographs of people, architecture, and the landscape, richly rendered in gravure.  Roy’s text sometimes reproduces his handwriting and becomes a playful graphic design element.  Text in French.  This book was produced in two nearly identical editions, apparently printed at the same time.  One was published by La Guilde du Livre as a book club title, in a machine-numbered edition of about 10,000.  The other was issued by Editions Clairefontaine and made available to the general public (not numbered).  The dustjacket has light edge wear.  $250

  1. STRAND, Paul. Naomi Rosenblum, Orgeval, Toronto: Lumiere Press, 1990.  Hardcover (brown cloth spine with mounted paper label and printed paper over boards), 9 ¼ x 6 ¼ inches, 36 pages, 2 halftone illustrations and 2 tipped-in copy silver prints.

This is one of the early titles in the Lumiere Press’ “Homage” series.  It is beautifully printed in letterpress and features a frontispiece portrait of Strand and his image “Bird on the Edge of Space” as actual photographs.  Rosenblum provides a remembrance of the photographer and Strand contributed text from his diaries at Orgeval, France.  This is copy 129/200.  Additionally, signed by Rosenblum and with the original prospectus and order form (letterpress printed) laid in.  Fine condition, in original plastic sleeve.  $250

  1. SUDEK, Josef. Lubomir Linhart, Josef Sudek: Fotografie, Prague, Czechoslovakia: Státní Nakladatelství Krásné Literatury, Hudby a Uméní, 1956.  Hardcover (black-stamped cream cloth), 9 ½ x 6 ¾  inches, unpaginated, 232 screen-gravure illustrations, dustjacket.

This dense book features Linhart’s text and a rich selection of images, made between 1915 and 1954 and printed in high-quality gravure, by the Czech Republic’s most famous photographer.  Features his landscapes, portraits, still lifes, cityscapes, and a few fold-out panoramas.  The cloth and dustjacket sport Sudek’s name nicely designed in a block of modernist type.  This title was actually a book-club item, not available in stores, and printed in the surprisingly large edition of 30,000.  It remains the most preferred book on him.  Bottom of spine lightly bumped, in the fragile dustjacket that is darkened, edge worn, and torn.  $250

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

Winogrand’s important book, which drew feminist criticism for its title and voyeuristic outlook (in some people’s eyes).  The renowned social-landscape photographer captures women largely walking down the street, often through a tilted viewfinder.  The book begins (on the cover) and ends with the same, now iconic, image of a woman with an ice cream cone throwing her head back in laughter.  Laid into this copy is the publisher’s press release for the book, calling it “an eloquently erotic statement from one of America’s foremost photog-raphers.”  Near fine condition, in lightly rubbed dustjacket with a tiny tear at top of spine.  $500

  1. WINOGRAND, Garry. Women are Beautiful, New York: Farrar, Straus and Giroux, 1975.  Softcover.  Signed.

Another copy, but softcover.  This one is inscribed by Winogrand, and has the previous owner’s blindstamp on the title page.  Tiny rubbing to covers.  $500

  1. WITKIN, Joel-Peter. Joel-Peter Witkin, Pasadena, California: Twelvetrees Press, 1985.  Hardcover (blind-stamped black cloth), 12 x 12 inches, unpaginated, duotone illustrations, slipcase.  Signed.

This was the first monograph on Witkin, printed in Switzerland in an edition of 4,000 copies.  It features his earliest successful body of work, made between 1975 and 1984, and includes “Women Breastfeeding an Eel” and “Woman Masturbating on the Moon.”  The Bosch-like images are variously horrific, explicit, and challenging.  The artist, contrary to appearances, is methodical and deliberate in the making of his photographs, often inspired by masterpiece paintings and making preparatory drawings (two of which are reproduced here).  Acknowledging the unusual nature of most of his models, he incudes an appeal to some specific types to help him make future photographs, such as pre-op transsexuals, people with tails or missing or additional limbs, and “all manner of extreme visual perversions.”  The book and pictures are not for the faint hearted.  This special edition copy is signed and numbered (79/100), housed in a slipcase.  Fine condition, in slipcase with opened shrink wrap.  $625

This catalog contains exactly what the title indicates: the more significant books still in my inventory, at very reasonable prices (about half of normal).  Consequently, no additional discounts apply, to dealers, stealers, realtors, or anyone else.  At a mere 65 items, this is, by far, my smallest catalog to date.

All items are subject to prior sale.  Customers known to me will be invoiced.  Others add shipping ($5 for each book within the U.S.) and write your check to “Christian Peterson.”  Books may be returned within ten days, with prior notice and if received in the condition sent.  I am always interested in hearing about specific books, photographers, or topics that you are seeking, and also any items you may wish to sell.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Christian A. Peterson

4241 Elliot Ave.

Minneapolis, MN  55407

(612) 824-2827

petersonachristian@gmail.com

www.christianapeterson.com

 

Catalog 16

October 2018