Catalog 3 – Pictorialism

So, in my third catalog I finally get to the topic that was my main area of expertise as a museum curator—pictorialism, that first international movement of artistic photography. I have researched pictorial photography thoroughly, both its initial period, from the 1890s to World War I, and its continuation all the way into the 1950s. Later pictorialists, such as Adolf Fassbender, D. J. Ruzicka, and Max Thorek are largely ignored in the published history of photography, so I attempt to give them their due here, sometimes in books I authored. I am especially enamored with ephemera, due to the valuable information it often provides, and offer some nice examples, such as salon catalogs and their corresponding stickers.

 

1. ABBOTT, C. Yarnall. John Luther Long, Madame Butterfly, New York: Century, 1903. Hardcover (green, cream, and black-stamped green cloth), 8 ½ x

5 ¾ inches, 152 pages, 16 halftone illustrations.

Long’s tragic tale, that became popular as an opera, about a Japanese woman who is jilted by an American man and commits hari-kari. The vignetted images show Cho-Cho-San alone, with her child, and ultimately kneeling with a sword. The reproductions have tissue guards, the text pages are on deckle-edged stock, and the cover is an attractive Art-Nouveau cover design of plants (signed “Y”). Issued the same year in a reduced format (see below).

1. Yarnall Abbott (1870-1938) was prominent in the Photographic Society of Philadelphia and also a member of Alfred Stieglitz’s Photo-Secession. One of his images from Madame Butterfly appeared as a halftone in a 1905 issue of Camera Work. The edges and tips of the cover are lightly worn. $45

 

2. ABBOTT, C. Yarnall. John Luther Long, Madame Butterfly, New York: Grosset and Dunlap, 1903. Hardcover (green, white and black-stamped green cloth), 8 ½ x 5 ¾ inches, 152 pages, 8 halftone illustrations.

This is the smaller edition of the above, with half as many images, no tissue guards, thinner paper, but still sporting the nice cover design. Cloth edges and tips lightly worn. $30

 

3. ALBUM OF PICTURES 1939. Boston: S. D. Warren Co., 1939. Softcover, 11 x 8 ½ inches, 32 pages, 27 halftone illustrations.

This item demonstrated how good Warren’s Lustro Brilliant-Dull paper was for printing letterpress halftones. The company wisely chose to reproduce images by pictorial photographers, probably with the input of the editors of American Photography, which was also based in Boston. Among the contributing photographers are Eleanor Parke Custis, Arthur Hammond, and D. J. Ruzicka. Two pictorialists are represented by their best known images: Gustav Anderson’s Winter Eve and Frank R. Fraprie’s Warmth of the Winter Sun. Light rubbing and tiny folds to cover. $25

 

4. AMERICAN ANNUAL OF PHOTOGRAPHY.

This long-running annual was the leading one on pictorial photography in the United States. Overseen by Frank R. Fraprie for much of its life, it was packed with articles and full-page halftones by photographers both domestic and foreign. During the 1940s it became known as the “pictorialist’s bluebook” because it compiled exhibition records for hundreds of salon photographers.

1941, 1947, 1950. The lead articles are by Julian Smith, one of Australia’s top pictorialists, and on England’s F. J. Mortimer and Spain’s José Ortiz-Echagüe. They each measure about 10 x 7 ½ inches and contain approximately 250 pages. Two hardcovers and one soft, in very good condition. Group of three: $75

 

5. AMERICAN ANNUAL OF PHOTOGRAPHY. Christian A. Peterson, Index to the American Annual of Photography, Minneapolis: author, 1996. Softcover, 9 ¾ x 7 ¼ inches, 148 pages. Signed.

The American Annual of Photography was the longest-running and most significant photographic yearly published in the United States. It first appeared in 1887 and by the time of its demise in 1953 covered over half the lifespan of the photographic medium. It remains today a rich resource on three generations of photographers. Included were such early figures as Edward Bierstadt and Napoleon Sarony, pictorialists Gertrude Käsebier and Clarence H. White, and twentieth-century masters like Minor White. This index encompasses every credited article and photographic reproduction in the annual’s sixty-seven volumes; over 3,500 names are alphabetically listed with citations. Privately printed in an edition of 500 copies. This copy signed by Peterson. Mint condition. $15

 

6. ANDERSON, Paul Lewis. Pictorial Landscape-Photography, Boston: Photo Era and Wilfred French, 1914. Hardcover (gold-stamped brown cloth), 9 ¾ x 7 ¼ inches, 48 pages, 14 halftone illustrations. Stated second edition.

This intimate book was Anderson’s first and most understated. The three chapters are: “The Subjective Side,” “Subjective Technique,” and “Technical Methods.” All the reproductions are early examples of the kind of soft-focus and evocative work that he championed for another quarter century. Paul L. Anderson (1880-1956) printed in a variety of manipulative processes, taught at the Clarence H. White School of Photography, and wrote extensively for the photographic press until about 1940. This edition is different from the first seemingly only by the color of the cloth. Light scuffing to cover. $35

 

7. ANDERSON, Paul Lewis. The Fine Art of Photography, Philadelphia: J. B. Lippincott, 1919. Hardcover (blue-stamped cream cloth), 8 x 5 ½ inches, 316 pages, 24 halftone illustrations and 17 diagrams, dustjacket. Stated third impression.

Anderson’s third book, which includes reproductions by Photo-Secession members with whom he associated, such as Gertrude Käsebier, Karl F. Struss, and Clarence H. White. According to the front flap, “This volume might be entitled ‘Painting with the Camera,’ as it deals with photography as a fine art. Its aim is to point out the underlying principles of art in so far as they are applicable to photography, and to encourage the student of the subject to apply these principles in his own work.” Loose front hinge, in a dustjacket with a small rectangle cut from the spine. $25

 

8. ANDERSON, Paul Lewis. The Technique of Pictorial Photography, Philadelphia: J. B. Lippincott, 1939. Hardcover (gold-stamped brown cloth), 8 ½ x 6 inches, 404 pages, 28 halftone illustrations and 31 diagrams.

This is Anderson’s most substantial technical treatise, comprising over twenty chapters in five general sections: Apparatus, Negative Modification, Printing Methods, Color, and Miscellaneous. Among the pictorialists who contributed images were William E. Macnaughtan, D. J. Ruzicka, and Clarence H. White. The volume represents a complete rewrite of his 1917 book Pictorial Photography: Its Principles and Practice. Missing the dustjacket, but in near fine condition. $25

9. ANDERSON, Paul Lewis.

Paul Anderson, issue of The Archive, May 1983 (no. 18), Tucson: Center for Creative Photography, University of Arizona, 1983. Softcover, 11 x 8 ½ inches, 48 pages, 22 halftone illustrations. Largely devoted to Anderson, the periodical features a portfolio of his images and the essay “Paul Lewis Anderson: A Life in Photography” by Terence R. Pitts. Fine condition.

Paul Anderson: Photographs, Guide Series Number Seven, Tucson: Center for Creative Photography, University of Arizona, 1983. Softcover, 11 x 8 ½ inches, 40 pages, 245 halftone illustrations. This reference work reproduces all the images by Anderson in the center’s collection, representing over ten different processes and the following subjects: portraits, landscapes, still lifes, and Smith College. It includes a bibliography of his writings and reprints his 1915 article “The Education of the Photographic Artist.” Fine condition.          The set of two: $25

 

10. ANNAN, James Craig. Glasgow Portraits by J. Craig Annan (1864-1946), Photographer, Glasgow: Scottish Arts Council, 1967. Softcover, 10 x 7 inches, 44 pages, 8 halftone illustrations.

The catalog for a traveling show of nearly ninety items by or relating to Annan. Among Annan’s distinguished sitters are the artists Muirhead Bone and William Strang. Most of the portraits are straightforward images, but two of them are reproduced on thin, translucent paper, suggesting the look of his more creative photogravures on tissue. James Craig Annan (1864-1946), the son of documentary photographer Thomas Annan, was a top Scottish pictorialist at the turn of the twentieth century. He learned the photogravure process from its Czech inventor, Karl Klic, became a leading commercial printer, and issued most of his own creative images as gravures. He corresponded regularly with Alfred Stieglitz, who included thirty of Annan’s photogravures in Camera Notes and Camera Work. Near fine condition. $25

 

11. ARCHER, Fred R. Fred Archer on Portraiture, San Francisco: Camera Craft, 1948. Hardcover (black-stamped gray cloth), 9 ¾ x 6 ½ inches, 220 pages, 213 halftone illustrations, dustjacket. Stated second printing (1950).

Written by Archer after giving hundreds of lectures on portraiture, this publication was probably used as a textbook at the photography school he ran in Los Angeles. He covers all aspects of the subject, including posing, makeup, lighting, equipment, the studio, retouching, “glamour,” and “creative portraiture.” Fred R. Archer (1889-1963) was active in Southern California from the 1910s to mid-century, with both pictorialists and professionals. In addition to soft-focus images, he produced modernist ones, such as the self-portrait on the cover, which superimposes a camera over his face. The dustjacket is worn, wrinkled, and missing pieces. $25

 

12. ART PHOTOGRAPHY IN JAPAN, 1920-1940. New York: Charles Schwartz and Howard Greenberg Gallery, 2003. Softcover, 10 x 8 ½ inches, 64 pages, 34 halftone illustrations. Signed.

This dealers’ exhibition catalog includes the essays “Pictorialism in Japan” by Christian A. Peterson and “Poetry of Light: Writings on Japanese Pictorial Photography” by Kerry Ross, and thirteen biographies. The pictures include primarily landscapes, still lifes, figure studies, and urban scenes, some with modernist tendencies. A useful addition to the dearth of information on Asian pictorialists available in the West. This copy signed by Peterson. Fine condition. $25

 

13. ASHIYA CAMERA CLUB. Art in Ashiya: Ashiya Camera Club, 1930-1942, Ashiya, Japan: Ashiya City Museum of Art and History, 1998. Softcover, 11 ¾ x

8 ¼ inches, 204 pages, 110 halftone illustrations.

This exhibition catalog features the work of twenty-nine members of the Ashiya Camera Club, most of it very modernist in its pictorial sensibility. There are still lifes, nudes, and abstractions, sometimes rendered via the photogram and multiple exposure. Features an overview of the club and numerous installation shots of its exhibitions. A scarce publication. Text in Japanese. $50

 

14. AUSTRALIAN PICTORIAL PHOTOGRAPHY. Sydney: Art Gallery of New South Wales, 1979. Softcover, 10 ½ x 8 ¼ inches, 22 pages, 17 halftone illustrations.

This survey of art photography in Australia, 1898-1938, was edited and written by curator Gael Newton. She provides an overview addressing the country’s clubs, exhibitions, and relationship to England. Among the thirty pictorialists given biographies, the most well- known are Cecil W. Bostock, Harold Cazneaux, John Kaufmann, and Julian Smith. A good initial study on the subject. Near fine condition. $25

 

15. BAFFORD, Edward L. Tom Beck, Edward L. Bafford, 1902-1981: A Life in Photography, University of Maryland Baltimore County Library, 1981. Softcover,

9 x 10 ½ inches, 32 pages, 25 halftone illustrations (some in color).

This is the catalog for a memorial exhibition presented the same year as Bafford’s death. It features Beck’s essay on the photographer, a chronology, and a description of bromoil printing, a manipulative process at which Bafford excelled. Edward L. Bafford (1902-1981) was second only to A. Aubrey Bodine among Baltimore pictorialists. He photographed from the 1920s until his death, making romantic images of rural life and the environs of his home city. Fine condition. $25

 

16. BAILEY, Hillary G. The Story of a Face, San Francisco: Camera Craft, 1938. Hardcover (yellow-stamped blue cloth), 9 ¾ x 6 ¾ inches, 128 pages, 62 halftone illustrations, dustjacket. Stated first edition.

Bailey’s treatise on portrait photography, covering posing, lighting, and other pertinent elements of the genre, highlighted with diagrams and charts. Hillary G. Bailey (1894-1988) explored various avenues of photography from the 1920s to 1940s. He ran his own portrait studios in Indiana beginning in 1922 and subsequently worked for the Agfa Ansco Corporation, a major photographic manufacturer in Binghamton, New York. As a pictorialist, he most frequently made figure studies and was active in camera clubs in Indianapolis and Atlanta. The dustjacket is torn and missing small pieces. $25

 

17. BARTLETT, Mrs. N. Gray. Mother Goose of ’93, Boston: Joseph Knight, 1893. Hardcover (silver-stamped white paper and decorative paper over boards),

9 ½ x 11 ¼ inches, 20 pages, 10 photogravure illustrations.

This delicate children’s book comprises Mother Goose nursery rhymes (such as “Little Miss Muffet”) and images by Bartlett printed together on tissue sheets that are tipped in. Her images picture well-dressed boy and girls acting out the verses and evoke the sweet Victorian charm of the early pictorial period. Mary A. Bartlett (1846-1913) was active in Chicago camera clubs during the 1890s, making primarily portraits and genre scenes. This is one of only three children’s books she illustrated, all with rich photogravures and published in the early 1890s. The front hinge is starting, number written on free endpaper, and the covers are worn, as is usual. $250

 

18. BARTON, Emma. Peter James and others, Sunlight and Shadow: The Photographs of Emma Barton, 1872-1938, Birmingham, England: Birmingham Libraries and Birmingham Museums and Art Gallery, 1995. Softcover, 10 x 8 inches, 102 pages, 28 halftone illustrations (some in color). Stated first edition.

This is the catalog for an exhibition of photographs by and material related to Barton. It includes portraits of her family members, ephemera, photographs by other pictorialists, and Barton’s own pictures of children, the “Kodak Girls,” and other subjects. Working from the turn of the twentieth century until about 1930, Emma Barton (1872-1938) produced mostly figure studies and portraits, in black and white and as Autochrome color plates. She presented a solo show at the Royal Photographic Society (London) in 1901 and later exhibited at the Birmingham Photographic Society and in the American Photographic Salons, which traveled around the United States. Fine condition. $25

 

19. BLICKENSDERFER, Clark. Rutherford W. Witthus, Blickensderfer: Images of the West, Evergreen, Colorado: Cordillera Press, 1986. Hardcover (silver-stamped black cloth), 11 ¼ x 8 ¾ inches, 160 pages, 65 halftone illustrations, dustjacket.

This, the only monograph devoted to Blickensderfer, succinctly examines his activities and output. Clark Blickensderfer (1882-1962) was most active as a pictorialist during the 1920s, when he helped found the Denver Camera Club and joined the Pictorial Photographers of America. His soft-focus images picture landscapes, mountains, birds, and Native American sites. Mint condition, in shrink wrap. $35

 

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

This is the first of four books Bodine produced of dramatic images in the Maryland and Virginia area. Printed in high-quality gravure, his pictures show the state’s people, architecture, landscape, and water life. Includes a playful endpaper map illustration by Richard Q. Yardley. A. Aubrey Bodine (1906 -1970) was a career photographer for Baltimore’s Sunday Sun and a successful pictorialist with some of the same pictures. This copy signed by Bodine on the front free endpaper. Dustjacket torn, wrinkled, and missing a few small pieces. $35

 

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

Bodine’s second book, now published by his own concern, but distributed by New York’s Hastings House. His accessible images show many aspects of the bay, including recreational, commercial, and military uses. Includes a playful endpaper map illustration by Richard Q. Yardley. This copy signed by Bodine on the front free endpaper. Dustjacket torn, wrinkled, and missing a few small pieces. $35

 

22. BODINE, A. Aubrey. The Face of Virginia, Baltimore: Bodine and Associates, 1963. Hardcover (gold-stamped red cloth), 12 ¼ x 9 ¼ inches, 176 pages, screen-gravure illustrations, dustjacket. Signed by Bodine.

The final of Bodine’s set of four well-printed regional books. In it he organizes the Commonwealth of Virginia into six geographical regions and includes additional sections on the U.S. Presidents the state produced and the Civil War. This copy signed by Bodine on the front free endpaper. Price-clipped dustjacket with minor wear to top and bottom of spine. $35

 

23. BODINE, A. Aubrey. The Face of Maryland, Baltimore: Bodine and Associates, 1967. Hardcover (black-stamped yellow cloth), 12 ¼ x 9 ¼ inches, 160 pages, screen-gravure illustrations, dustjacket. Stated second edition.

The revised and enlarged edition of Bodine’s third book, originally released in 1961. It pictures the Free State from the Alleghenies to Ocean City and from the Mason-Dixon Line to the Potomac River, and features his typical dramatic images of people, architecture, and the land. Dustjacket torn, wrinkled, and missing a few small pieces. $35

 

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

Williams, a colleague of Bodine’s at Baltimore’s Sunday Sun, recounts the photographer’s work as both a professional and pictorial photographer. Many of Bodine’s dramatic and accessible newspaper pictures were also widely seen at international salons. Reproduced in high-quality gravure, the images picture primarily the residents, built environment, and landscape in the region of Baltimore and Chesapeake Bay, Bodine’s lifelong hunting grounds. Dustjacket wrinkled and torn in a few places. $35

 

25. BODINE, A. Aubrey. Wilbur H. Hunter, Bodine’s Baltimore: 46 Years in the Life of a City, Baltimore: Bodine and Associates, 1973. Hardcover (silver-stamped purple cloth), 11 ¼ x 8 ¾ inches, 150 pages, 300 halftone illustrations, dustjacket. Stated first edition.

Published a year after Bodine’s death, this is a “pictorial panorama of the life style of Baltimore between 1924 and 1970.” The images were gleaned from more than 15,000 of Bodine’s negatives on deposit at the Peale Museum, whose director provides the commentary. Near fine condition. $35

 

26. BODINE, A. Aubrey. Kathleen M. H. Ewing and Harold A. Williams,
27. Aubrey Bodine: Baltimore Pictorialist, 1906-1970, Baltimore: Johns Hopkins University Press, 1985. Hardcover (gold and blind-stamped brown cloth), 12 ¼ x 10 ¼ inches, 104 pages, 72 halftone illustrations, dustjacket.

This is the only monograph on Bodine as a pictorialist, written by gallery owner Ewing, with a remembrance by Williams, who wrote the photographer’s 1971 biography (see above). Features many of Bodine’s best-known creative images, dating from the 1920 to 1950s, along with a few from the 1960s. Many of the images are of water-related subjects, but also included is a portrait of the Baltimore writer and friend of Bodine, H. L. Mencken. A few corners lightly bumped, but otherwise near fine condition, in opened shrink wrap. $35

 

27. 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. The set of four: $50

 

28. BOUGHTON, Alice. Photographing the Famous, New York: Avondale Press, 1928. Hardcover (black cloth spine and gray paper over boards with mounted label), 11 ¾ x 7 ½ inches, 112 pages, 28 halftone illustrations.

This book features Boughton’s studio portraits and her written impressions of the subjects. It includes actors such as George Arliss and Ellen Terry, authors like Henry James and William Butler Yeats, and others in the arts. Mounted opposite the portrait of Yvette Guilbert is a facsimile of a letter from her praising Boughton’s portrait of Eleanore Duse, which is also in the book. Previous owner’s bookplate, light wear to a few tips, and covers lightly soiled. $125

 

29. BRIGHT, Tom. Original photogravure. Returning from the Pasture, from Camera Notes, January 1899, 5 x 9 inches (image), 7 ½ x 11 inches (sheet).

This image depicts a common subject for pictorialists around the turn of the twentieth century—sheep in a field. Here they are tended by three figures in a landscape with trees and a hill in the distance. London resident Tom Bright was a founding member of the Linked Ring Brotherhood, England’s acclaimed group of pictorialists. An agricultural surveyor by profession, he showed his photographs in the London salons and exhibitions of the Royal Photographic Society until at least 1904. Image sent upon request. Original tissue guard (printed with title and Bright’s name) attached, portion of sheet missing, not effecting the image. $50

 

30. BRIGMAN, Anne W. Songs of a Pagan, Caldwell, Idaho: Caxton Printers, 1949. Hardcover (black and silver-stamped brown cloth), 11 x 8 ½ inches, 90 pages, 38 halftone illustrations.

Though Brigman was most active as a pictorialist around the turn of the twentieth century, she issued this book much later, just a year before her death. It comprises about forty of her poems paired with examples of her characteristic soft-focus images, primarily of figures in landscapes. Anne Brigman (1869-1950) was born in Hawaii and became one of the few West Coast members of Stieglitz’s Photo-Secession. She was something of a free spirit, using so many unusual words in her poems that she included a glossary. Near fine condition, lacking the dustjacket. $250

 

31. BRIGMAN, Anne W. Therese Thau Heyman, Anne Brigman: Pictorial Photographer/Pagan/Member of the Photo-Secession, Oakland Museum, 1974. Softcover, 11 x 7 inches, 18 pages, 11 halftone illustrations. Signed by author.

This early study of Brigman is largely a chronology of her life and accomplishments. It accompanied a small exhibition of photographs by her, of her, and supplementary items such as a copy of Songs of a Pagan. According to Heyman, this catalog was printed twice (without any changes), in a total edition of 2,000. This copy signed by Heyman. Near fine condition. $25

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

The catalog for a traveling exhibition. Includes Ehrens’ essay “Sacred Quest: The Life and Work of Anne Brigman,” plus a chronology, exhibition history, checklist, and bibliography, making it the most extensive publication on the subject. Though Brigman was known for her dreamy figure studies from the early twentieth century, this book also includes more modernist work by her from the 1920s and thirties. Fine condition. $35

 

33. BROWNELL, Elizabeth B. Dream Children, Indianapolis: Bowen-Merrill, 1901. Hardcover (Gold, green, and red-stamped paper and gold-stamped green cloth, with mounted halftone), 8 x 5 ½ inches, 218 pages, halftone illustrations.

A children’s book with about twenty stories by authors such as Hans Christian Andersen, Charles Dickens, and Robert Louis Stevenson. Brownell edited the book and provided many photographic illustrations, most of them picturing children. Elizabeth Brownell (c. 1860-1909), of Chicago, illustrated three children’s books and exhibited her pictorial photographs in photographic salons in Chicago and Philadelphia around 1900. The cloth and paper-covered boards are edge worn, internally there is some underlining and foxing. $25

 

34. BRUGUIERE, Francis. James Enyeart, Bruguière: His Photographs and His Life, New York: Alfred A. Knopf, 1977. Hardcover (gold-stamped black cloth), 10 ¼ x

9 ½ inches, 162 pages, 129 halftone illustrations, dustjacket. Stated first edition, with ephemera.

The first major critical and biographical examination of Bruguière. Contains Enyeart’s essay, a chronology, and bibliography. The book reproduces work from the photographer’s broad range of work, from early twentieth-century pictorialism, to his cut-paper and light abstractions from the 1920s, and advertising and solarized pictures from the 1930s. Laid into this copy is a folded poster for the related 1977 retrospective exhibition on Bruguière organized by the Friends of Photography (Carmel, California), where Enyeart was the director. Near fine condition, with a remainder mark. $35

 

35. BRUGUIERE, Frances. Original photograph. Bruguière and Eisen, 1910s. Platinum print (6 ½ x 4 ½ inches), mounted on black paper in folder (9 ½ x 7 inches).

Portrait of a middle-aged woman wearing fancy clothing and jewelry, toned brown. The cover is printed with the photographers’ names and “San Francisco.” After Bruguière lost his studio in the 1906 San Francisco earthquake and fire he reestablished his portrait business, working for a time with Eisen, about whom nothing is known. Bruguière then moved to New York in late 1918. Image sent upon request. Some scuffing to folder cover. $100

 

36. BUERGER, Janet E. The Last Decade: The Emergence of Art Photography in the 1890s, Rochester: International Museum of Photography at George Eastman House, 1984. Softcover, 11 x 8 ½ inches, 44 pages, 22 halftone illustrations.

Accompanied an exhibition of work by photographers from the United States, England, and five European countries, including some obscure figures. The brief sections examine pictorialism’s relationship to symbolism, decadence, religion, classicism, abstraction, minimalism, and posterization. Near fine condition. $25

 

37. BULLOCK, John G. Tom Beck, An American Vision: John G. Bullock and the Photo-Secession, Albin O. Kuhn Library and Gallery, University of Maryland Baltimore County, 1989. Hardcover (silver-stamped black cloth), 11 ¼ x 8 ¾ inches, 160 pages, 124 halftone illustrations, dustjacket.

This is the only monograph on Bullock, with a foreword by William Innes Homer. Covers Bullock’s entire life and artistic output, as both a naturalist and pictorial photographer working around the turn of the twentieth century. Includes a bibliography and listing of the show’s Bullock participated in between 1885 and 1939. John G. Bullock (1854-1939) was a prominent member of the Photographic Society of Philadelphia, was allowed into Stieglitz’s elite Photo-Secession group, and was involved in the important Philadelphia Photographic Salons. Near fine condition. $35

 

38. BUNNELL, Peter C. The Art of Pictorial Photography, 1890-1925, Princeton University Art Museum, 1992. Softcover, 10 ¾ x 8 ½ inches, 116 pages, 81 halftone illustrations (some in color).

This issue of the art museum’s Record (volume 51, number 2) is fully devoted to its pictorial holding. The core of the collection is the work of Clarence H. White, but it also includes substantial groups by Paul L. Anderson, John G. Bullock, William B. Dyer, Gertrude Käsebier, and Robert S. Redfield. The essays, including one by Douglas R. Nickel, cover pictorialism, White, and Autochromes. A well-designed and important reference item. Near mint condition. $35

 

39. CAFFIN, Charles H. Photography as a Fine Art: The Achievements and Possibilities of Photographic Art in America, Hastings-on-Hudson, New York: Morgan and Morgan, 1971. Hardcover (gold-stamped green cloth), 10 ¼ x 8 inches, 116 pages, 91 halftone illustrations, dustjacket.

This is a reprint of the original 1901 edition, issued during the heyday of the Photo-Secession, members of which provided most of the reproductions. There are chapters on commercial portraiture, landscapes, figure studies, and “methods of individual expression,” featuring work by Gertrude Käsebier, Edward Steichen, Alfred Stieglitz, Clarence H. White, and others. This edition starts with a new introduction by photographer Thomas F. Barrow. Charles H. Caffin (1854-1918) was one of the few art critics who paid attention to creative photography at the turn of the twentieth century. Near fine condition, except for a few lightly bumped corners and a tear to the dustjacket. $25

 

40. CALIFORNIA PICTORIALISM.

The Heart of the Storm: Northern California Pictorialism, Malibu, California: J. Paul Getty Museum, 1994. Brochure, 8 ½ x 8 inches, 8 panels, 5 halftone illustrations. Includes essay by guest curator Michael G. Wilson and reproductions by Laura Adams Armer, Anne W. Brigman, William E. Dassonville, Arnold Genthe, and Emily Pitchford. Fine condition.

Atmospheric Photographs: California Pictorialism, Monterey, California: Monterey Peninsula Museum of Art, 1996. Softcover, 10 ¼ x 8 ½ inches, 8 pages, 8 halftone illustrations. Features text by curator Mary Murray and images by Francis Brugière, John Paul Edwards, Adelaide Hanscom, Karl F. Struss, and others. Fine condition.

High Lights, Shadings, and Shadows, Los Angeles County Museum of Art, 1998. Brochure, 11 x 8 ½ inches, 4 panels, 6 halftone illustrations. Includes text by curator Tim B. Wride and reproductions by Imogen Cunningham, Forman Hanna, Kaye Shimojima, and others. Fine condition.

Lost & Found: Japanese American Photographs and California Pictorialist Photographs from the Dennis Reed Collection, Santa Barbara Museum of Art, 2006. Softcover, 11 x 8 ¼ inches, 12 pages, 17 halftone illustrations. This back-to-back catalog highlights the strengths of the Reed collection. Illustrating the collector’s text are images by William Mortensen, Kentaro Nakamura, Shigemi Uyeda, and others. Fine condition. Group of four: $25

 

41. CAMERA. December 1970. Softcover, 11 ½ x 9 inches, 64 pages, 37 screen-gravure illustrations.

This entire issue of the quality Swiss magazine is devoted to “Pictorialism, 1890-1914.” Editor Allan Porter provides an overview and R. E. Martinez focuses on European pictorial photography. There are explanations of twenty-one types of printing processes and biographies of the twelve photographers who provide images, all in rich gravure and printed in black, brown, blue, and orange. Among those represented are Robert Demachy, Hugo Erfurth, Alexander Keighley, Heinrich Kühn, and Léonard Misonne. The text pages feature nicely-designed Art-Nouveau flower motifs. Light rubbing to covers. $25

 

42. 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.
43. So You Want to Start a Camera Club? Covers such topics as organization, by-laws, officers, meeting places, dues, programs, and exhibitions.
44. 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: $75

43. CAMERA NOTES. Christian A. Peterson, Alfred Stieglitz’s “Camera Notes,” New York: W. W. Norton, and Minneapolis Institute of Arts, 1993. Hardcover (gold-stamped black cloth), 10 ¼ x 8 ¾ inches, 204 pages, 367 halftone illustrations, dustjacket. Stated first edition, signed, with ephemera.

Camera Notes (1897-1903) was the most significant American photographic periodical before Camera Work began in 1903. Edited for most of its six-year life by Alfred Stieglitz, it represented a critical phase in the campaign to legitimize photography as an artistic pursuit, running thoughtful articles as well as high-quality photogravure illustrations. Among the pictorialists represented were F. Holland Day, Rudolf Eickemeyer, Jr., Gertrude Käsebier, Edward Steichen, and Clarence H. White. This book is the only one that details the history and meaning of the magazine. In addition to the thorough essay, are full-color reproductions of all the photogravures and indexes to both the articles and halftone illustrations. Edition of 3,500. This copy accompanied by ephemera on the related museum exhibition: press release, set of 35mm slides of gravures, and set of installation photographs. Additionally, this copy signed by Peterson. Fine condition. $50

 

44. CAMERA NOTES. Christian A. Peterson, Alfred Stieglitz’s “Camera Notes,” New York: W. W. Norton, and Minneapolis Institute of Arts, 1996. Softcover, 10 x 8 ½ inches, 204 pages, 367 halftone illustrations. Signed.

This is the second edition of the paperback of the above, despite it stating “First published as a Norton paperback in 1996.” A softcover version of the above hardcover appeared in 1993 with the same cover design, in green with a reproduction of a Stieglitz image. This 1996 edition, by contrast, features a crouching nude by Charles I. Berg, printed in brilliant orange. Signed by Peterson. Fine condition. $25

 

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

This uncommon publication accompanied the exhibition, “I Am an American,” that traveled to over a dozen Minnesota towns in 1973 on the Minneapolis Institute of Arts’ Artmobile. The show included photogravures from Camera Work, plus paintings, drawing, and watercolors by members of the Stieglitz circle. This item includes a facsimile cover of the magazine, brief text by curator Carroll T. Hartwell, and reprints of articles from Camera Work. Most importantly, it features images by James Craig Annan, Alvin Langdon Coburn, and Stieglitz, printed on translucent paper and tipped-in, in a modest effort to replicate the delicate nature of the original gravures. Fine condition. $25

 

46. CAMERA WORK. Jonathan Green, “Camera Work:” A Critical Anthology, Millerton, New York: Aperture, 1973. Hardcover (gold-stamped black cloth), 12 ¼ x 9 ¼ inches, 376 pages, halftone illustrations (some in color), dustjacket. Stated first printing.

This essential reference work remains the most comprehensive book on Alfred Stieglitz’s seminal quarterly, published between 1903 and 1917. In addition to Green’s essay, the book includes reprints of over one hundred articles from Camera Work (organized in four chronological sections), biographies of contributing artists, authors, and photographers, a bibliography, and five indices to the periodical. Near fine condition, in a dustjacket that is lightly rubbed and scratched (as usual, due to delicate metallic gold ink). $75

47. CAMERA WORK. “Camera Work:” Transformations in Pictorial Photography, Iowa City, Iowa: University of Iowa Museum of Art, 1975. Softcover, 10 x 9 inches, 12 pages, 3 halftone illustrations.

Catalog for an exhibition of about forty items from Camera Work, with an essay by curator Richard Wickstrom. The reproductions are by Robert Demachy, Alfred Stieglitz, and Paul Strand. Near fine condition. $15

 

48. CAMERA WORK. “Camera Work,” 1903-1917, Vermillion, South Dakota: University of South Dakota Art Galleries, 1978. Softcover, 8 ½ x 7 inches, 20 pages, unillustrated.

Small catalog for an exhibition of photogravures from the collection of the Minneapolis Institute of Arts, organized by curator Henryka Frajlich. Includes her essay on the magazine, checklist, and reprints of articles by Alfred Stieglitz and Paul Strand. Fine condition. $15

 

49. CAMERA WORK. Marianne Fulton Margolis, editor, “Camera Work:” A Pictorial Guide, New York: Dover, and International Museum of Photography at George Eastman House, Rochester, New York, 1978. Softcover, 11 ¼ x 8 ½ inches, 158 pages, 560 halftone illustrations.

This long in-print publication reproduces all 559 illustrations and plates in the magazine, with three handy indexes (by photographer, title, and sitter). Margolis provides an overview of the history and importance of Camera Work and a glossary of photographic and reproductive processes. The images are reproduced four to a page, in the chronological order in which they were published, making it an easy guide to the magazine. Tiny edgewear to cover. $25

 

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

Exhibition catalog for a show that presented photogravures from Camera Work next to original prints of the same images, rendered in platinum, gum-bichromate, and other processes. Peterson’s essay covers the history of the magazine, Stieglitz’s use of photogravure, and the idea that the gravures were a type of original, due to the frequent use of the photographer’s original negative and the quality of the printing. The catalog’s understated design echoes that of Camera Work, with old style typography, open space, and the use of black and red ink. Printed in a single edition of 600. This copy signed by Peterson. Fine condition. $35

 

51. CAMERA WORK. Two catalogs, both titled “Camera Work” and Other Gravures, Winchester, Massachusetts: Lee Gallery, December 1997 and December 1998. Softcovers, 11 x 8 ½ inches, 50 and 38 halftone illustrations, unpaginated.

Two dealer’s catalogs from the Lee Gallery. In addition to photogravures from Camera Work, there are some from Camera Notes and books by Alvin Langdon Coburn. Most of the items were priced below $1,000, with the most expensive being The Terminal by Alfred Stieglitz. Other photographers represented include Alice Boughton, Frederick H. Evans, William B. Post, Edward Steichen, and Paul Strand. Fine condition. The pair: $25

 

52. CAMERA WORK. “Camera Work:” A Centennial Celebration, Langhorne, Pennsylvania: Photo Review, 2003. Softcover, 11 x 8 ½ inches, 64 pages, 56 halftone illustrations (some in color).

This item, issued as a double number of the Photo Review, marked one hundred years since Alfred Stieglitz published the first issue of Camera Work. It includes essays on pictorial photography in general, modernism, the relationship between the magazine and Stieglitz, Edward Steichen, and Charles Sheeler, written by Lucy Bowditch, Peter C. Bunnell, Barbara L. Michaels, and curator Stephen Perloff. Luis Nadeau examines the reproductive processes used in the magazine. In addition to the photographic illustrations are full-color images of artwork by John Marin, August Rodin, and Abraham Walkowitz that appeared in its pages. Near fine condition. $35

53. CAMPBELL, Heyworth. Modern Masters of Photography: Pictorialists, New York: Galleon Press, c. 1938. Paper-covered box with mounted label, 14 ½ x 11 ½ inches, 37 screen-gravure and halftone illustrations (some in color).

This unusual oversize item comprises loose sheets: title page, four-page introduction, and list of contents, along with the reproductions. Among the contributing pictorialists are Eleanor Parke Custis, Frank R. Fraprie, Léonard Misonne, William Mortensen, Domenico Riccardo Peretti-Griva, and Max Thorek. However, there are also images representing other genres of photography, such as a commercial picture by Victor Keppler and a journalistic one by Margaret Bourke-White. No publication date appears, but The New York Times Book Review covered it on January 30, 1938. This item was also issued in a plastic ring blinding (without a box), which is more common. Heyworth Campbell was the art director at Condé Nast during the 1910s and 1920s and compiled four photography books during the 1930s. Title page browned, light wear and tears to box. $150

 

54. 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. Set of three: $250

55. CHICAGO Area Camera Clubs Association. Three pieces of ephemera.

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

Annual Salon and Banquet, June 11, 1949. Softcover, 6 ¾ x 5 inches, 8 pages, one halftone illustration. Includes banquet program, listing of officers, and exhibition checklist. The association’s print of the year is reproduced on the cover—a modernist still life by Harry K. Shigeta. A member’s name in ink on cover.

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

The group of three: $25

 

56. COBURN, Alvin Langdon. Ralph Nevill and Charles Edward Jerningham, Piccadilly to Pall Mall: Manners, Morals, and Man, New York: E. P. Dutton, 1909. Hardcover (gold-stamped maroon cloth), 9 x 6 inches, 310 pages, 2 photogravure illustrations.

An entertaining account of clubs, music halls, society, and characters in London’s West End from the 1850s to the early twentieth century. The photogravures are one of Coburn’s most celebrated subjects—London. The frontispiece shows carriages in front of St. James’ Place and the other one pictures the Empire Theatre at night, with lights ablaze and reflections on a wet walkway. Alvin Langdon Coburn (1822-1966) became the youngest and one of the major members of the Photo-Secession. He was skilled at making gum-bichromate prints and photogravures, creating softly-focused images of the landscape, cities, and people, in both the United States and England. Light wear and scuffs to the cloth. $250

 

57. COBURN, Alvin Langdon. Alvin Langdon Coburn, Photographer: An Autobiography, London: Faber and Faber, 1966. Hardcover (black-stamped blue cloth), 11 ¼ x 8 ¾ inches, 144 pages, 68 screen-gravure illustrations, dustjacket.

Edited by Helmut and Alison Gernsheim, this book is a full account of Coburn’s life in his own words, from making his first photographs at eight through his last years; it was published the year of his death. It features portraits (of William Butler Yeats, Henri Matisse, and other authors and artists), soft-focus images of New York and London, his modernist “vortographs,” and late work from the 1950s and sixties. Near fine condition, except for a few bumped corners and a small piece missing from the dustjacket. $35

 

58. COBURN, Alvin Langdon.

Alvin Langdon Coburn, 1882-1966, London: Arts Council of Great Britain, 1978. Softcover, 8 ¼ x 6 inches, 16 pages, 6 halftone illustrations. This is a small catalog for a large exhibition of 219 photographs from the collection of the International Museum of Photography at George Eastman House. It includes an essay by Paul Blatchford, images with comments, and a checklist. Near fine condition.

Alvin Langdon Coburn, 1882-1966, Man of Mark: Centenary, Bath, England: Royal Photographic Society, 1982. Softcover, 8 ¼ x 6 inches, 32 pages, 8 halftone illustrations. This catalog accompanied an exhibition at the Royal Photographic Society, drawn entirely from its holdings. It includes essays by Mike Weaver and Margaret Harker, a checklist, and a chronology. Near fine condition.

The pair: $25

 

59. COBURN, Alvin Langdon. Mike Weaver, Alvin Langdon Coburn: Symbolist Photographer, 1882-1966, New York: Aperture, 1986. Hardcover (silver-stamped gray cloth), 11 ¾ x 9 ¾ inches, 80 pages, 62 halftone illustrations, dustjacket. Author’s signature laid in.

Scholar Mike Weaver examines Coburn’s life and the influence of Japanese and Symbolist art on his pictorial work and the photographer’s embracement of the occult tradition in his search for spiritual values. Laid into this copy is a piece of letterhead for the journal History of Photography (for which Weaver served as editor), with the author’s signature. Near fine condition. $35

 

60. CONNELL, Will. About Photography, New York: T. J. Mahoney, 1949. Hardcover (maroon-stamped gray cloth), 10 ¾ x 8 inches, 64 pages, 40 halftone illustrations.

According to the front flap, this book “digs into the question of what makes the difference between great pictures and routine prints, and what makes the difference between a top-notch photographer and a dime-a-dozen lensman.” Connell covers his philosophy, mental approach, equipment, and working methods. All the book’s reproductions are straight advertising and commercial pictures. Based in Los Angeles, Will Connell (1898-1961) taught photography and worked as both a professional and pictorialist. He joined the Camera Pictorialists of Los Angeles in 1921 and sent his soft-focus photographs to national pictorial salons during the 1930s. Dustjacket chipped, torn, and worn. $25

 

61. CURTIS, Edward S. Marah Ellis Ryan, The Flute of the Gods, New York: Frederick A. Stokes Co., 1909. Hardcover (blue and white-stamped brown cloth with mounted gravure), 8 ¼ x 5 ½ inches, 338 pages, 24 screen-gravure illustrations.

The story of Native Americans of the Southwest encountering Spanish explorers, told in personal narratives. Curtis, who had begun publishing his series The North American Indian shortly before, provides quality reproductions of Indians praying, honoring stars, grinding corn, meeting in council, and performing other activities. Edward S. Curtis (1868-1952) produced the most extensive documentation of Native American culture of the twentieth century in his twenty-volume set The North American Indian (1906-1930). He was not considered a pictorialist during his lifetime but is now seen to fit comfortably within the movement, due to his use of soft-focus effects, idealized subject matter, and the photogravure process. Previous owner’s stamp and written name. Light wear to tips, bottom edge, and top and bottom of spine. $150

 

62. CURTIS, Edward S. A. D. Coleman and T. C. McLuhan, Portraits from North American Indian Life, New York: Outerbridge and Lazard, and American Museum of Natural History, 1972. Hardcover (copper-stamped black cloth and paper over boards), 14 ¾ x 18 inches, 184 pages, 88 halftone illustrations.

Photography critic Coleman writes about Curtis’ work and McLuhan addresses his life. While most of the reproductions are portraits, some also show the dress, lifestyle, and customs of tribes such as Apache, Cheyenne, Hopi, Navaho, and Sioux. The substantial scale of this book was intended to approximate the size and impact of Curtis’ large photogravure prints. Light wear to edges and a few corners. $95

 

63. CURTIS, Edward S. Christopher Cardozo, editor, Native Americans: First Americans as Seen by Edward S. Curtis, Boston: Little, Brown and Co., and Callaway Editions, 1993. Hardcover (copper-stamped brown cloth), 14 x 10 ¾ inches, 160 pages, 110 quadratone illustrations, dustjacket. Stated first edition, signed by editor.

A greatest-hits grouping of images, selected by Curtis expert Cardozo and written about by Native American scholar George P. Horse Capture. Includes excerpts from Curtis’ own text for the richly reproduced plates, most of them full-page. This copy signed by Cardozo. Fine condition, with small remainder mark, in opened shrink wrap. $50

 

64. CURTIS, Edward S. Christopher Cardozo, editor, Sacred Legacy: Edward S. Curtis and the North American Indian, New York: Simon and Schuster, 2000. Hardcover (blind-stamped gray cloth with mounted reproduction), 13 ¼ x 10 ¾ inches, 192 pages, halftone illustrations, slipcase. Signed by editor.

This heavily illustrated book was printed in full-color, yielding the original tonalities of Curtis’ photogravures, orotones, silver prints, and cyanotypes. It includes texts by Cardozo, Joseph D. Horse Capture, Anne Makepeace, and N. Scott Momaday. The reproductions are divided into the following sections of Native American tribes: Great Plaines, California, Southwest, Plateau and Woodlands, and Northwest Coast and Alaska. This copy is from the limited edition of 1,500 copies, numbered (704) and signed by Cardozo. In original slipcase and shipping carton. Fine condition. $95

 

65. CURTIS, Edward S. L’Eredità degli Indiani del Nord America, Italy: Palazzo Magnani, Reggio Emilia, 2004. Softcover, 13 ¼ x 9 ½ inches, 72 pages, halftone illustrations.

This the catalog for an exhibition organized by Sandro Parmiggiani and American Curtis expert Christopher Cardozo. It includes four essays on Curtis and a conversation between Parmiggiani and Cardozo. Curiously, includes sixteen images by Cardozo of Mexican villagers performing religious ceremonies in Oaxaca, 1972-73. Text in Italian. Near fine condition. $30

 

66. CUSTIS, Eleanor Parke. Composition and Pictures, Boston: American Photographic Publishing Co., 1947. Hardcover (gold-stamped red cloth),

11 ¼ x 8 ½ inches, 224 pages, 173 halftone illustrations, dustjacket.

Composition and Pictures was among the last major publications on pictorial photography. In it, Custis deals with both the principles of composition and their practical application. Central to the book is her examination of dynamic symmetry, a mathematical formula for picture making. “Good” and “bad” images are reproduced, along with a multitude of diagrams. Eleanor Parke Custis (1897-1983) was the most prominent women pictorialist working in the 1930s and 1940s. Before turning to photography, she made Impressionist-inspired gouaches and watercolors during the 1920s, some of which are reproduced in the book. During the 1940s, she was frequently the world’s most prolific salon exhibitor; her peak season was 1949-50, when 257 of her prints were accepted by over ninety venues. Light edge wear to the bottom of the cloth, in the uncommon dustjacket, which is worn, tape-repaired, and missing some pieces. $35

 

67. CUSTIS, Eleanor Parke. Auction Catalog: The Eleanor Parke Custis Collection of Fine Photographica, Essex, Massachusetts: William S. Friend Antiques, 1986. Softcover, 11 x 8 ½ inches, 20 pages, halftone illustrations.

The catalog for nearly 300 lots of nineteenth-century cased photographs: tintypes, ambrotypes, daguerreotypes, and rare cases, from the Civil War era and earlier. Painter/pictorialist Custis apparently was passionate about antique images and processes. Laid into this copy is a list of prices realized, ranging from $15 to $1,225 (for a quarter-plate outdoor dag). Near fine condition. $25

 

68. DASSONVILLE, William E. William E. Dassonville, California Photographer [1879-1957], Nevada City, California: Carl Mautz, 1999. Hardcover (blind and silver-stamped blue cloth), 9 ½ x 10 ¾ inches, 112 pages, 68 halftone illustrations (1 in color), dustjacket. Signed by author.

The only monograph on Dassonville, researched and edited by Susan Herzig and Paul Hertzmann, with an essay by Peter Palmquist. It covers the photographer’s life and work, and ends with three informative appendices: exhibition history, published photographs, and reprints of nine of his published articles. William Dassonville (1879-1957) began as a naturalistic photographer, making sensitive landscapes. Morphing into a pictorialist, he was active in California for the first half of the twentieth century, often photographing seaside images. He also owned a company that manufactured fine photographic paper for discerning amateurs and professionals (most notably “Charcoal Black”). This copy signed by Palmquist on the title page. Near fine condition. $50

69. DASSONVILLE, William E. Holiday card on photographic paper. Eucalyptus Trees, San Francisco from Telegraph Hill, c. 1925, gelatin silver print, 4 x

3 ½ inches (image), 5 ½ x 8 ½ inches (sheet).

This image depicts three trees silhouetted against part of the skyline of San Francisco (variant of image in above book). Printed in the photographic paper, opposite the image is: “Season’s Greetings/George H. Eberhard/1929.” Eberhard was a San Francisco advertising businessman and head of the George H. Eberhard Company, which manufactured postcards. Image sent upon request. Rubbing and glue residue to outside covers, not effecting the image. Archivally matted. $750

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

This was the first and remains the most extensive critical biography of the distinctive Boston pictorialist F. Holland Day. For a short time at the turn of the twentieth century, Day rivaled Alfred Stieglitz for prominence as both a photographer and organizer. However, he ultimately declined to take on Stieglitz’s outsized ego, and contented himself with making portraits of young boys and posing himself as Jesus Christ. As the title of the book indicates, F. Holland Day (1864-1933) was an eccentric, a successful photographer, a devoted publisher, and a flamboyant aesthete. Fine condition, in dustjacket that is very lightly worn and sunned on the spine (as is normal). $35

 

71. DAY, F. Holland. Pam Roberts and others, F. Holland Day, Amsterdam: Van Gogh Museum, 2000. Hardcover (white-stamped gray cloth with mounted reproduction), 11 x 8 ¾ inches, 144 pages, 147 halftone illustrations.

This scholarly treatment of Day includes essays on his life, his aesthetics, Boston around the turn of the twentieth century, and Symbolism in his work. In addition to Roberts, those contributing are Edwin Becker, Verna Posever Curtis, and Anne E. Havinga. The reproductions are particularly subtle and rich. Near fine condition (issued without a dustjacket). $50

 

72. DéLARDI, Alfred A. Ships and Water, Philadelphia: David McKay, 1938. Softcover (metal ring binding) 12 x 9 inches, unpaginated, 91 screen-gravure illustrations.

This handsome production was compiled and edited by DéLardi, arranged by Heyworth Campbell, and features a foreword by Joseph C. Lincoln. Among the richly printed beach, boat, and maritime images are those by Eleanor Parke Custis (on the cover), Adolf Fassbender, Edward P. McMurtry, and George Poundstone. Alfred DéLardi (1906-?) was a Philadelphia professional photographer who also produced pictorial work and wrote two books on portraiture in the 1930s. Covers rubbed and scuffed (as normal). $45

 

73. DELAWARE CAMERA CLUB. Delaware Camera Club, 1931-1981, Wilmington: Delaware Camera Club, 1981. Softcover, 8 ½ x 5 ½ inches, 24 pages, 38 halftone illustrations.

This fiftieth-anniversary booklet provides a good record of the Delaware Camera Club’s activities. It commenced the Wilmington Salon of Photography in 1934, sponsored a five-day lectures series by Ansel Adams in 1944, and sent it members on photographing trips as far as England and Italy. Most of the item is given over to a well-illustrated chronology. Near fine condition. $10

 

74. DEMACHY, Robert. Anna Bowman 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 (issued without a dustjacket) 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. Light wear to cover, front hinge a little loose, and previous owner’s stamp and notation. $35

 

75. DEMACHY, Robert. Anna Bowman Dodd, In and Out of Three Normandy Inns, 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 and little-known Demachy item, as it includes reproductions of drawings, not photographs, by him. See above for the previous edition, with his photographic illustrations. 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 sites 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. $35

 

76. DEMACHY, Robert. Bill Jay, Robert Demachy, 1859-1936: Photographs and Essays, London: Academy Editions, 1974. Hardcover (gold-stamped maroon cloth), 11 ¾ x 8 ½ inches, 96 pages, 50 halftone illustrations, dustjacket.

This, the first monograph on Demachy, includes a brief biography of him and an essay putting him in the context of pictorial photography. Also present are reprints of a dozen articles by him, touching on the gum-bichromate process, photographic criticism, exhibition catalogs, “Truth in Art,” and other subjects. Near fine condition. $35

 

77. DEMACHY, Robert. Camera, December 1974. Softcover, 11 ½ x 8 ¾ inches, 56 pages, 56 halftone illustrations.

The entire issue (edition Francaise) is devoted to Demachy. The reproductions are in a variety of rich hues, reflecting the distinctive color of his prints in gum-bichromate and other control processes. Among the subjects are nudes, figure studies, and landscapes. In addition, a number of Demachy’s drawings are included, as he turned away from artistic photography during World War I. Text in French. Near fine condition. $25

 

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

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

 

79. DICKSON, Edward R. Poems of the Dance: An Anthology, New York: Alfred A. Knopf, 1921. Hardcover (black-stamped paper and gold-stamped tan cloth), 8 x

5 ¾ inches, 164 pages, 16 halftone illustrations, dustjacket.

A healthy selection of poems about dance, from ancient Hindu classics to modern ones by writers such as Oscar Wilde. The images are of dancers in diaphanous dress frolicking in natural settings, rendered in muted tones. Dickson chose the poems and provided the pictures, while Louis Untermeyer wrote the introduction. Known primarily as a landscape photographer of great sensitivity, Edward R. Dickson (1880-1922) published the important periodical Platinum Print in the 1910s and was closely associated with Clarence H. White and the Pictorial Photographers of America. Previous owner’s inscription, covers lightly worn, in the rare dustjacket, which is torn, worn, and missing pieces. $50

 

80. DORR, Nell. In a Blue Moon, New York: G. P. Putnam’s Sons, 1939. Hardcover (silver-stamped gray cloth), 9 x 6 inches, unpaginated, screen-gravure illustrations, slipcase.

Dorr’s brief introduction begins, “It’s only once in a Blue Moon that days like these can happen, but when they do, they add a new dimension to the years that follow.” The book is made up largely of rich, bleed images of flowers and nude girls and young women out in the Florida Keyes, made ten years earlier. It was issued without a dustjacket, but in a slipcase illustrated with a negative image of a figure. Nell Dorr (1893-1988) did not actively participate in the pictorial movement, but her work sports soft-focus effects and sentimental subject matter (most notably women and children). Working from the 1930s to 1960s, she illustrated five books, this being the second one. Near fine condition, in a slipcase that has minor scuffing. $150

81. 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. $45

 

82. DORR, Nell. Mother and Child, San Francisco: Scrimshaw Press, 1972. Hardcover (silver-stamped red cloth and paper), 10 x 8 ¼ inches, unpaginated, halftone illustrations. Stated second edition.

This reprise of the above first edition 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. $35

 

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

This dreamy book, a “quest for the meaning of life,” features poems and pictures. The likes of Emily Dickenson and E. E. Cummings provided poems, while Dorr created all the images. Most of the photographs feature women or light abstractions, and are printed in high-quality gravure, bleeding off the pages. Near fine condition, with two corners lightly bumped, in extremely bright dustjacket. $35

 

84. DUGMORE, A. Radclyffe. Nature and the Camera: How to Photograph Live Birds and their Nests; Animals, Wild and Tame; Reptiles; Insects; Fish and other Aquatic Forms; Flowers, Trees, and Fungi, New York: Doubleday, Page, 1903. Hardcover (green-stamped green cloth, with mounted photogravure), 8 ½ x 6 ¼ inches, 126 pages, 53 halftone illustrations.

The title of this book well summarizes its contents. It is heavily illustrated with Dugmore’s pictures, which are straightforward documents, except for the more pictorial cover image, rendered in high-quality gravure. A. Radclyffe Dugmore (1870-1955) was a naturalist and a hunter, who expressed himself as an artist, photographer, and author (writing about twenty books). As a pictorialist, he joined the Camera Club of New York and exhibited at London’s Royal Photographic Society. Most importantly, Alfred Stieglitz included two of his images in Camera Work, printed as photogravures in 1903 and 1907. Light wear to covers. $25

 

85. DYER, William B. James Whitcomb Riley, Riley Love-Lyrics. Three editions of Dyer’s most widely-seen and lasting work.

Published by 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. Spine sunned (as is normal). This edition is the most common one.

Published by Bobbs-Merrill, Indianapolis, 1899. Hardcover (gold, black, and white-stamped blue cloth), 8 x 5 ¼ inches, 192 pages, 77 halftone illustrations. Tiny tip wear.

Published by 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.

The group of three: $50

 

86. DYER, William B. Margaret E. Sangster, Winsome Womanhood: Familiar Talks on Life and Conduct, New York: Fleming H. Revell, 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. $35

 

87. DYER, William B. Margaret E. Sangster, Winsome Womanhood, New York: Fleming H. Revell, 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 of the above title, larger is 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 and light scuffing to dustjacket. $95

 

88. EDDY, Sarah J. Friends and Helpers, Boston: Ginn, 1900. Hardcover (green and gold-stamped green cloth), 7 ½ x 5 ¾ inches, 232 pages, halftone illustrations.

Eddy commences the preface by stating, “The object of this book is to teach children to be helpers in the animal world.” She does so in nearly 100 short stories about dogs, cats, horses, birds, and other animals, some written by others, such as Ralph Waldo Emerson. The illustrations are also from various sources, with at least a dozen by Eddy herself. During the first decade of the twentieth century, Sarah J. Eddy (1851-1945) exhibited her photographs at camera clubs in New England, particularly the Boston Camera Club, of which she was a non-resident member (living in Rhode Island). In 1903 alone her work (mostly of children, women, and animals) was accepted at pictorial salons in Chicago, Cleveland, and Minneapolis. Between 1899 and 1938, she wrote or compiled five children’s books on animals and their care. Wear to edges of cloth. $35

 

89. EDDY, Sarah J. Alexander and Some Other Cats, Boston: Marshall Jones, 1938. Hardcover (gold-stamped green cloth), 9 ½ x 6 ¼ inches, 208 pages, 85 halftone illustrations, dustjacket. Stated second printing.

The last of Eddy’s five books, issued when she was 87 years old. Its stories emphasize the intelligence of cats, their devotion to their young, and their affection for people. Her pictures show felines sleeping, stretching, grooming, supposedly typing and playing chess, and with other animals such as birds and dogs. Light wear to tips, dustjacket missing small pieces. $35

 

90. EICKEMEYER, Rudolf, Jr. Hamilton Wright Mabie, Nature and Culture, New York: Dodd, Mead and Co., 1904. Hardcover (gold, red, orange, and green-stamped green cloth), 8 ½ x 5 ¾ inches, 326 pages, 23 collotype illustrations. Dustjacket.

Prolific author Mabie’s spiritual outlook on the interdependence of mankind and nature. The high-quality illustrations are printed different colors and have tissue guards with a line from the text. Eickemeyer photographed the seashore, woods, streams, flowers, and other natural settings, sometimes effectively emphasizing the foreground. Rudolf Eickemeyer (1862-1932), a New York portrait photographer, had his creative work included as photogravures in Camera Notes. He produced a significant amount of portrait, genre, and landscape work for book illustrations in the first decade of the twentieth century. Light wear to tips, in the very rare dustjacket that is worn, torn, and tape repaired. $35

 

91. EICKEMEYER, Rudolf, Jr. Stanton Davis Kirkham, In the Open: Intimate Studies and Appreciations of Nature, San Francisco: Paul Elder, 1908. Hardcover (gold-stamped green cloth and black and gold-stamped paper), 8 ½ x 5 ¾ inches, 222 pages, 6 halftone illustrations.

Naturalist writer Kirkham provides sixteen essays on subjects such as the seasons, wild gardens, weeds, mountains, forests, and the sea. Accompanying them are appropriate images by Eickemeyer, the consummate illustrator of turn-of-the-century “back-to-nature” books. Light wear to tips. $35

 

92. EICKEMEYER, Rudolf, Jr. Original photograph. Winter, 1903, platinum print, 7 ½ x 9 ½ inches (image and sheet).

This image shows bare trees and brush in winter, with a foot-trodden path in the snow. Some of the branches at mid distance gleam nicely due to the ice on them and rear illumination by the sun. The picture appears in Eickemeyer’s deluxe book Winter (R. H. Russell, New York, 1903), accompanied by a poem by an anonymous writer that reads in part, “Though all life’s portals are indiced [sic] with woe/And frozen pearls are all the world can show/Feel! Nature’s breath is warm beneath the snow.” A larger print of this image is in the collection of the George Eastman House. Image sent upon request. Light brown spotting along top edge of image. $750

 

93. EMERSON, Peter Henry. Izaak Walton, The Compleat Angler, or the Contemplative Man’s Recreation, Being A Discourse of Rivers, Fish-Ponds, Fish, and Fishing and Instructions How to Angle for a Trout of Grayling in a Clear Stream by Charles Cotton, edited by R. B. Marston, London: Sampson Low, Marston, Searle and Rivington, 1888. Hardcover (black-stamped gray cloth and paper over boards), 11 ½ x 9 inches, 358 pages, 52 photogravure illustrations. Two volumes, Lea and Dove demy quarto edition, numbered 66 of 500 copies, signed by Marston.

A long treatise on fishing, with about 100 woodcuts and frontispiece portraits of Walton and Cotton that are color etchings. The photogravures are primarily of river scenes, 27 of them by Emerson and 25 by George Bankart. While Bankart’s images are sharply focused and rendered in brown ink, Emerson’s are much softer and printed in gray, adding to their foggy quality. For this project he photographed exclusively along the River Lea, which empties into the Thames in London. A major nineteenth-century English photographer, Peter Henry Emerson (1856-1936) spearheaded naturalistic photography through his images and his writings. He burst on the scene in 1889 with the book Naturalistic Photography for Students of the Art (see below), promoting photography as an art and nature as its primary subject. Most of his exquisite images were issued as photogravures in limited-edition books and portfolios, such as this one. Water stain to one frontispiece (not effecting the image), this set was recently rebound in a clean manner (new covers in near fine condition). $1,000

 

94. EMERSON, Peter Henry. Naturalistic Photography for Students of the Art, New York: Amphoto, 1972. Hardcover (silver-stamped green cloth), 7 ½ x 5 inches, 314 pages, unillustrated, dustjacket.

This is a reprint of the 1890 second, revised edition of Emerson’s defining treatise on naturalistic photography, a movement closely associated with pictorialism. In it he gives extensive technical instruction, shares his opinions about art, argues for photography as a means of creative expression, and explains his theory of differential focusing. This edition with an introduction by photography historian Peter Pollack. Writing on one flap, in a dustjacket that is chipped. $25

 

95. EMERSON, Peter Henry. Nancy Newhall, P. H. Emerson: The Fight for Photography as a Fine Art, Millerton, New York: Aperture, 1975. Hardcover (silver-stamped green cloth), 9 ¼ x 10 ¾ inches, 266 pages, halftone illustrations, dustjacket.

The first major examination of Emerson, his life, work, influences, and legacy. Newhall drew heavily from such primary resources as Emerson correspondence and writings. Includes a chronology and bibliography. Near fine condition, in price-clipped dustjacket. $35

 

96. EUGENE, Frank. Ulrich Pohlmann, Frank Eugene: The Dream of Beauty, Munich: Nazraeli Press, 1995. Hardcover (gold and blind-stamped gray paper over boards), 12 x 9 ¾ inches, 366 pages, 295 halftone illustrations (some in color), dustjacket.

This is a comprehensive study of Eugene. It examines his aesthetics, the relationship of his photographs to German paintings, and his time teaching at art academies in Munich and Leipzig, 1907-1927. Features an exhaustive exhibition history, listing of his students, and biographies of the artists and photographers he associated with most closely. Born Frank Eugene Smith (1865-1936), this “painter-photographer” was recognized in both the United States and Germany for his portraits and figure studies. His pictorial photographs were heavily handworked, often resembling etchings, and his photogravures comprised two full issues of Camera Work (both in 1910), signaling Alfred Stieglitz’s strong support. Mint condition, in shrink wrap. $125

 

97. EVANS, Frederick H. Beaumont Newhall, Frederick H. Evans, Rochester: George Eastman House, 1964. Softcover, 10 ¾ x 8 inches, 48 pages, 19 halftone illustrations.

The first little monograph devoted to Evans has Newhall discussing Evans as a bookseller and artistic photographer, covering his trans-Atlantic relationship with Alfred Stieglitz, his involvement with the Royal Photographic Society and Linked Ring Brotherhood, and his glorious pictures of cathedral interiors. Commences with his most famous image, A Sea of Steps, from Wells Cathedral in 1903. Frederick H. Evans (1853-1943) was one of England’s most accomplished pictorialists around the turn of the twentieth century. His cathedral pictures concentrated on the light and spirit of the subjects, rather than the architecture per se, rendered as straight platinum prints, without overt manipulation. Near fine condition, with previous owner’s address label. $35

 

98. EVANS, Frederick H. Beaumont Newhall, Frederick H. Evans, Photographer of the Majesty, Light and Space of the Medieval Cathedrals of England and France, Millerton, New York: Aperture, 1973. Hardcover (gray-stamped gray cloth), 10 ¾ x 9 ¾ inches, unpaginated, 75 halftone illustrations, dustjacket.

This hardcover includes Newhall’s text from the above title (apparently unaltered), with an expanded set of images by Evans. For instance, there are more landscapes and portraits (of the likes of Evans’ friend Aubrey Beardsley). Near fine condition, in price-clipped dustjacket with a tear. $45

 

99. EVANS, Frederick H. Anne Hammond, editor, Frederick H. Evans: Selected Texts and Bibliography, Boston: G. K. Hall, 1992. Hardcover (gold-stamped maroon cloth), 10 x 7 ¾ inches, 200 pages, 35 halftone illustrations, dustjacket.

Hammond commences with an introduction titled “The Soul of Architecture,” which is followed by reprints of twenty articles by or on Evans written between 1902 and 1943, the year of his death. The photographer writes on critics, lantern slides, technique, his library, Wells Cathedral, and Julia Margaret Cameron. Among those writing on Evans are the critic Anthony Guest and fellow pictorialist A. Horsley Hinton. Near fine condition, in dustjacket that is lightly rubbed with one short tear. $75

 

100. FARNSWORTH, Emma J. Mary D. Brine, Little Lad Jamie, New York: E. P. Dutton, 1895. Hardcover (gold and black-stamped green cloth), 9 x 7 inches, 52 pages, 8 photogravure illustrations.

Brine, the author of other children’s books, writes about the adventures of a boy while he is visiting his grandmother, some of which are illustrated by Farnsworth’s images. The photogravures, which are printed on tissue and tipped in, show Little Lad Jamie in bed, gardening, and playing. Farnsworth’s name does not appear in the book, but the same illustrations also appear in William Croswell Doane’s Sunshine and Play-Time, in which she is prominently credited. Emma Justine Farnsworth (1860-1952) spent her entire life in Albany, New York, but presented a solo show of her work at the prestigious Camera Club of New York in 1897. Alfred Stieglitz included a photogravure by her in a 1900 issue of Camera Notes and Frances Benjamin Johnston included Farnsworth in the series “The Foremost Women Photographers in America” for the Ladies’ Home Journal in 1901. Half of inscribed front free endpaper missing, front hinge separated, wear to covers, with piece missing from spine. $50

 

101. FASSBENDER, Adolf. Pictorial Artistry: The Dramatization of the Beautiful, New York: B. Westermann, 1937. Hardcover (gold-stamped cream cloth over boards, with internal metal spiral binding), 16 x 13 ¾ inches, unpaginated, 40 photogravures. Signed.

This is the most lavish publication from the second generation of pictorial photographers, produced in a limited edition of 1,000 copies, all numbered and signed by the photographer. The gravures are breathtakingly rich, printed individually in different colors and described by the photographer, both aesthetically and technically. They begin with his famous image The White Night, picturing New York’s Central Park on a snowy evening, and proceed through landscapes, figure studies, and still lifes. Unfortunately, Pictorial Artistry appeared just a few years before World War II, and the combination of the German-named publisher and Fassbender’s German heritage, crippled sales for many years. Adolf Fassbender (1884-1980) was in the top echelon of American pictorial photographers during the 1930s and 1940s. He performed extensive handwork on his images in order to realize his idealized vision of photographic beauty, mastering many control processes, such as the paper negative. He greatly influenced two generations of both pictorialists and professional photographers (who took to calling him “Papa”), making his living as a private teacher for half a century, beginning in about 1930. This copy numbered 857 of one thousand, and signed by Fassbender. While usually found in soiled covers this one is particularly clean, with minor bumps to top and bottom of spine, with the rear endpaper detached. $2,250

 

102. FASSBENDER, Adolf. Pictorial Forum First Annual Exhibition of Pictorial Photography, New York: National Arts Club, 1936. Softcover, 8 ½ x 5 ¾ inches,

8 pages, unillustrated.

Catalog for a show of 177 photographs presented at New York’s National Arts Club, the very place where Alfred Stieglitz first showed the work of his Photo-Secession thirty years earlier. This group, the Pictorial Forum, was organized by individuals who had become friends while studying with Adolf Fassbender. Among the exhibitors are Gustav Anderson, Barbara Green, J. Ghislain Lootens, Thomas O. Sheckell, and Fassbender himself. This is the only known printed piece on the Pictorial Forum, and, thus, a scarce item. Near fine condition. SOLD

 

103. FASSBENDER, Adolf. PSA Journal, November 1966 (vol. 32). Softcover, 11 ¼ x 8 ¼ inches, 52 pages.

Fassbender is the focus of this issue, with his image The Octogenarians (showing two men with pipes and canes conversing on a bench) on the cover. In 1966, he received the progress medal from the Photographic Society of America, and Glenn E. Matthews contributes an article on him. Following it Fassbender writes a ten-page article titled “Why Bother?” which begins, “The camera and the photographic process conspire to produce falsehood. Control techniques can help us recapture the mood or feeling experienced in picture taking, then to introduce artistic effects which may be purely emotional or personal.” It features sixteen halftone illustrations by him including his forceful image from the 1939 New York World’s Fair Dynamic Symbol, made from four separate negatives. Minor cover wear. $10

 

104. FASSBENDER, Adolf. Christian A. Peterson, The Pictorial Artistry of Adolf Fassbender, Nutley, New Jersey: Fassbender Foundation, 1994. Hardcover (paper over boards), 12 ¼ x 9 ¼ inches, 112 pages, 45 halftone illustrations, dustjacket. Signed by author, with ephemera.

This is the only monograph on Fassbender, issued on the occasion of an exhibition at the Minneapolis Institute of Arts, which holds a master set of his prints. The essay examines Fassbender’s upbringing in Germany, his early years as a portrait photographer, his success at and contributions to pictorialism, and his importance as a teacher. The plates are reproduced in full color, to approximate the many tones in which he produced his pictorial prints. Includes notes to some of the plates by Fassbender and tributes from over a dozen of his former students. Laid in are three pieces of related ephemera: a brochure for the book, exhibition opening invitation, and a copy of the Minneapolis Institute of Arts’ members’ magazine with a cover article on the show. This copy signed by Peterson. Near fine condition. $35

 

105. FASSBENDER, Adolf. Nine pieces of ephemera.

         This Certificate is Awarded to ______,” blank certificate for completing Fassbender’s course in Artistic Portraiture, Theory and Technical Control Methods in Photography, undated.

         Adolf Fassbender’s Comprehensive Course in Black and White Photography, course brochure, Camera Club of New York, 1949.

6 Courses in Photography for Men and Women, class brochure, Brooklyn Young Men’s Christian Association, 1951.

Pictorial Europe: A Photographic Tour for Amateurs, travel brochure, Cultural Travel Foundation, New York, 1954.

“Fassbender, a Man of Many Talents,” New York World-Telegram and Sun, newspaper article on original newsprint, by Ralph Miller, January 31, 1957.

         Adolf “Papa” Fassbender, lecture brochure, Professional Photographers Association of New Jersey, October 2, 1960.

         A Week with Adolf Fassbender, workshop brochure, Professional Photographers of America, July 14-20, 1968.

         The Fassbender Collection of the Photographic Society of America, brochure, c. 1972.

“In Memorium: Adolf Fassbender,” obituary and tributes by 7 former students, The Professional Photographer, March 1980.

A rare and rich group of items that feature details about Fassbender’s many pursuits. The group of nine: $125

 

106. FASSBENDER, Adolf. Eighteen holiday cards on photographic paper.

These cards picture largely the vernacular structures and rural folk of small European towns. Still, there are four American winter scenes, most of them showing trees under snow, including one titled Christmas in Manhattan (1947), made in Central Park with apartment buildings in the background. Some of them have printed greetings inside, the typography cleverly mimicking the shape of a Christmas tree. The images are toned black, brown, and blue, and were made from copy negatives, as Fassbender’s signature and the picture title are visible below each image. The one exception is an original color print tipped into a stock card dated 1967. It shows an Austrian lakeside village below towering mountains and is hand-signed “The Fassbenders.” An unusual offering, most in near fine condition. The set of eighteen: $450

 

107. FIELD, J. H. The Gentle Eye: The Photography of J. H. Field, Little Rock, Arkansas: Old State House, 1990. Softcover, 8 ½ x 7 inches, 16 pages, 14 halftone illustrations.

This small exhibition catalog is the sole publication on Field. It features a brief introduction and comments by the photographer on each reproduction. The images, all softy rendered, include a few self-portraits, landscapes, and figure studies. Julius Herman Field (1869-1936) made his living as a portrait photographer initially in Wisconsin and later in Arkansas. He exhibited his personal creative work as early as 1900, in the Third Philadelphia Photographic Salon, and was a member of the populist Salon Club of America. During the 1910s and 1920 his pictures illustrated articles in magazines such as Good Housekeeping and the Craftsman. Fine condition. $10

 

108. FRAPRIE, FRANK R.

Fraprie and Walter E. Woodbury, Photographic Amusements, Including Tricks and Unusual or Novel Effects Obtainable with the Camera, Boston: American Photographic Publishing Co., 1931. Hardcover (black and gold-stamped red cloth), 9 ¼ x 6 ¼ inches, 272 pages, 178 halftone illustrations. Stated tenth edition. While the images are not pictorial, they are certainly heavily hand-worked. 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.

Portrait Lighting by Daylight and Artificial Light, Boston: American Photographic Publishing Co., 1935. Hardcover (gold-stamped red cloth), 9 ½ x 6 ¼ inches, 120 pages, 120 halftone illustrations. A general overview of the subject, with contributions by James Inglis and Franz Fiedler, and many diagrams of where to place your subject, camera, lights, and reflectors. Light edge wear.

Set of two: $35

 

109. FRAPRIE, FRANK R., and Florence C. O’Connor. Photographic Amusements, Including Tricks and Unusual or Novel Effects Obtainable with the Camera, Boston: American Photographic Publishing Co., 1937. Hardcover (orange-stamped black cloth), 11 x 8 ¾ inches, 248 pages, 250 halftone illustrations. Stated eleventh edition.

This revised and enlarged edition, with a new coauthor, is larger in scale and possibly the final edition of this venerable title (see the smaller tenth edition above). 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. $35

 

110. The GALLERY: A Monthly Review of International Pictorial Photography. Three issues, 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 Janinni 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. Set of three: $45                 

 

111. GENTHE, Arnold. As I Remember, New York: Reynal and Hitchcock, 1936. Hardcover (gold-stamped black and maroon cloth), 10 ¼ x 7 ¾ inches, 290 pages, 112 screen-gravure illustrations.

This is one of the few autobiographies by a photographer who was a pictorialist during part of his career. Arnold Genthe (1869-1942) made a name for himself in both the artistic and portrait genres, from the turn of the twentieth century into the 1930s. According to the front flap, “Through the whole story runs the spirit of a gay, engaging bon vivant and artist who has a way with words as well as cameras.” Illustrated with rich gravures, the book covers Genthe’s early days in Germany, his high-brow schooling, his 1895 immigration to America, his photographing San Francisco’s Chinatown and aftermath of the 1906 earthquake, his work in New Orleans, and his involvement with the Pictorial Photographers of America. In 1911 Genthe moved to New York, where he operated a thriving portrait studio, photographing at least three presidents and famous figures such as the dancer Isadora Duncan. Bumps to a few edges and the top and bottom of spine, missing the dustjacket, except for the front panel, which is laid in. $45

 

112. GILLES, John Wallace. Principles of Pictorial Photography, New York: Falk Publishing, 1923. Hardcover (gold stamped maroon cloth), 9 ¼ x 6 ¼ inches, 256 pages, 70 halftone illustrations.

Used as a text at the New York Institute of Photography, this book addresses materials, equipment, technique, subjects, and composition for the budding pictorialist. Also included are revealing statements by such established figures as Wilbur H. Porterfield, Clarence H. White, and Edward Weston, who was still a pictorialist at this time. Among those who contributed images are A. D. Chaffee, D. J. Ruzicka, Thomas O. Sheckell, and Clara Sipprell. New Yorker John Wallace Gilles (c. 1885-1927) was a pictorialist, commercial photographer, and prolific author of articles in the 1910s and twenties. Wear to tips and top and bottom of spine. $25

 

113. GILPIN, Laura. Martha A. Sandweiss, Laura Gilpin: An Enduring Grace, Fort Worth: Amon Carter Museum, 1986. Hardcover (gold and blind-stamped tan cloth), 12 ¾ x 10 inches, 340 pages, 167 tritone illustrations (some in color), dustjacket.

The elegantly designed major monograph on Gilpin, in which curator Sandweiss provides an in-depth study of one of America’s most important women photographers. The rich reproductions include work from 1910 into the 1950s, largely made in the Southwest, where she excelled at landscapes and documenting the Pueblo and Navaho Indians. Includes a forty-page chronological bibliography, with details about where her pictures were exhibited and reproduced. Laura Gilpin (1891-1979) was a professional portrait and advertising photographer for much of her sixty-year career, but began as a pictorialist. She studied with Clarence H. White in New York in the mid-1910s, at which time she joined the Pictorial Photographers of America. This group featured her pictures in every one of its five annuals published during the 1920s and also traveled a solo show of her work. Mint condition, in opened shrink wrap and original shipping carton. $125

 

114. GOLDWATER, Barry. People and Places, New York: Random House, 1967. Hardcover (black and silver-stamped gray cloth), 12 x 9 inches, 88 pages, 41 halftone illustrations, dustjacket. Stated first printing.

Yes, even the Republican Congressman from Arizona was swept up in the national wave of pictorial photography, making primarily images of the landscape and Native Americans of his home state. His first book, Arizona Portraits (1940), included truly pictorial images, while this one features more straightforward ones. Well reproduced and usually bleeding off the page for dramatic effect, each is accompanied by descriptive text by Goldwater. Ends with a few pages of technical information on his working methods. Senator Barry Goldwater (1908-1998) began exhibiting his work in pictorial salons in about 1945 and became an associate member of England’s Royal Photographic Society. Price-clipper dustjacket with a few small tears and a tiny piece missing. $35

 

115. GOODSALL, Robert H. Pictorial Photography for Amateurs, London: Fountain Press, c. 1940s. Hardcover (black-stamped brown cloth), 9 ½ x 7 ¼ inches, 88 pages, 33 halftone illustrations. State third edition.

Dedicated to past and present members of England’s Canterbury Camera Club, this is a basic text for the beginning pictorialist. Goodsall commences with chapters titled “Is Photography Art?” and “What is Pictorial Photography,” and then addresses topics such as appropriate subjects, lighting, portraiture, control processes, and the trimming and mounting of prints. This was a popular title in England, going through at least five editions. Light edgewear and bumping, with a tiny hole through the entire book. $25

 

116. GRIFFITH, Bronwyn A. E. Ambassadors of Progress: American Women Photographers in Paris, 1900-1901, Giverny, France: Musée d’Art Américan Giverny, 2001. Hardcover (silver and blind-stamped paper over boards), 12 ¼ x 9 ½ inches, 200 pages, 218 halftone illustrations (some in color), dustjacket.

This informative book covers the work of thirty women photographers that Francis Benjamin Johnston presented in Paris in 1900-1901. Seen at the International Congress of Photography held during the Universal Exposition, virtually all 200 are reproduced here. Texts by Bronwyn and three other scholars essay Johnston, the show, and its reception. Detailed biographies are provided for all thirty photographers, from the sister team of Frances and Mary Allen to Mabel O. Wright, many of them obscure and addressed nowhere else. An exemplary publication. Mint condition, in shrink wrap. $35

 

117. HAGEMEYER, Johan.

The Archive, June 1982, Tucson: Center for Creative Photography, University of Arizona. Softcover, 11 x 8 ½ inches, 100 pages, 57 halftone illustrations. Virtually the entire issue is given over to Hagemeyer, with essays on Hagemeyer’s life by Richard Lorenz, his intellectual circle by John P. Schaefer, and his 1920 Metagama series by Terence R. Pitts. There are landscapes, architectural abstractions, and portraits of figures such as Edward Weston. Fine condition.

Roger Myers and Judith Leckrone, Johan Hagemeyer Collection, Tucson: Center for Creative Photography, University of Arizona, 1985. Softcover, 11 x 8 ½ inches, 36 pages, 183 halftone illustrations. This is the center’s guide series number eleven, detailing its holdings of Hagemeyer material. It catalogs his correspondence, diaries, library, photographic materials, and photographs. Most of the small reproductions are portraits by Hagemeyer and pictures of him, by the likes of Imogen Cunningham and Edward Weston. Fine condition.

The pair: $30

 

118. HAILE, Richard N. Composition for Photographers: A Course of Instruction in the Art and Science of Composition as Applied to Portrait and Landscape Photography, London: Fountain Press, 1939. Hardcover (cream cloth with paper label), 10 x

7 ½ inches, 80 pages, halftone illustrations. State third impression.

These lessons were first published in the Institute of British Photographers’ Record and initially appeared in book form in 1936. Haile organized his text into five chapters, on tone, line, the frame, principles and application, and “Qualities of a Good Picture.” Accompanying the five plates by the author (including a tipped-in frontispiece) are many small diagrams and reproductions of paintings by Durer, Rembrandt, and other artists. Richard N. Haile (1895-1968) was a fellow of the Royal Photographic Society (FRPS) and served as president of the Institute of British Photographers, 1935-36. Minor rubbing to cover. $25

 

119. HAMMOND, Arthur. Pictorial Composition in Photography, Boston: American Photographic Publishing Co. All four editions.

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.

The set of four: $85

120. HAMPTON INSTITUTE CAMERA CLUB. Paul Laurence Dunbar, Candle-Lightin’ Time, New York: Dodd Mead, 1901. Hardcover (brown, green, white, and gold-stamped green cloth), 8 ¾ x 5 ¾ inches, 128 pages, halftone illustrations.

This is one of six elaborately designed Dunbar books that are photographically illustrated by the Hampton Institute Camera Club. Despite the university being an historic bastion for black and Native American students, the camera club comprised largely white members, led by Leigh Richmond Miner. The straightforward images in the book, invariably figure studies of black adults and children, were explicitly made to counter stereotypes about African-Americans. Light wear and stains to the cover, with the front hinge separated (issued without a dustjacket). $75

 

121. HANNA, Forman G. Forman Hanna: Pictorial Photographer of the Southwest, Tucson: University of Arizona, 1985. Softcover, 11 x 8 ½ inches, 138 pages, 67 halftone illustrations.

The only monograph on Hanna includes an essay on him by Mark Sawyer, the story of one of his pictures in his own words, and fifty-seven full-page plates, dating as late as 1948. They picture largely landscapes, Native Americans, and female nudes. Forman G. Hanna (1881-1950), a pharmacist based in Globe, Arizona, was active in the Pictorial Photographers of America. He was widely revered for his pictures of young nude women in rocky surroundings, exhibiting them in salons for forty years beginning in the 1910s. Fine condition. $25

 

122. HANSCOM, Adelaide. The Rubáiyát of Omar Khayyám, New York: Dodge, 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. $35

 

123. HANSCOM, Adelaide. The Rubáiyát of Omar Khayyám, New York: Dodge, 1916. Hardcover (gold-stamped maroon cloth), 7 x 8 ½ inches, unpaginated, 8 color halftone illustrations.

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. $45

 

124. HARTMANN, Sadakichi. The Valiant Knights of Daguerre: Selected Critical Essays on Photography and Profiles of Photographic Pioneers, Berkeley: University of California Press, 1978. Hardcover (black and blind-stamped gray cloth), 11 x 9 ¼ inches, 364 pages, halftone illustrations, dustjacket.

Edited by Harry W. Lawton and George Knox, this substantial volume reprints forty-six of Hartmann’s writings on photography dating from 1898 to 1913. Among the topics addressed are composition, night photography, the Photo-Secession, and the influence of artistic photography on interior decoration. He profiles pictorialists such as Zaida Ben-Yusuf, Alvin Langdon Coburn, F. Holland Day, and Edward Steichen. Sadakichi Hartmann (1867-1944), of Japanese and German heritage (note his name), was one of the few art critics at the turn of the twentieth century who dealt with photography. Near fine condition, with remainder mark and price-clipped dustjacket. $45

 

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

The catalog for an exhibition of pastels and photographs by Hartmann and portraits of him by artists and photographers such as Edward Steichen and Gertrude Käsebier. Includes text by Harry Lawton, George Knox, and Vance Thompson. Fine condition. $25

 

126. HAVILAND, Paul B. Françoise Heilbrun and Quentin Bajac, Paul Burtry Haviland (1880-1950), Photographe, Paris: Musée d’Orsay, 1996. Softcover, 8 ¾ x

6 ¼ inches, 96 pages, 54 halftone illustrations (some in color).

This, the only monograph on Haviland, addresses his life and work as a pictorialist. Most of the images are figure studies and nudes, many printed in a vibrant blue, as the originals were cyanotypes. Also included is his most well-known picture, Passing Steamer, a modernist image that Alfred Stieglitz included in a 1912 issue of Camera Work. Paul B. Haviland (1880-1950) was a wealthy Frenchman whose family owned Haviland China. He befriended Alfred Stieglitz, funded the Little Galleries of the Photo-Secession, and help found the avant-garde journal 291. Text in French. Fine condition. $35

 

127. HAZ, Nicholas. Emphasis in Pictures: A First Aid to Composition, Canton, Ohio: Fomo Publishing, 1937. Hardcover (gold-stamped blue and blue-stamped maroon cloth), 10 ¼ x 7 ¼ inches, 72 pages, halftone illustrations.

Ház’s recommendations for recognizing, creating, and adding punch (“emphasis”) to pictorial photographs. Includes many drawings and diagrams for analyzing composition. Among the reproductions is a self-portrait by Edward Steichen and Winslow Homer’s painting The Gulfstream. Hungarian-born Nicholas Ház (1883-1953) was widely known as a photographic instructor during the 1930s and 1940s, writing books and articles on composition, his specialty. His own photographs were usually theatrical figure studies made in the studio. Light wear and rubbing to cover. $35

 

128. HAZ, Nicholas. Image Management (Composition for Photographers), Cincinnati: Nicholas Ház Books, 1946. Softcover (plastic spiral binding), 10 x 7 inches, 140 pages, 31 line-drawing illustrations. Signed.

Ház was so keen on emphasizing art and composition in this book that he did not include a single photographic reproduction, opting instead for diagrams and hand-rendered images. Among his many short lessons are those on shape, line, tone, color, edge, surface, texture, depth, motion, balance, unity, clarity, rhythm, and harmony. This copy inscribed by Ház to a fellow teacher. Light wear to covers. $35

 

129. HAZ, Nicholas. Image Arrangement, Pittsburgh: Ház Book Co., 1956. Hardcover (gold-stamped green cloth), 8 ¾ x 5 ¾ inches, 106 pages, 6 halftone illustrations.

This posthumous book was compiled by Ház’s widow, Louise, herself a member of both the Photographic Society of America and the Royal Photographic Society. Among the elements of photographs discussed are dominance, clarity, mystery, unity, rhythm, and proportion. Once again, drawings and diagrams dominate, but Edward Steichen’s striking photographic portrait of banker J. P. Morgan is included. Covers soiled and light struck. $25

 

130. HOLME, Charles. Art in Photography with Selected Example of European and American Work, London: The Studio, 1905. Hardcover (white stamped gray cloth), 12 x 8 ¾ inches, unpaginated, 16 screen-gravure and 96 halftone illustrations.

This substantial 1 ½-inch thick volume is a key publication on pictorial photography from around 1900. It features thick, letterpress-printed pages, highly-designed captions, and ample open space around the reproductions, some of which are tipped in. It presents essays on artistic photography in six countries, followed by appropriate plates. Quantitatively, Great Britain dominates, with work by J. Craig Annan, Frederick H. Evans, Alexander Keighley, and others. The American section is almost exclusively made up of work by Photo-Secession members. The standouts from Germany are Rudolf Dürkoop and Hugo Erfurth. The Italian section includes Guido Rey and the Belgian section features Léonard Misonne. Englishman Charles Holme (1848-1923) was the founding editor, in 1893, of the international magazine The Studio, which was innovative for covering the industrial arts along with fine art. Light edgewear. $250

 

131. HUNTER, Cecilia Bull, and Caroline Ogden. Burges Johnson, Childhood, New York: Thomas Y. Crowell, 1912. Hardcover (gold-stamped brown cloth with mounted screen-gravure), 11 ¾ x 9 ¾ inches, 82 pages, 20 screen-gravure illustrations.

A well-designed, deluxe publication, with thick deckle-edged pages and poems that address activities such as “first steps” and emotions like trust. The gravures, which are tipped in, picture well-heeled children with toys, books, and their mothers. The soft-focus effects and gentle illumination are similar to those used by Clarence H. White. Presumably Ogden, a resident of Milwaukee, and Hunter collaborated on these pictures, but very little is known about them. Individual pictures by each are owned by the Art Institute of Chicago and the George Eastman House. This is a relatively rare book, copies of which are in less than two dozen American libraries. Edgewear, light soiling, and gouges to cover. $300

 

132. IMAGINATION to IMAGE: A Portfolio of 5 Pictorialist Prints. Chicago: Museum of Science and Industry, 1999. Folder (paper with four flaps), 13 x 10 ¼ inches, 7 sheets, 5 halftone illustrations, bellyband.

This nicely-designed item was produced in conjunction with an exhibition at the Museum of Science and Industry to celebrate the rediscovery of its holdings of pictorial photographs. The museum was given hundreds of such pictures in the 1930s by Max Thorek, the Chicago Camera Club, and after a major salon at the Century of Progress World’s Fair. They languished in storage for decades however, as they did not meet the mission of an institution devoted to technology rather than art. This portfolio includes an introduction by visiting curator Shashi Caudill and a checklist of the seventy pieces in the show. Most importantly, however, it features five high-quality reproductions on heavy stock, of images by Adolf Fassbender (a winter night scene), Léonard Misonne (nighttime rural road with figures), D. J. Ruzicka (New York’s Chrysler Tower), Max Thorek (female nude in profile), and George Wright (bridge interior with shadows). A few years later the museum divested itself of all its pictorial holdings, making this perhaps the only record of one of the more important collections of late pictorialism formed while the work was current. Even though recently published, this piece is scare due to the small print run. Mint condition, in shrink wrap. $100

 

133. JACOBS, Michel. The Art of Composition: A Simple Application of Dynamic Symmetry, Garden City, New York: Doubleday, Doran and Co., 1930. Hardcover (gold-stamped brown cloth), 11 x 8 inches, 142 pages, halftone illustrations.

This is one of the many books written on composition, geared to both artists and pictorial photographers. It is heavy on diagrams and drawings that both dissect pictures and promote particular designs. Among the few photographic reproductions are eight by Frank R. Fraprie, of landscapes and figures. Marks and minor edgewear to covers. $25

 

134. JIN, Shisheng. Jin Shisheng: Photos 1930-1998, Shanghai, China, 1999. Hardcover (gold and blind-stamped brown cloth), 9 ¾ x 10 ½ inches, 120 pages, 112 halftone illustrations (some in color), dustjacket. Signed by photographer’s son.

Jin (1910-2000) was a prominent Shanghai pictorialist during the 1930s and forties. While he made his living as an urban planner, he spent his free time making softly focused landscapes and still lifes and running Flying Eagle, a Chinese magazine of pictorial photography. This book, published the year before Jin died, features his black-and-white work from as late as 1958 and color pictures from as early as 1935. Little is available in the West on Chinese pictorialism. Text in Chinese and English. This copy is signed by Hua Jin, the photographer’s son and book’s editor. Light rubbing and wrinkles to the dustjacket. $35

 

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

This handsome little book is the only one on Johnston, a leading English pictorialist who worked both before and after World War I. Fellow photographer Bertram Cox wrote an appreciation of the pictures, dating from 1905 to 1940 and printed in exquisite gravure. Johnston’s landscapes, cityscapes, and figure studies are all classic, soft-focus examples of pictorialism; most noteworthy are his “impressions” of such cities as Liverpool, his birthplace. J. Dudley Johnston (1868 -1955) served the Royal Photographic Society in many positions, most importantly as its curator for thirty years, helping to create its extraordinary permanent collection. Near fine condition, in a dustjacket with light edgewear. $45

 

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

Catalog for a retrospective exhibition that traveled to the Brooklyn Museum after premiering in Wilmington. Homer, a University of Delaware art history professor, provides the main essay, which addresses Käsebier’s life and work as both a professional and pictorial photographer. His students contribute short pieces on her childhood, equipment, printing methods, and her portraits of Native Americans. Gertrude Käsebier (1852-1934) was the top woman photographer around the turn of the twentieth century, as both a professional and pictorialist. She was a leading member of Stieglitz’s Photo-Secession and was the featured photographer in the first issue of Camera Work in 1903. The most frequent subjects in her artistic pictures were women and children. Fine condition. $25

 

137. KASEBIER, Gertrude. Barbara L. Michaels, Gertrude Käsebier: The Photographer and Her Photographs, New York: Harry N. Abrams, 1992. Hardcover (gold-stamped brown cloth), 11 ¾ x 9 ¼ inches, 192 pages, 120 duotone illustrations, dustjacket.

The most comprehensive publication on this influential figure. Michaels provides in-depth biographical information and a broad critical study of Käsebier’s artistic and portrait work. Among the famous who sat for her were Mark Twain, August Rodin, and Evelyn Nesbit. Although she was primarily known for her mother-and-daughter images, the reproductions include figure studies and studio portraits of Native Americans. Mint condition, in shrink wrap. $50

 

138. KASEBIER, Gertrude. Family: Photographs by Gertrude Käsebier, Winchester, Massachusetts: Lee Gallery, and Paul M. Hertzmann, San Francisco, 2007. Softcover, 11 x 8 ½ inches, 24 pages, 22 halftone illustrations.

This is a nicely produced dealers’ sales catalog for a newly discovered group of photographs of women and children, Käsebier’s most successful subject. Most of them are little-known and possibly unique, but two of her well-known ones also are offered: The Picture Book and Happy Days, both platinum prints from 1903. Pricelist laid in. Fine condition. $25

 

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

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

 

140. KOPPITZ, Rudolf. Jo-Ann Conklin and Monika Faber, Rudolf Koppitz, 1884-1936, Vienna: Verlag Christian Brandstätter, 1995. Softcover, 11 ¼ x 9 ¼ inches, 128 pages, halftone illustrations. Signed.

This handsome monograph was produced in conjunction with an exhibition at the University of Iowa Museum of Art, also seen in Europe. Conklin, Faber, and Peter Weiermair provide essays that cover Koppitz’s time as an apprentice, traveler, pilot, exhibitor, and teacher. Also addressed are his major bodies of work: outdoor male nudes, dance pictures, and ethnographic photographs. His signature piece, Bewegungsstudie (“Movement Study”) features a nude female figure backed by a frieze-like group of black-robed women, reproduced on the cover. Rudolf Koppitz (1884-1936) was the most important photographer in Austria between the World Wars, producing work that was an amalgamation of modernism and pictorialism. This copy signed by Conklin, Faber, and Koppitz’s daughter, Liselotte Tavs-Koppitz. Fine condition. $85

 

141. KORTH, Fred G. The Chicago Book: Photographs by Korth, Chicago: Fred G. Korth, 1949. Softcover, 8 ¼ x 6 ¾ inches, 66 pages, screen-gravure illustrations.

Korth explains that he was inspired to make the pictures in this book after he moved to Chicago in 1926 and found no photographs that “reflected the many-faceted spirit of this teeming metropolis.” Well-reproduced by the quality printer R. R. Donnelley, they survey the city’s architecture, waterfront, industry, entertainment, and other topics. By profession, Fred G. Korth (1902-1982) was a successful industrial and advertising photographer, making the kind of dramatically framed and lit pictures as seen here. However, he moonlighted as a pictorialist, sending his work to pictorial salons and magazines during the 1930s and 1940s. Previous owner’s stamp, edgewear to cover. $25

 

142. KUEHN, Heinrich. Camera, June 1977. Softcover, 11 ½ x 9 inches, 48 pages, 24 halftone illustrations (some in color).

This entire issue is devoted to Kuehn (or Kühn). The text comprises a posthumous letter to the photographer by editor Allan Porter, an overview by Hermann Speer, letters to Kuehn from Alfred Stieglitz, and an essay by the photographer titled “How to be Sure of Making Good Pictures.” The images represent his work in landscapes, still lifes, and figure studies, beginning with vibrant full-color Autochrome plates. Heinrich Kuehn (1866-1944) was the most productive and well-known Austrian pictorialist active around the turn of the twentieth century. He worked in the rich processes of platinum, pigment, and gum-bichromate, and wrote about both the theoretical and technical sides of photography. Sixteen of his photogravures appeared in Camera Work in 1906 and 1911. Light rubbing to covers. $25

 

143. KUEHN, Heinrich. An Exhibition of One Hundred Photographs by Heinrich Kühn, Munich, Germany: Stefan Lennert, 1981. Softcover, 10 ¼ x 7 ½ inches, 74 pages, 64 halftone illustrations (one in color).

This is the catalog for a show that was seen at six commercial galleries, the only American one being the Lunn Gallery in Washington, D.C. It includes essays on Kühn’s life, his art, and his relationship with Alfred Stieglitz. He frequently used his own children as subjects, as evidenced in a number of the plates here. Bilingual text in German and English. Near fine condition, with one small spot on cover. $35

 

144. KUNSTFOTOGRAFIE Rond 1900. Brussels, Belgium: Gemeentekrediet, 1983. Softcover, 11 ¾ x 8 ¼ inches, 288 pages, halftone illustrations.

This is an extensive study of international pictorial photography. Professor Margaret Harker analyzes aesthetic traits such as naturalistic photography, impressionism, symbolism, Japonisme, Art Nouveau, and the avant-garde, while conservator Roger Coenen explains technique. Following is a heavily-illustrated section with biographies of thirty-seven pictorialists from Austria, Belgium, England, France, Germany, and the United States. In addition to the usual suspects are little-known figures, whose presence is a strength of the book: Archibald Cochrane, Edouard Hannon, René Le Begue, Gustave Marissiaux, Heinrich Wilhelm Muller, Bernhard Troch, and Marcel Vanderkindere. Text in Dutch. Tiny wear to tips and edges. $45

La Photographie d’Art vers 1900. This is the French language edition of the above. Near fine condition, in shrink wrap. $50

 

145. KUNSTFOTOGRAFIE in NEDERLAND Rond 1900. Antwerp, Netherlands: Provinciaal Museum Sterckshof, 1982. Softcover, 8 ½ x 7 ¾ inches, 20 pages, 7 halftone illustrations.

Catalog for a show of work by thirty-five Dutch pictorialists, the most prominent being Henri Berssenbrugge, whose close-up image of a woman’s face graces the cover. The others with reproductions are Adriaan Boer, Ignatius Bispinck, Bernard F. A. Eilers, Johan F. J. Huijsser, Charles E. Mogle, and Berend Zweers; they picture landscapes, figure studies, and urban and rural scenes. Covers material little-known in the United States. Text in Dutch. Near fine condition. $25

 

146. KUNSTPHOTOGRAPHIE um 1900 Die Sammlung Ernst Juhl. Hamburg, Germany: Museum für Kunst und Gewerb, 1989. Softcover, 12 ½ x

9 ½ inches, 310 pages, halftone illustrations.

This massive catalog documents the 933 pictorial photographs collected by German art critic Ernst Juhl (1850-1915), now one of Europe’s most important holdings on the subject. It includes many small reproductions plus about 100 full-page plates, printed in the original tones of black, brown, green, blue, and orange. Six essays examine various aspects of the collection and the international movement of pictorial photography. Among those with numerous illustrations are Rudolph Dührkoop, Hugo Erfurth, Heinrich Kühn, and the Hofmesiter brothers. Includes a chronology of exhibitions of creative photographs in Hamburg (1893-1911) along with an index to the photographers who showed. This is a significant publication. Text in German. Bottom of spine bumped. $125

 

147. LEE, Wellington. Artistic Photography, New York: Wellington Lee, 1968. Hardcover (red and gold-stamped purple cloth), 11 ¼ x 8 ¾ inches, 170 pages, 147 halftone illustrations (some in color). Signed.

This is the first and most entertaining book that Lee self-published of his own work. It includes bilingual text (in English and Chinese) on his importance and working methods, plus reproductions of hundreds of medals and trophies he won. The photographic illustrations feature primarily urban scenes, figure studies, and high-contrast pictures. Most striking, however, are his nudes, which he places in fabricated studio settings of over-sized objects and fantasy-laden backdrops. Wellington Lee (1918-2001) operated a portrait studio in New York’s Chinatown during the 1950s to 1970s. As a pictorialist he was the world’s all-time most exhibited photographer, beginning in the 1940s and continuing for decades longer than his compatriots. This copy signed by Lee. Near fine condition. $50

 

148. LEE, Wellington.

Photography, New York: Wellington Lee, 1989. Softcover, 8 ½ x 5 ¾ inches, 50 pages, 44 halftone illustrations. A small but dense handbook on creative photography that begins with tributes by four other photographers, including Chin-San Long of China. Lee describes his methods of photographing figures, children, flowers, mist, and at night. He also covers various control methods, like high-contrast, distortions, texture screen, bas-relief, and his unique Addacolor technique, which turned black-and-white negatives into posterized color images.

Wellington Lee, New York: Wellington Lee, 1998. Softcover, 11 x 8 ½ inches, 8 pages,

4 halftone illustrations. This pamphlet was produced on the occasion of Lee’s eightieth birthday and in celebration of his sixty years as a photographer. It includes biographical, exhibition, and collection information on him. Indicative of his influence, the cover lists over seventy-five of his honors, beginning with his honorary fellowships in the Photographic Society of America (Hon. FPSA) and Royal Photographic Society (Hon. FRPS).

Both fine condition. The set of two: $25

 

149. LINKED RING BROTHERHOOD. Margaret Harker, The Linked Ring: The Secession Movement in Photography in Britain, 1892-1910, London: Heinemann, and Royal Photographic Society, 1979. Hardcover (brown-stamped brown cloth), 11 ¾ x 8 ¾ inches, 196 pages, halftone illustrations (some in color), dustjacket.

This is the authoritative book on the Linked Ring, the most advanced organization of pictorialists in England, similar to Stieglitz’s Photo-Secession in the United States. It was formed in 1892 when George Davison, A. Horsley Hinton, Henry Peach Robinson and others seceded from the conservative Royal Photographic Society, and remained active until 1910. Harker covers the group’s background, establishment, and influence. In addition to the many reproductions is in-depth biographical information on the major members. An essential reference book. Near fine condition, with one tear to dustjacket. $95

 

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

The first examination of the topic, covering all aspects of the movement in California: camera clubs, salon exhibitions, and periodicals. Wisely, it covers two generations of pictorialists, working both before and after World War I, all given separate biographies. Among them are Anne W. Brigman, William E. Dassonville, Arthur F. Kales, William Mortensen, Edward Weston, and nine others. Groundbreaking catalog for a traveling exhibition. Fine condition. $25

 

151. MASTERWORKS OF PHOTOGRAPHY LIBRARY. St. Paul: American Photographic Publishing, 1950. Softcovers (spiral binding), 9 ¾ x 7 ½ inches, 82 pages each. All three volumes.

Volume One: Masterpieces from the “American Annual of Photography:” 1940-1950. Seventy-two halftone illustrations. Introduction by J. C. Bridges and commentary on the plates by Frank R. Fraprie. Cover image by Fraprie and other reproductions by the likes of Axel Bahnsen, A. Aubrey Bodine, Eleanor Parke Custis, Chin-San Long, Léonard Misonne, F. J. Mortimer, P. H. Oelman, and José Ortiz-Echagüe.

Volume Two: Pictorial Figure Photography. Fifty-eight halftone illustrations. After J. C. Bridges’ introduction, there are short essays that attempt to justify photography of the nude. Topics covered are the history and psychological basis of the subject, instructions on posing and lighting, and a short bibliography. A small section of male nudes are reproduced, but most of the images picture female subjects, by Robert Demachy, Buck Hoy, Harold F. Kells, P. H. Oelman, Max Thorek, and others. The cover features a standing woman with a jug, seen from the rear, by Minneapolis pictorialist Thomas Limborg.

Volume Three: Masterpieces from “American Photography.” Seventy-two halftone illustrations. These images were culled from the pages of the monthly magazine American Photography and are organized by the following subjects: children, water and boats, architecture, people, landscape, and still life. Frank R. Fraprie, coincidentally the editor of the magazine, gets the cover again; among the other contributors are Edward C. Crossett, Adolf Fassbender, Arthur Hammond, Alexander Keighley, F. F. Lockwood, and J. M. Whitehead.

This is a nice little series that well represents the look of pictorial photography during the 1940s. Light edgewear, rubbing, and foxing. The complete set of three: $100

 

152. MIDGLEY, J. George. J. George Midgley: Utah Photographer, Salt Lake City: Utah Museum of Fine Arts, University of Utah, 1991. Softcover, 6 x 8 ½ inches, 20 pages, 20 halftone illustrations.

This small exhibition catalog features Midgley’s pictorial work from the 1920s to sixties. Joseph Marotta provides a brief biographical sketch of the photographer, addresses his interest in landscapes, churches, and poplar trees, and explains the bromoil process that the photographer used. J. George Midgley (1882-1979) was a dedicated amateur who initially made accessible soft-focus images and then moved towards more modern, abstract imagery. He began exhibiting in pictorial salons around 1914 and continued into at least the 1930s. Fine condition. $10

153. MISONNE, Léonard. Léonard Misonne, Vienna: Die Galerie, 1934. Hardcover (gray cloth and paper over boards), 12 ½ x 11 ¾ inches, unpaginated, 24 halftone illustrations. Signed.

This deluxe, oversize book remains the most lavish on Misonne. His short statement is a printed facsimile of his handwriting, but includes his actual signature (in the entire edition). He emphasizes the “beautiful effects of atmosphere and light,” which indeed are key to his photographs. The plates, with tissue guards, show primarily figures in villages and landscapes that glow with rear illumination. Matching volumes were also produced on Alexander Keighley and Rudolf Koppitz. Léonard Misonne (1870-1943) was Belgium’s most famous pictorialist and one of the world’s most admired, from the 1920s until his death during World War II. He excelled at contre-jour effects and to many was simply the photographer of light and atmosphere. Signed and dated 1934 by Misonne. In unusually clean condition, with only light rubbing and spots to cover. $350

 

154. MISONNE, Léonard. Marian Schwabik and Maurice Misonne, Léonard Misonne, Ein Fotograf aus Belgien, 1870-1943, Seebruck am Chiemsee, Germany: Heering-Verlag, 1976. Hardcover (black and brown-stamped tan cloth), 10 ¼ x

12 ½ inches, unpaginated, 50 halftone illustrations.

Another large-scale tribute to Misonne’s soft-focus, accessible images of both urban and rural scenes bathed in glowing light. The collaborative text draws on a family member’s insights into Misonne’s life and work. The oversize plates are so romantic that they are paired with bits of verse from various writers, most of them contemporaries of the photographer. Text in German. Near fine condition, with fold to front free endpaper. $125

 

155. MISONNE, Léonard. Léonard Misonne: En Passant, Charleroi, Belgium: Musée de la Photographie à Charleroi, 2004. Softcover, 8 ¼ x 11 inches, 162 pages, 140 halftone illustrations.

This heavily illustrated publication features two in-depth essays: “Léonard Misonne in the Light of Pictorialism” by Marc-Emmanuel Mélon and “The Aesthetics of Léonard Misonne” by René Debanterlé. They, a chronology, and glossary of technical terms appear in both French and English. Near fine condition. $50

 

156. MORTENSEN, William.

Projection Control, San Francisco: Camera Craft, 1934. Hardcover (red-stamped brown cloth), 9 ¾ x 7 inches, 96 pages, 51 halftone illustrations, dustjacket. Stated second edition, fourth printing (January 1938). This is Mortensen’s first book, expanded from an article in Camera Craft and a pamphlet on the topic. The front of the book declares it a “treatise on advance methods of project printing which give increased scope to the creative faculty of the photographic artist.” Among its chapters are those on equipment, negatives, distortion, printing, and texture. Endpapers browned, in chipped, torn, and tape-repaired dustjacket.

The New Projection Control, San Francisco: Camera Craft, 1942. Hardcover (brown-stamped brown cloth), 9 ¾ x 6 ¾ inches, 124 pages, 88 halftone illustrations, dustjacket. According to the flap, “this new, expanded and completely revised edition of a time-tested and extremely popular book provides a thorough course of instruction in every detail of these vastly useful techniques. In many ways this volume is more practical and more useful than the first edition, for it places greater emphasis and gives more detailed consideration to the more common everyday applications of Projection Control.” Dustjacket rubbed and torn.

Set of two: $25

157. MORTENSEN, William. Monsters and Madonnas, San Francisco: Camera Craft, 1936. Softcover (internal metal ring binding), 12 x 9 ½ inches, unpaginated, 20 screen-gravure and 10 halftone illustrations. Stated second edition, second printing (February 1943), in shipping box.

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

 

158. MORTENSEN, William. Monsters and Madonnas, Hollywood: Jacques de Langre, 1967. Hardcover (brown-stamped green cloth), 13 ¾ x 10 ¾ inches, unpaginated, 26 halftone illustrations (some in color), dustjacket.

This edition, published posthumously with the blessing of Mortensen’s widow, is significantly different from the original. The publisher edited and reduced the text and added notes by another writer. Only nine of the original illustrations appear, supplemented by some later work, a section of color Metalchromes, and even a picture by another photographer—Midori Shimoda—whose name is misspelled. This is one of the most curious Mortensen items. De Lange announced his intentions to reissue many of Mortensen’s titles, but published only one other. Fine condition. $150

 

159. MORTENSEN, William.

         The Model: A Book on the Problems of Posing, San Francisco: Camera Craft, 1937. Hardcover (gray-stamped black cloth), 8 ¾ x 6 ¼ inches, 264 pages, 195 halftone illustrations. Stated first edition, fourth printing (September 1943), dustjacket. A detailed and widely read book that examines various types of models, how to pose and dress them, and such body parts as the head, arms, hands, torso, legs, and feet. Near fine condition.

The Model: A Book on the Problems of Posing, San Francisco: Camera Craft, 1948. Hardcover (black-stamped green cloth), 9 ¾ x 6 ¾ inches, 262 pages, 195 halftone illustrations, dustjacket. Stated second edition, first printing (March 1948). This edition is virtually unchanged from the first except for larger dimensions and a different dustjacket design. Light edgewear to cloth in dustjacket that is worn and missing a few pieces.

How to Pose the Model, San Francisco: Camera Craft, 1956. Hardcover (silver-stamped paper over boards), 9 ¾ x 6 ¾ inches, 160 pages, 159 halftone illustrations, dustjacket. Stated third edition. Though titled differently, this is the last edition of the above. Mortensen’s coauthor George Dunham gets credit here on the newly designed dustjacket. This edition is shorter than the first two, with the second half of the book almost entirely new; this material places more emphasis and gives greater details on posing the model. Dustjacket worn and missing a few pieces.

Complete set of three: $50

160. MORTENSEN, William.

         Pictorial Lighting, San Francisco: Camera Craft, 1937. Hardcover (black-stamped yellow cloth), 9 ¾ x 6 ¾ inches, 116 pages, 41 halftone illustrations, dustjacket. Stated first edition, sixth printing (January 1940). Mortensen’s tract on an array of lighting methods available to pictorialists: basic, contour, semi-silhouette, dynamic, plastic, outdoor, high and low key, and others. Near fine condition in dustjacket that is worn and missing a few pieces.

Pictorial Lighting, San Francisco: Camera Craft, 1947. Hardcover (black-stamped yellow cloth), 9 ¾ x 6 ¾ inches, 222 pages, 161 halftone illustrations, dustjacket. Stated second edition, second printing (June 1948). This is an expanded edition of the above, with extra text, chapters, and reproductions. Sticker mark on free endpaper, racked spine, in a worn and torn dustjacket.

Set of two: $25

161. MORTENSEN, William.

Print Finishing, San Francisco: Camera Craft, 1938. Hardcover (black-stamped orange cloth), 9 ¾ x 7 inches, 128 pages, 89 halftone illustrations, dustjacket. In this book, according to the front flap, “William Mortensen, master finisher of pictorial prints, tells you all about his methods.” They include the abrasion tone process, papers, drying, flattening, trimming, cropping, mountings, signatures, titles, and framing. Dustjacket torn, chipped, and stained.

Flash in Modern Photography, San Francisco: Camera Craft, 1947. Hardcover (silver-stamped red cloth), 9 ¾ x 6 ¾ inches, 224 pages, 153 halftone illustrations, dustjacket. Stated second edition (October 1947). Every phase of flash photography is covered, with particular emphasis on personal record photography, portraiture and figure work, landscape and architecture photography, synchro-sunlight photography, and a new special section on electronic flash. With supplementary notes on professional flash by Don M. Paul. Near fine condition, in dustjacket that is worn and missing a few pieces.

Set of two: $25

 

162. MORTENSEN, William.

Outdoor Portraiture: Problems of Face and Figure, San Francisco: Camera Craft, 1940. Hardcover (brown-stamped tan cloth), 9 ¾ x 7 inches, 144 pages, 113 halftone illustrations, dustjacket. Stated first edition. Mortensen’s thorough assessment of the subject, addressing equipment, handling the camera, general problems, lighting, backgrounds, and arrangement. Dustjacket missing some pieces.

Outdoor Portraiture, San Francisco: Camera Craft, 1951. Hardcover (brown-stamped brown paper over boards), 9 ¾ x 6 ¾ inches, 208 pages, 202 halftone illustrations, dustjacket. Stated second edition. Enlarged and expanded version of the above, with added text, reproductions, and two new chapters: “Conventional Portraiture” and “In the Field.” Light rubbing to cover, in dustjacket that is worn and torn.

Set of two: $25

 

163. MORTENSEN, William. Mortensen on the Negative, New York: Simon and Schuster, 1947. Hardcover (gold-stamped black cloth), 9 ¾ x 7 ¼ inches, 284 pages, 171 halftone illustrations. Stated fourth printing.

Mortensen’s longest and most exhaustive book, in which he covers equipment, materials, optics, sensitometry, lighting, exposure, and development. He dramatically devotes the book to “the real photographers of the world—to those who, with their second-hand equipment and their makeshift darkrooms, are today fighting their solitary battles with their recalcitrant medium, not for money or for glory, but because they would rather make pictures than anything else in the world.” Endpapers browned (as normal) in worn dustjacket. $25

 

164. MORTENSEN, William. The Command to Look: A Formula for Picture Success, San Francisco: Camera Craft, 1948. Softcover (plastic ring binding), 6 x 4 ¾ inches, 190 pages, 55 halftone illustrations. Stated first edition, sixth printing (April 1948).

First published in 1937, this was one of Mortensen’s most important and popular books, witness its many printings. In it he writes about his personal history, the “pictorial imperative,” and impact, sex, sentiment, and wonder in pictures. Despite the color cover image of a baby worthy of an ad for Gerber Baby Food, much of this little book comprises fifty-five of his salon prints with his commentary and analysis. Covers lightly worn. $150

 

165. MORTENSEN, William.

The Mortensen Collection of the Photographic Society of America, Philadelphia: Photographic Society of America, 1970. Softcover, 11 x 8 ¼ inches, 16 pages, 15 halftone illustrations. Contains a biographical sketch by Mortensen’s widow, Myrdith, and an overview of the society’s holdings of 36 prints. The quality reproductions are of work from 1932 to 1948, with annotations on their compositions. Figure studies all, they include such famous images as Human Relations, Torso, and Thunder. Near fine condition.

The Photographic Magic of William Mortensen. Los Angeles Center for Photographic Studies, 1979. Softcover, 11 x 8 ½ inches, 12 pages, 9 halftone illustrations (some in color). This handsome oversize booklet accompanied the traveling show that rediscovered Mortensen. It includes an introduction by curator Deborah Irmas, checklist, bibliography, and chronology. Among the reproductions are a self-portrait of the photographer as magician and such challenging nude images as Torso (with full frontal nudity, on the cover), L’Amour (depicting a gorilla hunched over a woman), and The Glory of War (showing a dead woman clutching an oversize crucifix). Near fine condition.

Set of two: $30

 

166. NATURALISTIC PHOTOGRAPHY. Naturalistic Photography, 1880-1920, Winchester, Massachusetts: Lee Gallery, 1998. Softcover, 11 x 8 ½ inches, 32 pages, 72 halftone illustrations.

This dealer’s catalog helped revive interest in American naturalistic photography. While Peter Henry Emerson, the English progenitor of the movement, appears, most of the photographers represented are American. Prominent among them are Frances and Mary Allen, John G. Bullock, Rudolf Eickemeyer, Jr., Edwin Hale Lincoln, William B. Post, and Doris Ulmann. Features a succinct introductory essay and short biographies on twenty-six photographers plus the Lynn Camera Club and the Postal Photographic Club. Fine condition. $25

 

167. NATURALISTIC PHOTOGRAPHY. Christian A. Peterson, Peter Henry Emerson and American Naturalistic Photography, Minneapolis Institute of Arts, 2008. Hardcover (gold-stamped green cloth), 8 ¾ x 10 ½ inches, 96 pages, 51 halftone illustrations, dustjacket. Signed, with ephemera.

While much has been written on P. H. Emerson and English naturalistic photography, this is the major study of the movement that he spawned in the United States. Like Emerson, American naturalists working from the 1890s to about 1930 emphasized the beauty of Mother Nature and humankind’s harmony with her. They photographed the land in all its forms and seasons as well as the devoted individuals who farmed and nurtured it, often using Emerson’s technique of differential focusing, wherein everything but the key subject is rendered in soft focus. Includes illustrations and biographies on such little-known figures as Theodore Eitel and J. H. Field. An important and attractive book. Edition of 1,750. Laid in are three pieces of related ephemera: press release, invitation to exhibition opening, and full-page newspaper review (on original newsprint). This copy signed by Peterson. Fine condition. $45

 

168. NEW PICTORIALIST Society. 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, bromoil printing, and using the Graflex camera, along with reprints of essays by Alfred Stieglitz and others. Among those whose work is reproduced is Adolf Fassbender and José Ortiz-Echagüe. Exemplifies how enduring the movement was. Fine condition. $50

 

169. NEW PICTORIALIST Society. The New Pictorialist.

Eleven issues of the society’s quarterly bulletin. Each measures 10 x 7 inches and has about ten pages. They date from October 1971 (vol. 3, no. 4) to Winter 1989 (vol. 12, no. 4). The largest is the tenth anniversary issue of Winter 1979, titled “1979 Pictorial Print Portfolio.” Its thirty-three halftone illustrations include work by William Innes Homer (the author of many books on Stieglitz and the Photo-Secession), Clarence Koch, Edward H. Romney, and Karl F. Struss. In addition to text on technique, there are reprints of articles by Adolf Fassbender and Alfred Stieglitz. Most in fine condition.

Set of eleven: $35

 

170. NEW PICTORIALIST Society. Aviso.

Sixteen issues of the Society’s newsletter. Measuring 11 x 8 ½ inches, most comprise about ten pages with an illustrated cover, stapled together. April 1974 (vol. 1, no. 2) includes an article by Robert Desmé on how to make a plastic soft-focus lens and a reprint of Frank R. Fraprie’s 1932 essay “Pictorialism Through the Years.” The other issues date from May 1986 to Winter 1989. Among the topics covered are albumen, carbo, gum-bichromate, and Cibachrome printing, lighting, equipment, and book reviews. Wishing to revive interest in pictorial photography, the society noted on the cover of each issue: “At the turn of the century, Pictorialism was the most beloved of all forms of photography, later it became the most maligned, and today it is all but forgotten.” Most in fine condition.

Set of sixteen: $35

 

171. NEW ZEALAND PICTORIALISTS. Newtown, Wellington: New Zealand Centre for Photography, 1991. Softcover, 11 ¾ x 8 ¼ inches, 12 pages, 6 halftone illustrations.

This is the catalog for a traveling exhibition on the subject, apparently the first of its kind. Features an essay on the movement, as seen through photographs, periodicals, clubs, and exhibitions. The checklist includes work from 1905 to as late as the 1960s, with biographies of thirty photographers, from Matheson Beaumont to Rhona Wheelhouse, none of them known in the United States. The chronology of 1892-1967 is equally encompassing. Near fine condition. $15

 

172. ORTZ-ECHAGUE, José. “Flashing Fashions of Old Spain,” National Geographic Magazine, March 1936 (vol. 69), 26 pages. , 26 duotone illustrations.

The entire issue, which contains a special section of 26 reproductions by Ortiz-Echagüe (listed separately in the cover’s table of contents), contained within W. Langdon Kihn’s article “A Palette from Spain.” While the title of the portfolio makes the subject sound like contemporary fashion, the photographer’s focus, in fact, was on traditional dress that was disappearing. Among those who he photographed were brides, grooms, and mayors in fancy dress, and cowboys, farmers, and fishermen in plain garb. Light wear to spine. $25

 

173. ORTZ-ECHAGUE, José. Spanische Köpfe, Berlin: Verlag Ernest Wasmuth, 1929. Hardcover (gold-stamped red cloth and paper over boards), 11 ¾ x 8 ½ inches, 112 pages, 80 screen-gravure illustrations.

This is the first edition of what one year later became España: Tipos y Trajes, the first of an important set of four books by Ortiz-Echagüe on Spain. Inexplicably published in Germany (unlike any of the others), it depicts village people in their traditional clothing. The quality gravures show men and women dancing, playing instruments, worshipping, and interacting in other ways. The photographer provided notes for most images and others wrote about the three areas from which the subjects hailed: Andalusia, Aragon, and Castile. 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. Text in German, with captions in four languages (including English). Previous owner’s blindstamp in the margin of some plates and his decorative design on front pastedown. Lacking the very rare dustjacket. $125

 

174. ORTZ-ECHAGUE, José. España: Tipos y Trajes, Madrid: Publicaciones Ortiz-Echagüe, c. 1940. Hardcover (black and gold-stamped red cloth), 12 x 9 ½ inches, 272 pages, 224 screen-gravure illustrations, dustjacket. Stated sixth edition.

This undated edition expands greatly on the above, in both scale and number of reproductions. Many more types of Spanish folk are pictured, such as fishermen, horse riders, and students, wearing a wide variety of hats, jewelry, and other rich accessories. Near fine condition, in dustjacket with one tear and a little wear. $75

 

175. ORTZ-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.

Another edition, now including some full-color reproductions, such as the one on the cover of 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. $50

 

176. ORTZ-ECHAGUE, José. España: Tipos y Trajes, Madrid: Publicaciones Ortiz-Echagüe, 1963. Hardcover (gold-stamped blue cloth), 12 ¼ x 10 ½ inches, 372 pages, 272 screen-gravure and 34 color halftone illustrations, dustjacket. Stated eleventh edition.

España: Tipos y Trajes seems to have been Ortiz-Echagüe’s most popular title, printed in at least twelve editions over thirty-four years. This one contains less introductory text than the tenth and the thirty-four color plates (all tipped in) are completely different. Two corners lightly bumped, in dustjacket with a few tears and little wear. $50

 

177. ORTIZ-ECHAGUE, José. España: Pueblos y Paisajes, Madrid: Publicaciones Ortiz-Echagüe, 1947. Hardcover (gold-stamped maroon cloth), 12 ¼ x 9 ½ inches, 312 pages, 312 screen-gravure illustrations, dustjacket. Stated third edition.

First published in 1938, Ortiz-Echagüe’s second book pictures the cities and landscape of Spain. Architecture dominates, from both large and small locales: private houses, churches, bridges, castles, and museums. Prologues by Azorin and José M. Salaverria, with notes on the plates by the photographer. Near fine condition, with previous owner’s bookplate and browned dustjacket with a few chips. $75

 

178. ORTIZ-ECHAGUE, José. España: Pueblos y Paisajes, Madrid: Publicaciones Ortiz-Echagüe, 1954. Hardcover (black and gold-stamped red cloth), 12 ¼ x 10 ½ inches, 388 pages, 288 screen-gravure and 34 color halftone illustrations, dustjacket. Stated sixth edition.

Printed on thick paper, the sixth edition balloons up to a book with a spine nearly two inches thick. Now with some tipped-in color reproductions, including one on the cover of the Fortress of Segovia. Near fine condition, in a dustjacket with a few marks and creases. $50

 

179. ORTIZ-ECHAGUE, José. 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.

First published in 1943, this is the third book in Ortiz-Echagüe’s set of four. Includes a prologue by Miguel Herrero Garcia and notes on the images by the photographer. Easily his most spiritual book, 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. $75

 

180. ORTIZ-ECHAGUE, José. España: Castillos y Alcázares, Madrid: Publicaciones Ortiz-Echagüe, 1960. Hardcover (gold-stamped red cloth), 12 ½ x 10 ¾ inches, 384 pages, 396 screen-gravure and 16 color halftone illustrations, dustjacket. Stated third edition.

Tomo 4, the final volume in the set, initially issued in 1956. 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. A few lightly bumped corners, in dustjacket that is worn, chipped, and torn. $75

 

181. ORTIZ-ECHAGUE, José. 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.

Except for a different color cover image, seemingly the same as the above, representing the continued popularity of the books. Light edgewear to cloth, in dustjacket that is worn, torn, tape-repaired, and missing a few small pieces. $50

 

182. ORTIZ-ECHAGUE, José. José Ortiz-Echagüe Photographs, London: Gordon Fraser, 1979. Hardcover (silver-stamped black cloth), 11 ½ x 10 ½ inches, 128 pages, 57 halftone illustrations, dustjacket.

This is the first English language monograph on Ortiz-Echagüe, published with his input when he was ninety-three years old; it appeared in Spanish in 1978. In includes his own essay on his life as a photographer and a biographical note by Gerardo Vielba. The well-chosen images represent his encyclopedic look at the people, architecture, landscape, and religion of Spain. Ends with a listing of his exhibitions, prizes, and awards, spanning the years 1915 to 1978. Near fine condition. $75

 

183. ORTIZ-ECHAGUE, José. Ortiz-Echagüe, Fundacion Universitaria de Navarra, Spain, 1998. Softcover, 14 x 10 ¾ inches, 206 pages, 153 halftone illustrations.

This large-format book presents a healthy selection of the photographer’s most artistic pictures, dating from 1930 to 1964. Many of them show the manicured effects of his favored Fresson printing process. Features a bibliography and four scholarly essays, by Joan Fontcuberta, Lee Fontanella, and others. Produced with the aid and blessing of Ortiz-Echagüe’s son Legardo. Text in Spanish. Tiny bumps to one corner and bottom of spine. $75

 

184. PARMENTER, Charles S. William A. Quale, God’s Calendar, Cincinnati: Jennings and Graham, 1907. Hardcover (black and gold-stamped green cloth),

9 ¼ x 6 ¼ inches, 152 pages, 13 photogravure illustrations.

This book celebrates the spirituality of nature rather than religion itself. It is a prime example of both the back-to-nature and Arts-and-Craft movements from around 1900. The letterpress-printed text addresses each month of the year, accompanied by a high-quality photogravure of an appropriate landscape (each with a tissue guard). The January image shows rabbits in snow, while the July one pictures a corn field. The cover features a well-designed arrangement of typography, a nighttime scene in woods, and ornamental border of stylized roses. Nothing is known about the Charles S. Parmenter, but this body of work ranks with that of other American naturalistic photographers such as John G. Bullock and Rudolf Eickemeyer, Jr. Light edgewear to cloth. $25

 

185. PEABODY, Stuyvesant. Stuyvesant Peabody: A One-Man Show Slidefilm, Chicago: Chicago Historical Society, and Chicago International Photographic Salon Association, 1947. Softcover, 7 ½ x 5 ½ inches, 4 pages, one halftone illustration.

This brochure accompanied a memorial filmstrip of twenty-eight images by Peabody that was projected at camera clubs. In addition to Peabody’s own work, it featured three portraits of the photographer, including one by Yousuf Karsh, reproduced on the cover. Stuyvesant Peabody (1888-1946), owner of a coal company, was influential in Chicago pictorial photography during the 1940s and helped found one of the city’s salons. He made humorous “story-telling” pictures, showing them in over thirty salons in the 1941-42 season. Fine condition. $10

 

186. PEEL, Fred P. Shadowless Figure Portraiture, New York: Galleon Press, 1936. Softcover (metal spiral binding), 11 ¾ x 9 ¼ inches, 112 pages, 61 screen-gravure and 31 halftone illustrations.

Shadowless images are created by using multiple light sources. Peel writes about models, the darkroom, the print, equipment, theory, and composition. Most of his images are females nudes, made in the studio with a ring light, which imparts a soft glow to the figures’ outlines. Fred P. Peel (c. 1884 – c. 1959) simultaneously pursued professional and pictorial photography from the mid-1920s to mid-century. He was a charter member of the Photographic Society of America and a fellow of the Royal Photographic Society. This is his only book, addressing the genre of creative work for which he was most known. Covers soiled, torn, and worn. $25

 

187. PETERSON, Christian A. Pictorialism in America: The Minneapolis Salon of Photography, 1932-1946, Minneapolis Institute of Arts, 1983. Softcover, 11 x 8 ½ inches, 60 pages, 51 halftone illustrations. Signed, with ephemera.

This attractive exhibition catalog examines pictorial photography in Minnesota and its national context around World War II. It covers fifteen years of the Minneapolis salon and other camera club activities in the Twin Cities, highlighted in a chronology. The work of many local amateurs is discussed, as well as that of eight internationally known pictorialists who sent their work to Minneapolis; among them were Adolf Fassbender, Léonard Misonne, William Mortensen, D. J. Ruzicka, and Max Thorek. An early revival of interest in the second generation of pictorialists. Edition of 500 copies. This copy signed by Peterson, with the exhibition announcement laid in. Fine condition. $25

 

188. PETERSON, Christian A. After the Photo-Secession: American Pictorial Photography, 1910-1955, New York: W. W. Norton, and Minneapolis Institute of Arts, 1997. Hardcover (gold-stamped blue cloth), 11 ¼ x 10 ½ inches, 218 pages, 90 halftone illustrations, dustjacket. Signed, with ephemera.

This remains the definitive book on the late American pictorialists who worked primarily between the World Wars. Peterson describes how Stieglitz’s Photo-Secession group, prominent around the turn of the twentieth century, was elitist and produced pictures that were homogenous in style. He then examines how the subsequent generation was much more populist in its outlook and pluralistic in its aesthetics, some incorporating aspects of modern and commercial photography. Half-page biographies on over seventy-five photographers are provided, from William A. Alcock to Wood Whitesell, many of them addressed for the first time. The reproductions are in full color, revealing the many tones that these pictorialists used (including blue, brown, and orange). Edition of 5,000. This copy signed by Peterson, with an exhibition announcement and magazine article on the show laid in. Fine condition. $35

 

189. PETERSON, Christian A. An Annotated Bibliography of Pictorial Photography: Selected Books from the Library of Christian A. Peterson, Northfield, Minnesota: Gould Library, Carleton College, 2004. Softcover, 11 x 8 ½ inches, 44 pages, unillustrated. Signed.

This little-known item contains entries on about 250 pictorial publications, nicely described by the collector. It includes books from as early as the 1880s, when naturalistic photography was laying the groundwork for pictorialism, and titles from as late as the 1960s, when a few skilled workers remained devoted to the tenets of pictorial photography. Most of the titles, however, were published between 1900 and 1940, the period during which Alfred Stieglitz’s Photo-Secession reigned and a sizeable subsequent generation of pictorialists expanded the parameters of the movement. The selection comprises monographs, aesthetic treatises, salon catalogs, periodicals, and ephemera. Published on the occasion of a related exhibition at the Carleton College library. Edition of only 150. This copy signed. Mint condition. $25

 

190. PETERSON, Christian A. Pictorial Photography at the Minneapolis Institute of Arts: History of Exhibitions, Publications, and Acquisitions with Biographies of all 243 Pictorialists in the Collection, Minneapolis: Christian A. Peterson, 2012. Softcover, 11 x 8 ½ inches, 160 pages. Stated first edition, signed.

The extended title of this new book pretty well summarizes its contents. Former curator Peterson covers a century of pictorial photography at the museum, beginning with a 1903 exhibition that included work by Alfred Stieglitz and other Photo-Secessionists. He discusses the camera-club salons of the 1930s and forties and the shows he organized, on such topics as Camera Work and Camera Notes. Among the major acquisitions highlighted are those of work by William B. Post, Adolf Fassbender, and D. J. Ruzicka. The book includes a detailed chronology of thirty-eight exhibitions and their related publications, plus an expansive section of biographies of nearly 250 pictorialists, many of whom are addressed nowhere else. Limited edition of 50 copies (of which less than half remain), numbered and initialed by the author. Mint condition. $35

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

Issued without a dustjacket, this is one of the last volumes of the same title that Phibbs self-published almost yearly beginning in about 1939. It comprises a selection of his salon images, mostly figure studies and landscapes. Reproduced one to a page, Phibbs writes about each of them. Harry C. Phibbs (1885 – ?) was a member of the Chicago Camera Club and exhibited in pictorial salons during the 1920s and thirties. Light wear, one corner bumped, small stains on back, label chipped. $25

 

192. PHOTOGRAMS of the YEAR.

Photograms of the Year was England’s most important annual of photography for decades and the 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

1904. 1904. Hardcover (gold-stamped cloth), 10 x 7 inches, 236 pages, halftone illustrations. Features a lead article by Robert Demachy, who also contributed the frontispiece, and reviews of both the London salon and annual exhibition of the Royal Photographic Society. This copy is a special contributor’s edition, with partial leather covers and a label pasted in that is signed by editor H. Snowden Ward. Tips and top and bottom of spine worn. $125
1905. 1923. Hardcover (black and cream-stamped brown cloth), 11 x 8 ¾ inches, unpaginated, 64 halftone plates. This one dates from the period when the annuals were largest in scale and had tipped-in plates, from the 1910s to World War II. It features insightful articles on pictorial photography in various counties, written by natives such as José Ortiz-Echagüe on Spain. Among those contributing pictures were Alvin Langdon Coburn, Alexander Keighley, Léonard Misonne, and Clara E. Sipprell. Very good condition. $75

1943, 1946, 1947, 1948, 1949. The annuals now measure about 10 ½ x 8 inches and the frontispieces are still tipped-in. Each includes a few general articles and comments on the reproductions by pictorialists like Harold Cazneaux, Alexander Keighley, F. J. Mortimer, Chin-San Long, and Max Thorek. Except for one, all hardcovers, with lightly soiled covers. Group of five: $125

1950, 1951, 1952, 1954. Similar softcover format as above, except 1954, which has a dustjacket and illustrations printed in rich screen-gravure. Full-page reproductions by Frank R. Frapire, Will Till, Francis Wu, and others. Group of four: $100

 

193. PHOTO-GRAPHIC ART. October 1917 (vol. 3, no. 2). Softcover, 10 x

7 ¾ inches, 22 pages, 13 halftone illustrations.

This is the last issue of the little periodical originally named Platinum Print, edited by Edward R. Dickson, a close associate of Clarence H. White. It was designated the “Exhibition Number,” as most of its reproductions feature work from a traveling show organized by the Pictorial Photographers of America (PPA). Among them are pictures by Laura Gilpin, D. J. Ruzicka, Doris Ulmann, Edward Weston, and White. Includes an article by the great typographer Frederic W. Goudy, one about the aims of the PPA, and a complete list of its members. Cover edges lightly worn. $35

 

194. 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.

Set of four: $75

 

195. LA PHOTOGRAPHIE ARTISTIQUE en ALLEMAGNE vers 1900. Stuttgart, Germany: Relations avec l”Etranger, 1980. Softcover, 11 ¾ x 8 ¼ inches, 64 pages, 82 halftone illustrations.

Exhibition catalog on German pictorial photography from the turn of the twentieth century, with text by Fritz Kempe. Includes biographies of thirty-three photographers, including big names like Oskar and Theodor Hofmesiter and the obscure Friedrich Behrens and Aura Hertwig. The cover features a cut-out window framing an important landscape image by Georg Einbeck. Tiny wear to cover edges. $35

196. PHOTO PICTORIALISTS of BUFFALO. Pictorial Landscape Photography, Boston: American Photographic Publishing Co., 1921. Hardcover (gold-stamped red cloth), 10 ¼ x 7 ½ inches, 236 pages, 53 halftone illustrations.

The Photo Pictorialists of Buffalo were an important early group of creative photographers, formed in 1905 and lasting for about a decade. Led by newspaper photographer Wilbur H. Porterfield, they made primarily soft-focus images of the environs of their native city in Upstate New York. The group was so small and cohesive that this book includes some images without attribution to individual photographers, just like authorship of the text. Various chapters address equipment, field tactics, negatives, presentation of the print, and processes like carbon and gum-bichromate. Light edgewear, lacking the rare dustjacket. $50

 

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

This handsome volume was the first study of Alfred Stieglitz’s groundbreaking cadre of pictorialists, the Photo-Secession, organized in 1902. Doty succinctly covers the group’s formation, gallery, exhibitions, and publication, Camera Work. Includes a complete calendar of the shows at 291, a listing of the members of the Secession, plus images by all the most important workers: Gertrude Käsebier, Edward Steichen, Stieglitz, Clarence H. White, and more. Designed and edited by Nathan Lyons. Fine condition. $35

 

198. PHOTO-SECESSION. Catalogue 6: Photo-Secession, Washington, D.C.: Lunn Gallery/Graphics International, 1977. Softcover, 11 x 8 ¾ inches, 158 pages, halftone illustrations.

This is a handsome sales catalog of Photo-Secession material from one of the earliest successful photography galleries, run by Harry H. Lunn, Jr. It includes sections on Paul B. Haviland, Heinrich Kühn, and the collection of Joseph T. Keiley, with text by Peter Galassi, who went on to be curator of photographs at the Museum of Modern Art, New York. Work is offered by Alvin Langdon Coburn, Robert Demachy, Gertrude Käsebier, Edward Steichen, Alfred Stieglitz, Clarence H. White and others. An early, little-known reference on the Photo-Secession. Near fine condition. $35

 

199. PHOTO-SECESSION.

William Innes Homer, Alfred Stieglitz and the Photo-Secession, Boston: New York Graphic Society, 1983. Hardcover (silver and blind-stamped tan cloth), 10 ¾ x 9 inches, 180 pages, 102 halftone illustrations, dustjacket. Stated first edition. Despite its age, still the best resource on Stieglitz’s small cadre of leading pictorialists. Professor Homer examines Stieglitz’s background and his importance to American artistic photography, then delves into the establishment of the Secession, its Little Galleries, Camera Work, modern art at gallery 291, and the group’s swansong International Exhibition of Pictorial Photography, in Buffalo in 1910. He also devotes partial chapters to the major Photo-Secessionists Coburn, Eugene, Käsebier, Keiley, Steichen, and White. Includes a complete list of members. Near fine condition.

The Photo-Secession: The Golden Age of Pictorial Photography in America, Manchester, New Hampshire: Currier Gallery of Art, 1983. Softcover, 7 x 5 inches, 32 pages, 6 halftone illustrations. This little keepsake was produced by the Currier on the occasion of the traveling show that accompanied the above book. It features text by director Robert M. Doty and William Innes Homer and a checklist of the exhibition. Near fine condition.

The pair: $50

 

200. PHOTO-SECESSION. Selections from the Photo-Secession: Catalogue 4, Woodstock, New York: Howard Greenberg/Photofind Gallery, 1986. Softcover, 11 x 8 ½ inches, 40 pages, 26 halftone illustrations.

One of Greenberg’s early sales catalogs, before he moved to New York. It includes twenty-eight items, ranging in price from $600 to $12,500. Among the most desirable pieces today are platinum prints by Gertrude Käsebier, George H. Seeley, Edward Steichen, and Clarence H. White. Also present are a group of four issues of Camera Work and a studio portrait of Alfred Stieglitz at about twenty years of age. With a brief introduction by Joan Munkacsi. Fine condition. $25

 

201. The PICTORIAL LANDSCAPE in JAPANESE PHOTOGRAPHY. Tokyo Metropolitan Museum of Photography, 1992. Softcover, 10 ½ x 8 ½ inches, 140 pages, 105 duotone illustrations.

This tasteful exhibition catalog addresses the great success that Japanese pictorialists achieved photographing in nature, with an essay by curator Ryuichi Kaneko. The understated, softly focused images date from about 1906 to the early 1940s. Among the thirty-one pictorialists represented are Gesshu Ogawa and the brothers Roso and Shinzo Fukuhara. Bilingual essay in Japanese and English. Near fine condition. $50

 

202. PICTORIAL PHOTOGRAPHERS of AMERICA. Sixth International Salon of Photography: Centennial Exhibition, New York: American Museum of Natural History, 1939. Softcover, 9 x 6 inches, unpaginated, halftone illustrations.

This catalog accompanied the organization’s most important salon during the period, as it celebrated the birth of photography a century earlier and was coordinated with the New York World’s Fair of 1939. It includes a short essay on the early days of photography and five sections of photographs. Adolf Fassbender and D. J. Ruzicka served on the jury for pictorial prints, choosing 319, all of which are reproduced. Beaumont Newhall helped choose the modern photographs, including work by Berenice Abbott, Ilse Bing, Dorothea Lange, Man Ray, Lászlo Moholy-Nagy, Barbara Morgan, Edward Weston and others (these also all illustrated). Subsequent sections address illustrative, press, and scientific photography. All total, 530 photographs were hung for six months at the museum. Covers rubbed, detached, and with precious owner’s stamp. $50

 

203. PICTORIAL PHOTOGRAPHERS of AMERICA. Fourteenth International Salon of Photography, New York: American Museum of Natural History, 1947. Softcover, 8 ½ x 5 ½ inches, 24 pages, unillustrated.

Checklist of 425 photographs by members of this significant group and others whose work passed the jury, which included D. J. Ruzicka. In the foreword, honorary salon chairman Ira W. Martin notes the end of the “era of stunts—great enlargements, extreme close-ups, accidental shots of arrested motion, grotesque poses and positions.” Exhibitors included Axel Bahnsen, Edward C. Crossett, Frank R. Fraprie, Forman G. Hanna, John R. Hogan, P. H. Oelman, A. J. Patel, Max Thorek, and Wood Whitesell. Ink notations on cover and a few pages. $35

204. PICTORIAL PHOTOGRAPHERS of AMERICA. Fifteenth International Salon of Photography, New York: American Museum of Natural History, 1948. Softcover, 8 ½ x 5 ½ inches, 24 pages, unillustrated.

Catalog for show of over 300 photographs. It lists patrons who helped support the salon, including journalist Samuel Grierson and photographers Lejaren A. Hiller and Nicholas Muray. The photographs were made in over a dozen different processes, such as carbon, dye transfer, palladium, and wash-off relief. Pencil marks to cover. $35

 

205. PICTORIAL PHOTOGRAPHERS of AMERICA. Sixteenth International Salon of Photography, New York: American Museum of Natural History, 1949. Softcover, 9 x 6 inches, 24 pages, unillustrated.

This catalog lists the 332 successful entries to the PPA’s annual exhibition. Pictures that received unanimous selection by the jury, which included Adolf Fassbender, were designated honor prints. Among those with such photographs were Edward L. Bafford,

1. M. Deaderick, Frank R. Fraprie, and Mildred Hatry. A few loose pages, rust to staples, and light soiling to covers. $35

 

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

The first of five annuals published by the Pictorial Photographers of America (PPA) during the 1920s. Beautifully designed item, with the cover typography by the influential Frederic W. Goudy. It has articles on the PPA and pictorial photography in particular American states. Among the photographers represented by images are Alvin Langdon Coburn, Imogen Cunningham, Edward R. Dickson, Louis Fleckenstein, Laura Gilpin, Gertrude Käsebier, Margrethe Mather, Doris Ulmann, and Edward Weston. 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. $125

 

207. PICTORIAL PHOTOGRAPHY in AMERICA 1921. New York: Pictorial Photographers of America, 1921. Hardcover (gray cloth and gold-stamped paper over boards), 11 ¼ x 8 ¼ inches, 82 pages, 57 halftone illustrations.

The Pictorial Photographers of America’s 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, Hanna Forman, William Macnaughtan, D. J. Ruzicka, and others. Covers lightly rubbed, with tiny edgewear and one bumped corner. $75

 

208. PICTORIAL PHOTOGRAPHY in AMERICA 1922. New York: Pictorial Photographers of America, 1922. Hardcover (gray cloth and gold-stamped paper over boards), 11 x 8 inches, 110 pages, 75 halftone illustrations.

The third of five annuals published by the Pictorial Photographers of America during the 1920s, matching the format of the above two. 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 and tiny wear to a few tips. $75

 

209. PICTORIAL PHOTOGRAPHY in AMERICA. Christian A. Peterson, Index to the Annuals of the Pictorial Photographers of America, Minneapolis: author, 1993. Softcover, 8 x 5 ¼ inches, 44 pages, unillustrated. Signed.

During the 1920s, the Pictorial Photographers of America published five hardbound annuals, covering their activities and reproducing work by its members. This index, of over 600 entries, covers every signed article, photographic reproduction, and office holder in Pictorial Photography in America. Included are citations on such major figures as Alvin Landon Coburn, Gertrude Käsebier, Paul Outerbridge, Jr., Edward Weston, and Clarence H. White. The vast majority of entries, however, are for lesser-known American pictorialists whose work is indexed nowhere else. Of the edition of 250 copies only fifteen remain, signed by Peterson. Mint condition. $15

 

210. PICTORIAL PHOTOGRAPHY in BRITAIN, 1900-1920, London: Arts Council of Great Britain, 1978. Hardcover (silver-stamped gray cloth), 10 ¼ x 8 inches, 96 pages, 61 duotone illustrations (one in color), dustjacket.

This attractive early overview of the subject accompanied a widely-traveled show in England. John Taylor’s essay addresses British aesthetic values and salons, with special attention paid to Alvin Langdon Coburn. Contains biographies of over forty photographers, including lesser-known ones like Charles Job, Malcolm Arbuthnot, and J. B. B. Wellington. Near fine condition, in lightly rubbed and wrinkled dustjacket. $35

 

211. PITTSBURGH PHOTOGRAPHIC SECTION. Centennial: The Photographic Section, Academy of Science and Art of Pittsburgh, 1885-1985. Softcover,

9 x 6 inches, 12 pages, 7 halftone illustrations.

Booklet that covers the one-hundred year history of the camera club, which had one of the longest continuous records of activity in the world. It was most prominent between the World Wars, when the annual salon it sponsored was highly regarded. Also includes an essay on the centennial exhibition and checklist of over seventy pictures. Among the photographers with reproductions are Charles K. Archer and Oscar C. Reiter, two of its leading pictorialists. Fine condition. $10

 

212. PLATINUM PRINT. November 1914 (vol. 1, no. 6). Softcover, 10 x 7 ½ inches, 16 pages, 7 halftone illustrations.

Platinum Print, “A Journal of Personal Expression,” was an important short-lived periodical edited by Edward R. Dickson, a close associate of Clarence H. White. White was listed in the magazine’s masthead as an “associate” and provided the cover image of a nude woman surrounded by leaves. This issue includes articles on camera clubs and two on the nude in photography, one of them a discussion between Alvin Landon Coburn and English author George Bernard Shaw. All the reproductions are of nudes, by the likes of Coburn, Paul L. Anderson, William B. Dyer, and E. O. Hoppe. Covers lightly soiled. $75

 

213. POORE, Henry R. Pictorial Composition and the Critical Judgment of Pictures: A Handbook for Students and Lovers of Art, New York: Baker and Taylor, 1903. Hardcover (black-stamped tan cloth), 9 ½ x 6 ¼ inches, 282 pages, 82 halftone and line illustrations. Stated revised fourth edition.

One of many books written with both artists and pictorial photographers in mind. Poore, a national academician, discusses various types of composition, light and shade, and how to analyze the aesthetics of pictures. In addition, he includes a ten-page chapter titled “The Place of Photography in Fine Art,” in which he quotes Peter Henry Emerson. While big-name painters provide most of the reproductions, A. Horsley Hinton and other pictorial photographers also contribute. This title became authoritative, printed in at least eleven editions and translated into Dutch. Covers worn. $25

 

214. POST, William B. Christian A. Peterson, The Quiet Landscapes of William B. Post, Minneapolis Institute of Arts, 2005. Softcover, 10 x 8 ½ inches, 98 pages, 45 duotone illustrations. First printing, with ephemera, signed by author.

This is the only book on Post, understated in design and produced on the occasion of a traveling solo show. The essay covers his early life and travels, prolific exhibiting, membership in photographic societies, his preferred subjects, and his important early collection of the work of other artistic photographers. William B. Post (1857-1921) excelled at making delicate platinum prints of water lilies and snow scenes around the turn of the twentieth century. He became friends with Alfred Stieglitz and a member of the Photo-Secession in New York before retiring early to rural Maine. This first printing of 1,000 is distinguished by the cover illustration being tipped-on and having a sheet of glassine between the frontispiece and title page. This copy is signed by Peterson, with the exhibition announcement laid in. Mint condition, in opened shrink wrap. $25

 

215. 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: $50

 

216. 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. The magazine features articles, reproductions, book and exhibition reviews, and membership lists and news.

September 1936, December 1936, March 1937, Summer 1938, January 1940, October 1941. The periodical was first published in 1935 as a quarterly titled the Journal of the Photographic Society of America. These issues measure about 8 ½ x 11 ½ inches, and contain images by Anton Bruehl, Adolf Fassbender, Edward P. McMurtry, Fred P. Peel, and the article “Intolerance in Criticism” by Beaumont Newhall. Six issues: $75

1942 (January, April, May, June-August, September, October); 1943 (February, March, April, May, June, September, October, December: 8 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). Reduced in size to 9 ½ x 6 ½ inches and now issued almost every month. A good run of 45 issues: $200

1950 (March-November: 9 of 12 issues); 1951 (February-April, June-December: 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, missing only seven issues over the eight years. Group of 89 issues: $375

 

217. QUIET RESISTANCE: Russian Pictorialism of the 1900s-1930s. Moscow House of Photography Museum, 2005. Softcover, 10 ¼ x 9 ½ inches, 190 pages, halftone illustrations (some in color).

With a brief introduction by museum director Olga Sviblova. It contains biographies of eighteen photographers, including Sergej Lobovikov, perhaps the most recognized Russian pictorialist, and Alexander Grinberg, whose cover image, Study of Movement (1926), shows female nude figures. The high-quality and multi-toned reproductions reveal the Russians as accomplished as anyone on the international pictorial scene, producing still lifes, landscapes, figure studies, and urban and rural scenes. This is an important resource on the subject, the only one of which I am aware. All text bilingual in Russian and English. Near fine condition. $75

 

218. RABINOVITCH, Ben M. Rabinovitch School and Workshop of Art Photography, New York: Rabinovitch School and Workshop, c. 1938. Softcover,

8 ½ x 5 ½ inches, 32 pages, 36 halftone illustrations.

This catalog promotes the school and its course of study. Similar to the Clarence H. White School of Photography, Rabinovitch taught professionals to be more artistic and pictorialists to be more career oriented; he kept the size of classes small so that students could learn from him on a nearly one-on-one basis. This item reprints glowing statements from a number of New York newspapers and international photography magazines. In addition to the teacher’s images of nudes, reproductions appear by such former students as Dmitri Kessel, most notably one on the cover of Life. Russian-born Ben M. Rabinovitch (1884-1964) ran his school and photography gallery out of his New York studio during the 1920s and 1930s. He was a master printer, produced much of his work as photogravures, and was appreciated among pictorialists primarily for his nude images. Covers browned with small stain and fold. $35

 

219. ROYAL PHOTOGRAPHIC SOCIETY.

Founded in 1853 under a different name, the Royal Photographic Society was England’s most important bastion of pictorial photographers at the end of the nineteenth century, until the Linked Ring Brotherhood broke away. The organization still operates today.

Catalogue: Invitation Exhibition of American Pictorial Photography, 1934. Softcover, 9 ½ x 7 inches, 16 pages, 9 halftone illustrations. Catalog for a show of 155 American pictures, some selected by camera clubs but most by special invitation of London’s Royal Photographic Society. Among the prominent figures represented by a reproduction are Fred R. Archer,

1. Aubrey Bodine, William Rittase, and Floyd Vail.

Illustrated Review of the Group Annual Exhibition 1957. Softcover, 9 ¾ x 7 ¼ inches, 12 pages, 13 halftone illustrations. The catalog for the RPS’s Pictorial Group yearly show. Includes brief introduction and notes on the plates. Among the reproductions are a texture-screen nude by E. G. Moore. Cover lightly rubbed, with previous owner’s stamp.

Selection of Photographs from the Stephen H. Tyng Collection, 1965. Softcover, 9 ¾ x 7 ¼ inches, 12 pages, 13 halftone illustrations. Catalog addressing an important part of the RPS’s pictorial collection. It commenced in 1927 when Stephen H. Tyng, a New York businessman and member of the RPS, provided an endowment for the purchase of prints. This item describes the collection’s background and has notes on the images reproduced, including those by Adolf Fassbender and Francis Wu. Spot on cover.

Group of three: $75

 

220. ROYAL PHOTOGRAPHIC SOCIETY. Six pieces of ephemera.

The Associateship and Fellowship: Information for Applicants, 1954. Softcover, 7 x 4 ¾ inches, 8 pages, unillustrated. A brochure that outlines the guidelines for applying for these higher levels of membership.

The Royal Photographic Society, 1962. Softcover, 9 ¾ x 7 ¼ inches, 8 pages, 4 halftone illustrations. Includes general information on the society: object and activities, meetings, publications, exhibitions, facilities, permanent collection, membership, and groups of study (pictorial among them).

Form of Application for Membership, undated. Sheet, 9 ¼ x 7 inches.

Application for Associateship, undated. Folded sheet, 10 ½ x 8 inches, 4 panels. Lists eleven areas in which members could apply, including advertising, kinematography, medical, nature, pictorial, scientific, and technology. Gummed mailing label laid in.

         Application for Fellowship, undated. Folded sheet, 10 ½ x 8 inches, 4 panels. Has same areas of specialization for the highest level of membership, other than receiving an honorary fellowship. Gummed mailing label laid in.

Application for Fellowship, undated. Folded sheet, 10 ½ x 8 inches, 4 panels. This is an earlier form than the above because there are only ten categories of specialization, two of which are pictorial—monochrome and color. Gummed mailing label laid in.

Unusual material that gives detailed info on the organization. Most in near fine condition. Group of six: $35

 

221. RUZICKA, D. J. Jiri Jenicek, D. J. Ruzicka, Prague: Statni Nakladatelstvi Krasne Literatury, Hubdy a Umeni, 1959. Softcover, 7 x 6 inches, 90 pages, 64 screen-gravure illustrations.

This little book, part of a series published by Czecholovakia’s state art publishing house, came out a year before Ruzicka died. Jenicek’s essay addresses his biography, pictorial work, and importance to Czech modern photography. The gravure images include early park scenes, still lifes, and Ruzicka’s most revered pictures, of both his native country and the streets and buildings of New York, his adopted home. Drahomir Josef Ruzicka (1870-1960) was one of the world’s leading pictorialists after World War I. He immigrated to the United States as a child, was an early practitioner of X-rays, and became a guiding light in the Pictorial Photographers of America after he helped found it in 1916. The interior of the old Pennsylvania Station was his favorite Manhattan subject, seen here in three images. Text in Czech. Light wear and chipping to the edges of this fragile item. $95

 

222. RUZICKA, D. J. Daniela Mrázkova and Christian A. Peterson, Prague: Galerie Hlavniho Mesta Prahy, 1990. Hardcover (silver-stamped black cloth), 11 ½ x 8 ¼ inches, 112 pages, 56 screen-gravure illustrations, dustjacket. Signed.

This is the only monograph on Ruzicka produced after his death, on the occasion of an exhibition seen in both Prague and the United States. Mrázkova writes about his importance to Czech photography and Peterson covers him as an American pictorialist. The images survey his work from 1909 to 1951, including four images of Pennsylvania Station and two of the 1939 New York World’s Fair. All text bilingual, in Czech and English. Gravure printed in an edition of 2,000, this copy signed by Peterson. Fine condition. $25

 

223. RUZICKA, D. J. Original photograph. San Francisco Evening, 1937, gelatin silver print, 13 ½ x 10 ¾ inches (image), 14 x 11 inches (sheet). Signed.

In 1937 Ruzicka traveled from New York to San Francisco, where he was warmly greeted by organizations of pictorialists such as the California Camera Club. During his stay he made this picture of a ship docked at a pier with smaller boats in the foreground under nicely silhouetted clouds; he then toned the print blue, to match the low contrast values he had experienced at dusk. This image appears in the 1959 monograph published on him in his native Czechoslovakia (see above). Another print of this image is in the collection of the Minneapolis Institute of Arts. Image sent upon request. There is evidence of scratches in the negative (not print) and the corners are slightly rounded but do not affect the image. Signed “R” and titled, in pencil, verso. $350

 

224. SALON CATALOGS.

Most American and European cities of any size had one or more camera clubs during the 1930s to 1950s, and their most visible and exciting event was an annual photographic salon. Often hung at the city’s art museum, these juried shows were accompanied by a catalog that listed all the pictures and reproduced some of them. These publications usually measure about 9 x 6 inches, run to approximately 36 pages, and include entry/acceptance statistics, information about the sponsoring club, and advertisements for local photographic supply stores. Note that some have their corresponding exhibition stickers laid in, a nice bonus. These catalogs have become valuable reference and research items. Exhibition catalogs for some groups, such as the Pictorial Photographers of America are listed under their names elsewhere.

 

ATLANTA.

         1^st Dixie Salon of Photography, 1948. Sponsored by Atlanta’s Dixie Camera Club and hung at the Carnegie Library. Camera clubs and salons were rare in the Deep South. $25

 

BALTIMORE.

         Baltimore International Salon of Photography, Baltimore Camera Club, 1948, 1949. Set of two: $35

        

BIRMINGHAM, England.

         Annual Open International Exhibition, Birmingham Photographic Society, 1947, 1948. Set of two: $45

 

CHICAGO.

         Chicago International Photographic Salon, 1929, 1932, 1936. This was the most important series of Chicago salons at the time, displayed at the Art Institute of Chicago. Set of three: $100

         Chicago International Salon of Photography, 1945 (sticker laid in), 1946 (sticker laid in), 1947, 1948. This series was hung at the Chicago Historical Society. Set of four: $75

Fifth Chicago International Salon of Photography, 1946. Same catalog as in above group, but with three filmstrips of pictures from the show for projection at camera clubs. The first one starts with an image of the Chicago Historical Society, where the exhibition was hung, and portraits of the three judges, including Adolf Fassbender. Each strip has about sixty images, but, unfortunately, the second reel is missing. A set of curious items: $35

Chicago Salon, 1946, 1947 (sticker laid in). These represented the 37^th and 38^th salons at the Chicago Camera Club. Set of two: $45

Chicago International Exhibition of Photography, 1948 (sticker laid in), 1949. This was a

combined continuation of the Chicago Camera Club’s shows and those at the historical society. Set of two: $45

Eighth Annual Photographic Salon, Marshall Field Co., 1941. Yes, even department

stores got into the act. Comprises a list of 333 pictures. $25

 

CINCINNATI.

         Cincinnati Salon of Photography, Cincinnati Art Museum, 1947, 1948 (sticker laid in), 1949 (sticker laid in), 1950, 1952 (signed letter from salon committee chairman laid in), 1953, 1954, 1955, 1956, 1957, 1958, 1959, and 1961. A nice run of 13 catalogs, with ephemera: $250

 

COLUMBUS.

Third Columbus International Exhibition of Photography, Columbus Gallery of Fine Arts 1948. This large-format catalog (8 ½ x 11 inches) features sections of pictorial monochrome prints, color slides, and nature photographs. The cover reproduces an image of a woman on a ladder hanging salon photographs, suggestively shot from below. Inside, the catalog is illustrated with contributions from Paul L. Anderson, Axel Bahnsen, A. Aubrey Bodine, Frank R. Fraprie, P. H. Oelman, José Ortiz-Echagüe, and many others. $35

 

DETROIT.

         Sixteenth Detroit International Salon of Photography, Photographic Society of Detroit, Detroit Institute of Arts, 1947. This catalog is unusual for both its scale (measuring 8 ½ x 11 inches) and the extra information it includes on some of the pictures and photographers. It is the only example of which I am aware in which biographical details are provided for selected exhibitors, rare data probably available nowhere else. About Chicago photographer Lionel Heymann, for instance: “Started photography as a hobby by joining Fort Dearborn Camera Club in Chicago in 1928. Started professionally January 1945, and conducts a portrait studio in Blackstone Hotel. Conducts a weekly photographic class on portrait and paper negative process. Associated professionally with a photographer in Detroit, 1937-38.” Laid into this copy is an exhibition label, made on photographic paper. This copy belonged to exhibitor Robert M. Schiller, who made a few notes on the inside cover. $50

 

EVANSVILLE, Indiana.

         10^th Annual Photography Salon, Fine Arts Camera Club, 1948. $25

 

GREAT FALLS, Montana.

         Second Annual Salon of Photography, Great Falls Camera Club, 1948. Sticker laid in. $25

 

HARTFORD.

         Hartford International Salon of Photography, Connecticut Valley Camera Club, 1949. Covers of brown suede paper. $25

 

HONOLULU.

         First Annual Territorial Salon of Photography, National Photo Camera Club of Honolulu, 1950. $35

 

HOUSTON.

         Annual Salon of Photography, Houston Camera Club, 1941, 1942. Set of two: $35

 

INDIANAPOLIS.

         Fall Exhibition of Pictorial Photography, 1940. Folded sheet. $10

 

KALAMAZOO, Michigan.

         First Annual Kalamazoo International Salon of Photography, Kalamazoo Camera Club, 1949. Sticker laid in. $25

 

LOS ANGELES.

         30^th International Salon of Photography, Camera Pictorialists of Los Angeles, Los Angeles County Museum, 1947. Long-time member Fred R. Archer judged both the black-and-white prints and color slides, selecting nearly 350. The Los Angeles salon was the most important West Coast annual presentation of pictorial work. $50

 

 

         MEMPHIS.

         Memphis Salon of Photography, Memphis Pictorialists, 1942, 1947 (sticker laid in), 1948, 1952. Set of three: $75

 

MILWAUKEE.

         Wisconsin Centennial International Salon of Photographic Art, Boston Store, Milwaukee Art Institute, and Milwaukee Photo Pictorialists, 1948. This special catalog, honoring one hundred years of Wisconsin statehood, is large (8 ½ x 11 inches), spiral bound, and well-illustrated. It includes statements by the three nationally prominent jurors: Frank R. Fraprie, John R. Hogan, and Harry K. Shigeta. Among the pictorialists with full-page reproductions are A. Aubrey Bodine, P. H. Oelman, José Ortiz-Echagüe, and L. Whitney Standish. $50

         Milwaukee International Exhibition of Photography, Photo Pictorialists of Milwaukee, 1945, 1947, 1950, 1954. Set of four: $75

 

MINNEAPOLIS.

Minneapolis Salon of Photography, Minneapolis Camera Club, 1933. Prospectus flyer for the second salon, a sheet folded to 8 ½ x 11 inches. It features a halftone illustration of the façade of the Minneapolis Institute of Arts, conditions for submission, entry form, and mailing labels. This piece of ephemera is extremely rare, as it tended to be either cut up and used or discarded. Near fine condition. $25

Minneapolis Salon of Photography, Minneapolis Camera Club, 1932-1941. An uninterrupted run of the first ten Minneapolis catalogs, most in unusually nice condition. The initial presentation was limited to Minnesota pictorialists, but beginning in 1933 it went national, drawing work from such accomplished Americans as Adolf Fassbender, Frank R. Fraprie, William Mortensen (illustrated), and Max Thorek. Set of ten: $250

Minneapolis Salon of Photography, Minneapolis Camera Club, 1943, 1944, 1945, 1946, 1947, 1949. Set of six: $125

 

         MUNCIE, Indiana.

         Annual International Salon, 1941. Folded sheet stapled to letter from officers of the Muncie Camera Club. $10

 

OMAHA.

         Omaha International Salon of Photography, Omaha Council of Camera Clubs, 1946, 1948 (features an image by Frank R. Fraprie on the cover). Set of two: $35

 

PASADENA.

         Third Pasadena International Photographic Salon, Foothill Camera Club, 1949. $25

 

         PHILADELPHIA.

         Philadelphia International Salon of Photography, Miniature Camera Club, 1948, 1950. Set of two: $45

 

PITTSBURGH.

Second Annual Pittsburgh Salon of National Photographic Art, Photographic Section of the Academy of Science and Art of Pittsburgh, Carnegie Institute, 1915. Commenced just before the demise of Camera Work, the Pittsburgh salon went on to become one of the most desirable exhibitions for pictorialists to get their work into. While salons soon became judged by juries, this one appears to have been an invitational affair. It lists work by eleven members of the sponsoring organization and a small number of pictures by photographers from elsewhere, most notably Imogen Cunningham and Margrethe Mather. The bulk of the show, however, comprised “collective exhibits,” from prominent American camera clubs in Brooklyn, Buffalo, Chicago, New York, Orange (New Jersey), Portland (Maine), and Wilkes-Barre (Pennsylvania). The largest such display was the “Platinum Print Collection,” with contributions by Edward R. Dickson (the organizer), Alvin Langdon Coburn, Gertrude Käsebier, Karl Struss, Clarence H. White, and other first-generation pictorialists. A significant exhibition catalog. Light wear and writing on cover. $125

Annual Pittsburgh Salon of Photography, Photographic Section of the Academy of Science and Art of Pittsburgh, 1921, 1923 (this copy belonged to exhibitor Forman Hanna, with writing on cover and water damage). Set of two: $50

Pittsburgh Salon of Photographic Art, Photographic Section of the Academy of Science and Art of Pittsburgh, 1935, 1942. Set of two: $50

         International Pittsburgh Salon of Photographic Art, Photographic Section of the Academy of Science and Art of Pittsburgh, 1948, 1949, 1950, 1951, 1952, 1955, 1956. These catalog now measures 10 ½ x 8 inches, allowing for larger full-page reproductions. Set of seven: $150

International Pittsburgh Salon of Photographic Art, Photographic Section of the Academy of

Science and Art of Pittsburgh, 1959, 1961, 1963, 1967, 1973, 1974, 1977. Back to the original 9 x 6 inch size, these late catalogs now incorporate large sections of color slides and demonstrate how long lasting this salon was, and. Set of seven: $100

 

PUYALLUP, Washington.

Northwest Photographic Salon, Western Washington Fair, 1948. Sticker laid in. $25

 

REDLANDS, California.

         5^th Annual Photo Fiesta and First International Exhibition of Photography, 1953. Includes a nude illustration by William Mortensen. $25

 

         ROCHESTER.

         Rochester International Salon of Photography, 1939, 1942 (sticker laid in), 1948, 1949, 1953, 1954, 1955, 1956, 1957, 1958, 1959 (sticker laid in). Not surprisingly, one of the more important American salons, due to all the photographic activity in the city (including the presence of the Eastman Kodak Company). Set of eleven: $225

 

SAINT LOUIS.

         St. Louis International Salon of Photography, 1946 (sticker laid in), 1947 (sticker laid in), 1948 (sticker laid in), 1952 (sticker laid in). Set of four: $75

 

SCRANTON.

         Thirteenth International Anthracite Photographic Salon, Scranton Camera Club, 1948. Sticker laid in. $25

 

SEATTLE.

         Seattle International Exhibition of Photography, Seattle Photographic Society, 1948 (sticker laid in), 1949 (laid in is a list of ten photographs selected for the Seattle Art Museum’s collection, an unusual move at the time). Set of two: $45

 

 

 

SPRINGFIELD, Illinois.

         First Illinois State Fair International Salon of Photography, Capitol City Camera Club, 1948. Sticker laid in. $25

 

SPRINGFIELD, Massachusetts.

         Tenth Annual Springfield International Salon of Photography, Smith Art Museum, 1948. Sticker laid in. $25

 

TORONTO.

         56^th Toronto International Salon of Photography, Toronto Camera Club, 1947. Nice modernist cover illustration with a nude and camera lens. $35

 

UKIAH, California.

1^st Northern California International Salon of Photography, Redwood Empire Art and Music Center, 1948. $25

 

WAUKEGAN, Illinois.

         16^th Annual Lake County Photographic Exhibit, Waukegan Camera Club, undated. Folded sheet. $10

 

WHITTIER, California.

         Annual Salon of Photography, Circle of Confusion, 1947, 1948, 1950 (sticker on photographic paper taped in). Set of three: $50

 

WICHITA, Kansas.

Fourth Wichita International Salon, Wichita Photographic Society, 1947. $25

 

WILMINGTON, Delaware.

         Wilmington International Salon of Photography, Delaware Camera Club, 1948, 1949, 1954, 1956. Set of four: $75

 

WINNIPEG, Manitoba, Canada.

         Sixth International Western Canadian Salon of Photography, Manitoba Camera Club, 1948. $25

 

225. SALON STICKERS.

Camera clubs usually printed little gummed labels (measuring about 3 x 4 inches) for their exhibitions and annual salons, which were either attached to the backs of the accepted photographs or sent loose to the exhibitor. They feature typography and photographic or hand-rendered images, and are colorful examples of period design.

 

CANADA. International Salon of Photography, Victoria, British Columbia, 1947; Fifth Annual Kootenay Photographic Salon, Trail, British Columbia, 1947; Ninth Stampede Salon of Photography, Calgary, Alberta, 1951. Set of three: $20

 

CHICAGO. Thirty-Seventh Chicago Salon, 1946; Chicago Area Camera Clubs Association Ninth Annual Members Salon, 1946; Same, Tenth Annual Members Salon, 1947; Thirty-Eighth Chicago Salon, 1947; Chicago Area Camera Clubs Association 11^th Annual Members Salon, 1948; Chicago International Exhibition of Photography, 1948; North Shore Camera Club (Evanston), no date; Marquette Camera Club, no date. Set of eight: $50

 

CINCINNATI. Cincinnati Salon of Photography, 1945. $10

 

CLEVELAND. First Cleveland International Photographic Salon, 1951. $10

 

DENVER. Fifth Denver International Exhibition of Photography, 1960. $10

 

DES MOINES, Iowa. Fifteenth Annual Des Moines International Salon of Photography, 1950 (printed on real photographic paper with dramatic figure study). $15

 

DETROIT. 24^th Detroit Photographic Salon, 1957; 26^th Detroit International Exhibition of Photography, 1959; 27^th Detroit International Exhibition of Photography, 1960. Set of three: $20

 

FRESNO, California. Second Fresno International Salon of Photography, 1957. $10

 

GREAT FALLS, Montana. Great Falls Camera Club Second Annual Salon of Photography, 1948; Fourth Great Falls Salon of Photography, 1950. Set of two: $15

 

JAMAICA, New York. Long Island International Color Slide Exhibit, 1961. $10

 

LOUISVILLE. Louisville International Salon of Photography, 1951. $10

 

MEMPHIS. Tenth National Memphis Salon of Photography, 1947; Eleventh National Memphis Salon of Photography, 1948. Set of two: $15

 

NEWARK. Sixth Newark International Salon of Photography, 1961. $10

 

PHOTOGRAPHIC SOCIETY of AMERICA. PSA International Photographic Exhibition, Saint Louis, 1957. $10

 

ROCHESTER. 23^rd International Salon of Photography, 1959. $10

 

SACRAMENTO. Seventh North American Salon of Photography, 1946; 9th North American Salon, 1948. Set of two: $15

 

SAINT LOUIS. Fifth St. Louis International Salon of Photography, 1945; Sixth St. Louis International Salon of Photography, 1946; Mississippi Valley Salon of Photography, 1947; Seventh St. Louis International Salon of Photography, 1947; Eighth St. Louis International Salon of Photography, 1948; Fotoclan of St. Louis Salon, undated. Set of six: $40

 

SALT LAKE CITY. 15^th International Color Slide Exhibition, 1959. $10

 

SAN JOSE. Light and Shadow Exhibition, 1961. $10

 

SEATTLE. Foto Circle of Seattle. This is a particularly large and attractive label, printed in black and red with the Japanese character for the word “picture” prominent, undated. $20

 

SPRINGFIELD, Illinois. First Illinois State Fair International Salon of Photography, 1948. $10

 

WILMINGTON, Delaware. 27^th Wilmington International Exhibition of Photography, 1960. $10

 

YUGLOSLAVIA. 11 Medunarodna Izlozba Umjetnicke Fotografije, Zagreb, 1955. $15

 

226. SAUNDERS, Leslie G. Photographs by L. G. Saunders, 1895-1968, Saskatoon, Saskatchewan, Canada: Mendel Art Gallery, 1970. Hardcover, 8 ¾ x 11 ¼ inches, 120 pages, 110 halftone illustrations. Stated first edition.

Monograph with short texts on Saunders and a good cross section of his pictorial images, primarily landscapes, still lifes, and figure studies. The photographs range from 1928 to the mid-1950s, with captions that often detail their salon records. London-born Leslie G. Saunders (1895-1968) made his name as a Saskatchewan professor, naturalist, and creative photographer. He exhibited frequently in Canada, Great Britain, and the United States, and saw six of his images appear in the American Annual of Photograph, from the late 1920s to early 1940s. Edition of 1,000 copies. Near fine condition. $35

 

227. SEELEY, George H. George Dimock and Joanne Hardy, Intimations & Imaginings: The Photographs of George H. Seeley, Pittsford, Massachusetts: Berkshire Museum, 1986. Softcover, 11 x 7 ¾ inches, 64 pages, 27 halftone illustrations.

This elegantly designed exhibition catalog is the only monograph on Seeley. Professor William Innes Homer provides a short essay on the rediscovery of Seeley’s work, Dimock writes the general overview on his photographs, and Hardy contributes information on the printing techniques the photographer preferred—platinum and gum-bichromate. The reproductions, printed in different monochrome values, concentrate on his ethereal landscapes and figure studies. George H. Seeley (1880-1955) was a Massachusetts pictorialist who joined Stieglitz’s Photo-Secession at a young age. He was particularly adept at making large-scale prints, which were seen in many Secession group exhibitions and a solo show at 291 in 1908. Eighteen of his images appeared as photogravures in Camera Work, in 1906 and 1907, making him one of the best represented photographers in the magazine. Fine condition. $35

 

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

Images of trees from all seasons and many locations throughout the United States, paired with Sheckell’s short descriptive and emotive text. In the foreword, he states, “As long as I can remember I have been impressed with the form and beauty of trees, and it is not strange that I have for many years made portraits of them with my camera. I have sought always the pictorial effect rather than the mere recording of botanical details.” This book was favorably reviewed in photographic periodicals and the New York Times Book Review. Thomas O. Sheckell (1883 -1943) was a prominent pictorialist from the 1930s until his early death, specializing in tree and landscapes photographs. He served as president of the Orange (New Jersey) Camera Club and was also very active in the Pictorial Photographers of America. Former owner’s name on front free endpaper, in scarce dustjacket that is price-clipped, torn, worn, and creased. $25

 

229. SHIELDS, William Gordon. Michael Bell, Pictorial Incidents: The Photography of William Gordon Shields, Kingston, Ontario, Canada: Agnes Etherington Art Centre, Queen’s University, 1989. Softcover, 9 ¾ x 6 ½ inches, 80 pages, 57 halftone illustrations.

This exhibition catalog chronicles the life and work of Shields, placing him in the context of other pictorialists around the turn of the twentieth century. The reproductions feature softy focused figure studies, harbor scenes, landscapes, and, especially, architectural images, like the one on the cover of the arched doorway to St. Patrick’s Cathedral in New York. Canadian-born William Gordon Shields (1883-1947) moved to New York in about 1910 and produced and exhibited pictorial work for the next few decades. He was active in the Pictorial Photographers of America and presented a solo show at the Brooklyn Institute of Arts and Sciences in 1922. He was proficient in numerous printing processes, such as bromoil, platinum, and gum-bichromate. Fine condition. $25

 

230. SHIGETA, Harry K. Harry K. Shigeta, Japan, 1991. Softcover, 9 ½ x 9 ½ inches, 104 pages, 84 halftone illustrations.

This rarely seen first monograph on Shigeta features a few short essays and chronology on the photographer. The pictures date from 1920 to 1950 and represent both his pictorial and professional work. His creative imagery includes still lifes, landscapes, figure studies, and some riveting modernist-inspired female nudes. His advertising pictures promote soap, shoes, beer, and other products. Includes a graphically strong self-portrait, reminiscent of one by Edward Steichen, due to the prominence of lighting equipment. Japanese-born Harry K. Shigeta (1887-1963) made his name as an interdisciplinary and widely liked photographer in Chicago primarily between the World Wars. His studio, Shigeta-Wright, specialized in experimental illustration and food photography. He was a leading pictorialist, teaching fellow camera-club members in Chicago and exhibiting in salons throughout the country. Text in Japanese, except for English captions. Fine condition. $35

 

231. SHIGETA, Harry K. Harry K. Shigeta: Life and Photographs, Ueda, Japan: Ueda City Board of Education, 2003. Softcover, 11 ¾ x 8 ¾ inches, 72 pages, 59 halftone illustrations (some in color).

Another scarce publication (in this country) on Shigeta, accompanying an exhibition in the city of his birth. The text by Yuko Fujishiro covers his early life in Japan, schooling in St. Paul, career in Chicago, and last years in Los Angeles. Features many images of Shigeta working and with groups of photographers and a good selection of his artistic pictures such as the swelling nude on the cover. The color images are of his commercial food set ups and a painting he made of Abraham Lincoln. All of the text, including a detailed chronology, is bilingual in Japanese and English. Fine condition. $35

 

232. SHIGETA, Harry K. Alice Thompson, Justine, Washington, D.C.: Counterpoint, 1998. Hardcover (gold-stamped paper over boards), 6 ½ x 4 ¾ inches, 226 pages, one halftone illustration, dustjacket. Stated first printing.

This is a curious, recently published item related to Shigeta, as it features one of his nudes on the cover. His 1937 image Curves: A Photographer’s Nightmare shows a female nude in dark shadow with abstract curves superimposed upon her by way of the photogram process. It is one Shigeta’s most memorable and modernist pictures. The story, an erotic mystery, is set in contemporary London and (according to the dustjacket) “chronicles one man’s obsession with beauty and his journey through the darkest recesses of the mind in its pursuit.” Fine condition, in dustjacket with light scuffing and a fold to inside flap. $25

 

233. SHIGETA, Harry K. Annual Salon and Banquet, June 11, 1949, Chicago Area Camera Clubs Association. Softcover, 6 ¾ x 5 inches, 8 pages, one halftone illustration.

The cover of this little catalog features Shigeta’s image Forms and Rhythm, the association’s print of the year. It is a modernist still life, with curled paper, an egg, and a pocket watch, al la Paul Outerbridge, Jr. Includes banquet program, listing of officers, and exhibition checklist. Near fine condition. $15

 

234. SIPPRELL, Clara E. Mary M. Billings French, A New England Pioneer: “The Captivity of Mrs. Johnson,” Woodstock, Vermont: Elm Tree Press, 1926. Hardcover (blue cloth spine and paper over boards with labels mounted to spine and front),

9 ¼ x 6 ¼ inches, 44 pages, 8 halftone illustrations.

The story of a pioneer woman who was captured in 1746 and suffered for four years with the French and Native American tribes. Sipprell provides small tipped-in reproductions of landscape scenes such as rivers, ponds, and a cemetery. Clara E. Sipprell (1885-1975) made her living as a studio portrait photographer first in Buffalo and after 1915 in New York. She studied creative photography with Clarence H. White, became a member of the Pictorial Photographers of America, and exhibited in camera-club salons until about World War II. A delicate and scarce item. Previous owner’s inscription and wear and bumps to cover (as normal). $200

 

235. SIPPRELL, Clara E. Moment of Light: Photographs by Clara Sipprell, New York: John Day, 1966. Hardcover (gold and blind-stamped white cloth), 10 ¾ x

8 ¼ inches, unpaginated, halftone illustrations, dustjacket.

Comprised almost exclusively of Sipprell’s soft-focus portraits, made from the 1910s to sixties. Among the sitters were Pearl S. Buck, Robert Frost, Grandma Moses, Maxfield Parrish, Eleanor Roosevelt, and Alfred Stieglitz. Also includes a small section of still lifes and landscapes, some of them from Yugoslavia. Elizabeth Bray Vining provided an appreciative introduction and the photographer occasionally added her comments to the pictures. Near fine condition, in dustjacket with a few marks and tears. $35

 

236. SIPPRELL, Clara E. Mary Kennedy McCabe, Clara Sipprell, Pictorial Photographer, Fort Worth, Texas: Amon Cater Museum, 1990. Hardcover (silver and blind-stamped brown cloth), 12 x 9 inches, 152 pages, 100 halftone illustrations (some in color), dustjacket.

This critical biography draws on the photographic and archival holdings of Sipprell material at the Amon Carter Museum. It includes an essay on five chronological periods of Sipprell’s life, a detailed exhibition history (1910-1985), and an extensive bibliography. The images show her accomplished still lifes, landscapes, and portraits. Mint condition, in shrink wrap. $35

 

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

This is still the most desirable book on Steichen, despite the fact that it illustrates only a portion of his long career as a painter, photographer, and curator. Poet Carl Sandburg, who happened to be Steichen’s brother-in-law, contributes a lengthy account of the photographer’s time in the worlds of artistic and commercial photography. By this point, fifty-year-old Steichen had fully embraced professional work for Condé Nast publications and the J. Walter Thompson advertising firm, allowing but a single image from his early days as a pictorialist to appear in the book (his portrait of banker J. Pierpont Morgan). The entire edition of 925 copies was signed by both Sandburg and Steichen; this one is numbered 769. Issued without a dust jacket, in unusually nice condition, with previous owner’s stamp and name. $2,000

 

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

An even-handed, autobiographical look at the great American photographer’s long career, published ten years before he died. Steichen (1879-1973) begins with his apprenticeship as a printer in Milwaukee, moves through his time as a painter and pictorialist in Paris, his association with Alfred Stieglitz and modern art, and then his photographs from World War I, fashion, theater, advertising, portraiture, World War II, and late color work. He also covers his time as a curator at the Museum of Modern Art, where his most important contribution was the wildly popular 1955 show “The Family of Man.” Well illustrated in high-quality gravure. Doubleday published an American edition, also in 1963, but soon dispensed with the distinctive printed endpapers and color illustrations. One corner lightly bumped, the dustjacket has a little wear and a few tears. $75

 

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

This elegantly designed and printed book was the first to focus on Steichen’s pictorial work and cast it in the light of the European decadent movement of Symbolism. Longwell analyzes the technique, motifs, and sensibility of the photographer’s highly refined portraits, still lifes, and landscapes. Near fine condition, in price-clipped dustjacket. $75

 

240. STEICHEN, Edward. From Tonalism to Modernism: The Paintings of Eduard J. Steichen, Washington, D.C.: Federal Reserve Board, 1988. Softcover, 9 x 6 inches, 48 pages, 13 halftone illustrations.

Catalog for an exhibition of 37 works by Steichen at the Federal Reserve Board’s building, undoubtedly a secure venue. Most of them were oil paintings dating from 1900 to World War I, before he changed the spelling of his first name, dropped his middle initial, and burned most of his canvases, making the surviving ones few in quantity. Main catalog essay by Mary Anne Goley with another titled “Steichen, 291, and the Magic Garden” by Barbara Anne Boese Wolanin. A very instructional publication, showing the resemblance between Steichen’s dreamy paintings and his landscape photographs. Near fine condition. $25

 

241. STEICHEN, Edward. Two pieces of ephemera.

         Edward Steichen: The Early Years, 1900-1927: A Portfolio of Twelve Photogravures, New York:             Aperture, 1990. Brochure, 11 x 8 ½ inches, 6 panels, 12 halftone illustrations. Prospectus for portfolio of 12 photogravures of mostly early, pictorial work. The

originals date from 1902 to 1925 and include pictures such as Moonrise and The Flatiron, both of which appeared in Camera Work.

Edward Steichen: 5 Photogravure Prints, New York: Aperture, 1996. Brochure, 9 x 5 ¾ inches, 6 panels, 5 halftone illustrations, with order form. This item offers five separate Steichen photogravures, all of which appeared in the above portfolio. They include a nude from 1902, a 1921 still life of fruit, and a 1925 portrait of sculptor Brancusi in his Paris studio.

Set of two, both in fine condition: $10

 

242. STEICHEN, Edward. Todd Brandow, William E. Ewing, and others, Edward Steichen: Lives in Photography, Minneapolis: Foundation for the Exhibition of Photography, and the Musée de l’Elysée, Lausanne, Switzerland, 2007. Hardcover (red and blind-stamped black cloth), 12 ¼ x 10 ½ inches, 336 pages, 250 halftone illustrations (some in color), dustjacket.

A massive volume covering Steichen’s lifelong adventures in photography, with excellent reproductions and contributions by eight additional authors, including A. D. Coleman, Pamela G. Roberts, and Joanna T. Steichen, the photographer’s widow. Steichen’s pictorial period of 1895-1914 is represented by 55 plates, the cover portrait of fellow photographer F. Holland Day, and essays on him as a painter of light and as an essential contributor to Camera Work, the cover of which he designed for Stieglitz. Includes an extensive chronology and bibliography. This is now the definitive work on Steichen. Mint condition, in shrink wrap. $75

 

243. STIEGLITZ, Alfred. Obituary, Journal of the Photographic Society of America, September 1946 (vol. 12), page 42.

Full issue of the magazine which has a half-page obituary on Stieglitz, with a profile portrait of him by Dorothy Norman. It gives a brief biography and quotes him as saying “I express life through the medium of the camera, a machine. I try to show life as it is, not as it should be or as I would like to have it.” Notes that Stieglitz was one of the first to receive the society’s highest designation of honorary fellow (Hon. FPSA). Slight soiling to covers. $10

 

244. STIEGLITZ, Alfred. Alfred Stieglitz, Millerton, New York: Aperture, 1973. Hardcover (paper over boards) 8 ¼ x 8 ¼ inches, 96 pages, 41 halftone illustrations.

Part of Aperture’s “History of Photography Series” of small monographs, this one has text on Stieglitz by Dorothy Norman, a longtime associate of his. More than half of the reproductions are from Stieglitz’s early, naturalistic and pictorial phases, dating from the 1890s to about 1910. Covers lightly rubbed with original price sticker. $25

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

This is the massive catalog of the Met’s Stieglitz collection of 580 photographs by other pictorialists, many of them reproduced. Includes Naef’s in-depth essay on the pictorial movement, detailed information about the photographers in the collection and their pieces, and an extensive bibliography. Still a major reference book. This copy signed by Naef. Near fine condition, with previous owner’s blindstamp. $50

 

246. STIEGLITZ, Alfred. Sue Davidson Lowe, Stieglitz: A Memoir/Biography, New York: Farrar Straus Giroux, 1983. Hardcover (gold-stamped black cloth), 9 ½ x

6 ¼ inches, 456 pages, 56 halftone illustrations, dustjacket. Stated first printing.

From the front flap: “Sue Davidson Lowe’s gracefully balanced weave of reminiscence and verifiable fact provides a portrait of Stieglitz that both traces his background and reveals the interplay between his character and his multifaceted career. A grandniece of Stieglitz, whose acquaintance with him encompassed some twenty-one years, Lowe often draws on her own recollections and those of his friends, relatives, and colleagues.” Near fine condition. $25

 

247. STIEGLITZ, Alfred. Antonin Dufek, Alfred Stieglitz, Prague: Odeon, 1990. Softcover (with dustjacket), 7 x 6 ¼ inches, 176 pages, 95 screen-gravure illustrations.

This monograph is one from a long series published in Czechoslovakia, beginning in the 1950s. While most of the subjects were Czech photographers, a few Westerners like Cartier-Bresson were also featured. Curator Dufek provides a general accounting of Stieglitz’s life and work. The images, spanning the 1880s to 1930s, are printed in gravure and it is possible that the book was not authorized by the Stieglitz estate. An uncommon title on the photographer. Tiny edge wrinkles. $35

248. 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. His early, pictorial period goes to about 1910 and is represented by 350 images. Mint condition, in shrink wrap and original shipping carton. $300

 

249. STRONG, William M. Photography for Fun, New York: Leisure League of America, 1934. Softcover, 8 x 5 ½ inches, 96 pages, 13 halftone illustrations.

Part of a series on leisure-time activities, this one was tuned to amateur and budding pictorial photographers. Strong addresses equipment, subject matter, exposure, printing, print quality, and common mistakes. A few of the reproductions make it clear that creative photographers were among the intended audience: Pennsylvania Station by D. J. Ruzicka (his favorite subject) and The White Night by Adolf Fassbender (one of his signature images). Tiny wear to covers. $25

 

250. STRUSS, Karl F. Karl Struss: Man with a Camera, Bloomfield Hills, Michigan: Cranbrook Academy of Art Museum, 1979. Softcover, 10 x 9 inches, 104 pages, 96 halftone illustrations.

This exhibition catalog was the first monograph on Struss, produced with his assistance shortly before he died. It includes text by John and Susan Harvith and the photographer’s ten-page essay “Karl Struss Remembers.” The reproductions are largely his soft-focus interpretations of the streets, buildings, and shoreline of New York. Karl F. Struss (1886-1981) was one of the few Photo-Secessionists to continue making pictorial photographs after World War I. His work from the 1910s focused on the distinctive light and new structures of Manhattan, while his later images featured personalities of Hollywood and the landscape of California. He worked as a cameraman for films and television for half a century, from about 1920 through the sixties. Mint condition, in shrink wrap. $35

 

251. STRUSS, Karl F. Karl Struss: A Portfolio, Ann Arbor: Photofolio of Ann Arbor, 1979. Booklet, 6 x 9 inches, 4 panels, 15 halftone illustrations.

This little item is the prospectus for a portfolio of fifteen platinum prints, published a few years before Struss died. The pictures by the last living member of Stieglitz’s Photo-Secession are primarily soft-focus New York scenes from the 1910s, but include a 1909 image from Italy and two of California from the 1920s. John and Susan Harvith, the authors of the above book of the same year, assisted with the production of this portfolio, which was issued in a limited edition seventy-five. Fine condition. $10

 

252. STRUSS, Karl F. Barbara McCandless, Bonnie Yochelson, and Richard Koszarski, New York to Hollywood: The Photographs of Karl Struss, Fort Worth, Texas: Amon Carter Museum, and University of New Mexico Press, Albuquerque, 1995. Hardcover (gold-stamped brown cloth), 12 ¼ x 9 ¼ inches, 248 pages, halftone illustrations (some in color), dustjacket. Signed by authors.

This remains the authoritative book on Struss. McCandless and Yochelson separately addresses his pictorial period in New York, while Koszarski essays Struss’ subsequent career as a cinematographer in California. Introduction by Professor William Innes Homer and an afterword by John and Susan Edwards Harvith. Includes a lifetime exhibition record (1910-1981) and filmography (1919-1959). This copy signed and dated in year of publication by all three authors. Fine condition. $125

 

253. 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 loose photogravure plates signed by the artist. They cover, in chronological order: James Gale, Henry Peach Robinson, J. B. B. Wellington, Lyddell Sawyer, Julia Margaret Cameron (the only deceased photographer), 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

 

254. THOREK, Max. Creative Camera Art, Canton, Ohio: Fomo Publishing Co., 1937. Hardcover (three-dimensional black cloth, printed in white and maroon), 11 ¼ x 9 inches, 156 pages, halftone illustrations, dustjacket.

This is one of the most significant books on pictorialism between the World Wars. In it Thorek presents sound technical advice on everything from exposure to print finishing. He also freely expresses his strong opinions about photography and art, railing against purists and modernists. It includes examples of his figure studies, portraits, landscapes, and the flamboyant, confrontational nudes at which he excelled. Dr. Max Thorek (1880 -1960), a renowned Chicago surgeon, was one of the top American pictorialist during the 1930s and forties, producing extensively manipulated prints from paper negatives. He was one of the world’s most exhibited pictorialists, showing almost 4,000 prints in over 1,000 salons by the middle of the century. Endpapers browned (as usual); extremely bright cloth, due to the presence of the rare dustjacket, that features one of his nude images and is missing a few small pieces. $125

 

255. THOREK, Max. A Surgeon’s World: An Autobiography, Philadelphia: J. B. Lippincott Co., 1943. Hardcover (blue and gold-stamped maroon cloth), 8 ½ x 6 inches, 410 pages, unillustrated, dustjacket. Stated second impression.

Thorek’s exhaustive account of his own life up to his early sixties. Born in what is now Hungary, he immigrated with his family as a child to Chicago, obtained his medical degree, and helped establish a hospital in 1908. According to the back flap, “People, not cases, hold the center of his interest. It is impossible to suggest the wealth and variety of the tales which make the book so wise and warm a human document.” He spends only a few pages on pictorial photography, opting instead to explore his medical experiences in depth. Near fine condition, in dustjacket that is missing small pieces. $25    

 

256. THOREK, Max. Camera Art as a Means of Self-Expression, Philadelphia: J. B. Lippincott Co., 1947. Hardcover (brown-stamped tan cloth), 9 ¼ x 6 ¼ inches, 246 pages, 35 halftone illustrations, dustjacket. Stated first edition.

This is essentially a rehash of Creative Camera Art, of ten years earlier. It contains many fewer and less interesting reproductions, except for the cover, which features Despair, showing a crouching female nude in profile. Thorek’s self-promotional confidence is apparent on the title page, which lists over a dozen of his honors and past positions (such as founder and first president of the Photographic Society of America), in addition to his four medical degrees. Scarce dustjacket torn, wrinkled, missing a few pieces, and faded at spine. $35

 

257. THOREK, Max. Christian A. Peterson, The Creative Camera Art of Max Thorek, Chicago: Dr. Max Thorek Memorial Foundation, 1984. Hardcover (gold-stamped black and maroon cloth), 11 ¼ x 8 ½ inches, 40 pages, 27 halftone illustrations. Signed by author, with ephemera.

This is the only thing written on Thorek by anyone other than the photographer himself. It includes a tribute to him by his son, Philip (also a surgeon), and an essay about his accomplishments as an internationally known pictorialist. The pictures, almost all from the 1930s, include mostly figure studies and nudes, his most important subjects. A brief chronology and bibliography are also included. Laid in is a postcard announcement of the book. This is one of only 100 hardbound copies (there were 400 softcovers), and is signed by Peterson. Fine condition. $35

 

258. TILNEY, F. C. The Year’s Finest Pictorial Photographs 1925, London: British Periodicals, 1925. Softcover, 11 x 8 ¾ inches, 72 pages, 30 halftone illustrations.

This annual comprised images that had previously appeared in the English periodical The New Photographer, “reissued in response to the wishes of many readers to have them in a more convenient and permanent form.” Tilney, a fellow of the Royal Photographic Society (FRPS) and a leading critic, writes about all thirty of the reproductions, addressing emotion, composition, and subject matter. This year’s selection includes photographs by Clark Blickensderfer, J. Dudley Johnston, Alexander Keighley, and others. Faint foxing and a few short internal tears, with covers lightly sunned and rubbed. $35

 

259. TORONTO CAMERA CLUB. Focus, March 1965. Softcover, 9 ¾ x 6 ¾ inches, 14 pages, 3 halftone illustrations. Ephemera.

An issue of the Toronto Camera Club’s monthly member’s magazine. The cover features the club’s print-of-the month, The Smiling Man by Ron Sorley. Includes articles on Hawaii, slides, prints, travelogues, and photographing flowers. The main feature, by R. A. Panter (an associate of the Royal Photographic Society), is on figure photography, with images by him in both high and low key. Near fine condition, in original mailing envelope. $15

 

260. TORONTO CAMERA CLUB. Andrew Oliver, The First Hundred Years: An Historical Portrait of the Toronto Camera Club, Canada: Toronto Camera Club, 1988. Hardcover (paper over boards), 11 ¾ x 9 ½ inches, 128 pages, 105 halftone illustrations (some in color).

Despite the book’s title, club historian Oliver concentrates on the group’s early years, from 1888 to about World War II. He discusses its formation, locations, costs, and activities such as lantern-slide showings, annual salons, outings, and publication of its newsletter Focus. Among the members also affiliated with the Royal Photographic Society who contribute black-and-white images are Ralph Brunner, Don Lizar, R. A. Panter, Ron Sorley, and Edith Verity. But the book’s images are weighted towards more recent, color work. Fine condition. $35      

 

261. TROTH, Henry. J. P. Mowbray, A Journey to Nature, New York: Doubleday, Page and Co., 1902. Hardcover (gold-stamped green cloth), 9 x 7 inches, 316 pages, 16 collotype illustrations.

This is a well-designed book, with Arts-and-Crafts decorations and deckle-edged pages. Mowbray contributes twenty-five essays celebrating Mother Nature on topics such as haying, chestnuts, wind, wood fires, the sky, and snow. Troth provides naturalistic images reverential of rural lifestyle, such as landscapes, harvesting scenes, details of flowers, and figure studies; they are printed in high-quality collotype and protected by tissue guards. Henry Troth (1860-1945) was a prominent member of the Photographic Society of Philadelphia and worked as a professional photographer specializing in outdoor work. Alfred Stieglitz included his artistic work in the first exhibition of the Photo-Secession in 1902 and in Camera Notes three times. Previous owner’s inscription on front free endpaper, the cloth is slightly light struck with minor rubbing. $50

262. TROTH, Henry. Sidney Lanier, Hymns of the Marshes, New York: Charles Scribner’s Sons, 1907. Hardcover (blue and gold-stamped green cloth), 8 ½ x 6 inches, 64 pages, one photogravure and 12 halftone illustrations.

Issued with a nice spine and cover design, this book includes long poems by Lanier on sunrise, sunset, individuality, and the marshes of Glynn. Troth photographed near Brunswick, Georgia, the site of Lanier’s inspiration, to produce pleasing renditions of the area’s water, weeds, and trees. The photogravure frontispiece has a tissue guard and the halftones have embossed borders to suggest plate marks. Previous owner’s name inside, light foxing to a few pages, and minor wear to tips. $45

 

263. ULMANN, Doris. Allen H. Eaton, Handicrafts of the Southern Highlands, New York: Russell Sage Foundation, 1937. Hardcover (gold-stamped blue cloth),

9 ¼ x 6 ¼ inches, 370 pages, 104 screen-gravure and 8 color halftone illustrations, dustjacket.

According to the front flap, this extensive study treats handicrafts “both as a means of making or improving a living and as a means toward self- expression and a richer experience. The book deals particularly with the handicrafts of the Southern Appalachians with their pioneer background and especially with their modern revival and present-day practice.” Many of the images picture individual objects such as pieces of furniture, baskets, toys, instruments, and pieces of pottery and weaving. Ulmann’s fifty-eight rich gravures portray individual craftsmen of both sexes and all ages, strategically posed with examples of their handiwork. Doris Ulmann (1882-1934) studied with Clarence H. White and was a member of the Pictorial Photographers of America during the 1920s, when four of its annuals included work by her. From the late 1910s to her death she made softly focused portraits for a living, many of which appeared in book form; her subjects were both accomplished professionals and little-known Southern rural folk and blacks. Near fine condition, in a worn dustjacket that is missing pieces. $75

 

264. ULMANN, Doris. The Darkness and the Light: Photographs by Doris Ulmann, Millerton, New York: Aperture, 1974. Hardcover (gold-stamped brown cloth),

10 ¾ x 9 ¼ inches, 112 pages, 66 screen-gravure illustrations, dustjacket. Stated first printing.

This nicely-designed and richly printed book features sensitive portraits by Ulmann of the mountain craftsmen and musicians of Appalachia and blacks from the Gullah region of South Carolina. She presents them in such everyday activities as plying their trade, picking cotton, and attending church. Includes a preface by landscape photographer William Clift and the essay “A New Heaven and a New Earth” by writer Robert Coles. Near fine condition. $75

 

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

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

 

266. WATKINS, Margaret. Margaret Watkins, 1884-1969: Photographs, Glasgow: Street Level Photography Galley and Workshop, 1994. Softcover, 9 ½ x 8 inches, 64 pages, 37 halftone illustrations.

Exhibition catalog with essays by Halla Beloff, Joseph Mulholland, and Lori Pauli on the life and photographic work of Watkins. The reproductions include nudes, still lifes, portraits, and street scenes in Russia, dating from the late 1910s to 1930. Prominent among them is her best-known image, Domestic Symphony (1919), picturing a kitchen sink with eggs and a dishtowel. Canadian-born Margaret Watkins (1884-1969) was a professional photographer, doing work for the likes of the J. Walter Thompson advertising agency. She studied with Clarence H. White in 1914 and subsequently taught at his school. During the 1920s she served as an officer for the Pictorial Photographers of America. Fine condition. $25

 

267. WATSON-SCHUTZE, Eva. Mary E. Burt, editor, Prose That Every Child Should Know: A Selection of the Best Prose of All Times for Young People, Garden City, New York: Doubleday, Page and Co., 1913. Hardcover (black and white-stamped brown cloth with mounted halftone), 7 ½ x 5 ¼ inches, 366 pages, 4 halftone illustrations.

The many texts are taken from a wide range of sources and time periods, from Plato to Maurice Maeterlinck, and the book is part of a series that included poems, hymns, and fairy tales. Watson-Schütze is credited on the title page, though her first name is misspelled “Eve.” She is the sole illustrator, her pictures appearing on the cover and as the frontispiece and endpapers. The three different images all show a young girl in front of a window. Watson-Schütze (1867-1935) studied art with Thomas Eakins and ran a portrait studio in Philadelphia but relocated to Chicago in 1901 after she married. She was a founding member of Alfred Stieglitz’s Photo-Secession group and had two of her images appear as photogravures in Camera Work. This is a little-known Watson-Schütze item. Both hinges slightly separated with previous owner’s name blocked out, covers and spine rubbed and worn. $35

 

268. WATSON-SCHUTZE, Eva. Camera, March 1977 (vol. 56). Softcover, 11 ½ x 8 ¾ inches, 48 pages.

The cover and first portfolio (of three) is devoted to Watson-Schütze. The three pages of text comprise an article on her by Joseph T. Keiley that originally appeared in a 1905 issue of Camera Work. In it he analyzes her work, gives biographical information, and observed that her photographs “show poetic appreciation of a high order and great sympathy with the more delicate beauty of nature. She deeply loves nature, but seems to endeavor less to express what it seems than what it means.” The eight images are figure studies, primarily of children and women in fashionable dress and surroundings. Light rubbing and tiny edgewear to cover. $25

 

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

This publication, issued on the occasion of a show at the library, is the only one devoted exclusively to Watson-Schütze. Block’s essay covers the photographer’s life and work, with a note on her evolving signature. The illustrations are all portraits of known Chicago figures, including her husband Martin Schütze, educator John Dewey, and reformer Jane Adams. Fine condition. $35

 

270. WHITE, Clarence H. Original photogravure. Telegraph Poles, from Camera Notes, April 1901, 7 ½ x 4 inches (image).

White made the negative for this image in 1898, the year he helped found the Newark (Ohio) Camera Club. Probably taken in that city, it shows buildings and poles lining a canal, seen from an elevated viewpoint. It is one of his best-known early images and unusual for him in that it is not a figure study. Clarence H. White (1871-1925) played a key role in pictorial photography both during and after the heyday of the Photo-Secession. He became widely known as a photographic educator, running his own school in New York. His work always featured soft-focus effects and a quiet, personal mood. Image sent upon request. Framed and accompanied by the original tissue guard, printed with the title and White’s name. $450

 

271. WHITE, Clarence H. Irving Bacheller, Eben Holden, New York: Harper and Brothers, 1900. Hardcover (gold-stamped green cloth), 7 ¼ x 5 ¼ inches, 431 pages, one halftone illustration.

The frontispiece (and only illustration) is a reproduction of a portrait by White of the fictional subject Holden, seated and holding his hat. It is a highly manipulated image, with the subject’s name lettered in by hand. Many other editions of this title appeared around the same time (usually published by Lothrop Publishing), but only this “Pine Tree Edition” is known to include White’s illustration. Though White is uncredited, this portrait appears in a hand-bound copy of the book (with numerous photogravure illustrations) at the Museum of Modern Art, New York, with pictures known to be by him. A rarely seen White illustration. Light edge wear and spotting to the covers. $35

 

272. WHITE, Clarence H. Homespun Essays: Everyday Thoughts About Everyday Life, Rochester, New York: Rochester Trust and Safe Deposit Co., 1906. Hardcover, 5 ¼ x 3 ¼ inches, 56 pages, 12 halftone illustrations.

This is a fine example of Arts-and-Crafts bookmaking; it is printed in letterpress in two colors, on quality Fabrino rag paper, with deckle edges. The cover features an illustration of bees and flowers and the text essays topics such as friends, patience, and happiness. All the reproductions are tiny (measuring about 2 x 2 ½ inches), tipped in, and protected by tissue guards. Homespun Essays was a promotional piece for the Rochester Trust and four of the illustrations are mere record shots of the bank. With one exception, however, the remaining eight are evocative soft-focus images almost certainly by White, since they include his 1902 image The Orchard, picturing three women beneath a tree. Nonetheless, there is a chance that some of these are by White’s pictorial colleague Gertrude Käsebier, as one of them is a known image by her—Fruits of the Earth, which appeared in a 1901 issue of Camera Notes. This is an extremely rare piece, no matter who the beautiful pictures are by. Tiny wear to spine and light soiling to cover. SOLD

273. WHITE, Clarence H. Horace Traubel, Optimos, New York: B. W. Huebsch, 1910. Hardcover (gold-stamped green cloth), 7 ¾ x 5 ½ inches, 372 pages, one photogravure illustration.

The frontispiece is a pleasant portrait by White of the author, rendered in rich gravure. White, who is credited on the tissue guard, portrayed Traubel in side lighting and soft-focus effects. Another little-known illustration by White. Light foxing on the tissue guard, previous owner’s name and date, and light edge wear to the cloth. $75

 

274. WHITE, Clarence H. Columbia University in the City of New York: Photographic Studies, New York: Columbia University, 1920. Softcover, 10 ¼ x 8 inches, 24 pages, 18 halftone illustrations.

Though White’s own work does not appear in this little picture book, he very likely was involved with its production. He taught photography at Columbia’s Teacher’s College beginning in 1907 and was acquainted with most or all of the photographers whose pictures are reproduced. Doris W. Jaeger (Ulmann) and Antoinette B. Hervey, who studied with White, provide nearly half of the images and there is work by six others. The photographs are all dark and moody, showing primarily buildings on Columbia’s campus. With an excerpt from the school president’s inaugural address in 1902, this piece was presumably used to show the beauty of the campus and persuade students to enroll. Once corner bent throughout, cover with foxing and torn and wrinkled tipped-on illustration. This is a rare and delicate item. $175

 

275. WHITE, Clarence H. Clarence H. White, Jr., “The Art of Clarence Hudson White,” Ohio University Review, 1965 (vol. 7), 28 pages, 12 halftone illustrations.

This is an offprint of an article written by the son of White on his father’s pictorial photographs. Clarence White, Jr., studied at his father’s school and at the time he wrote this was chairman of Ohio University’s department of photography. Short text, with chronology, bibliography, and reproductions of primarily figure studies dating from 1898 to 1915. Tiny wear to top and bottom of spine. $25

 

276. WHITE, Clarence H. Symbolism of Light: The Photographs of Clarence H. White, Wilmington: Delaware Art Museum, 1977. Softcover, 10 ½ x 9 inches, 80 pages, 44 halftone illustrations.

This exhibition catalog (for a show that traveled to the International Center of Photography, New York), was the first to revive interest in White, after his early death half a century earlier. The main essay on his life is written by his grandson Maynard P. White, Jr. Supplementing it is one titled “The Artistry of Clarence H. White” by Cathleen A. Branciaroli and professor William Innes Homer. Includes a chronology of the artist and selected bibliography. Near fine condition. $35

 

277. WHITE, Clarence H. Clarence H. White, Millerton, New York: Aperture, 1979. Hardcover, 8 ¼ x 8 ¼ inches, 96 pages, 41 halftone illustrations.

Issued without a dustjacket, this modest monograph is from the “Aperture History of Photography Series.” The essay is by Maynard P. White, one of the photographer’s sons. The images date from 1897 to 1925 and feature primarily figure studies posed by his family members, his most acclaimed subject. Near fine condition. $25

 

278. WHITE, Clarence H. Marianne Fulton, Bonnie Yochelson, and Kathleen A. Erwin, Pictorialism into Modernism: The Clarence H. White School of Photography, New York: Rizzoli, George Eastman House, and Detroit Institute of Arts, 1996. Hardcover (silver and blind-stamped black cloth), 11 ¾ x 9 ¼ inches, 208 pages, halftone illustrations (some in color), dustjacket. Stated first edition, signed, with ephemera.

This is the most comprehensive book on Clarence H. White’s New York school, which combined the tenants of creative photography with commercial instruction. As a teacher and mentor, White helped foster the professional careers of Paul Outerbridge, Jr., Dorothea Lange, Margaret Bourke-White, and others. The incisive texts here examine the social context of White’s ideologies: Arts-and-Crafts principles, Stieglitz’s Photo-Secession, the Pictorial Photographers of America, and the influences of many contemporary educational and artistic leaders. Laid in are three pieces of ephemera on the related exhibition and symposium that took place at the Detroit Institute of Arts, one signed by director Samuel Sachs II. This copy of the book is signed by Erwin, Yochelson, and Warren Coville, the collector who provided most of the photographs. Fine condition. $95

 

279. WHITE, Clarence H. Kathleen A. Erwin, Pictorialism into Modernism: The Clarence H. White School of Photography: Photographs from the Coville Photographic Art Foundation and Warren and Margot Coville Photographic Collection, Bloomfield Hills, Michigan: Coville Photographic Art Foundation, 1996. Softcover, 11 x 8 ½ inches, 40 pages, one halftone illustration. Signed.

This is a complete, annotated checklist for the exhibition that accompanied the above book. It includes a preface by Detroit curator Ellen Sharp and an essay by Erwin, who writes a paragraph or two about every photograph. Among the photographers represented are Paul L. Anderson, Edward R. Dickson, Antoinette B. Hervey, Jane Reece, Wynn Richards, Clara E. Sipprell, Ralph Steiner, Karl F. Struss, Margaret Watkins, and Clarence H. White. This copy signed by Erwin and Sharp. Fine condition. $25

 

280. WILSON, Michael G., and Dennis Reed. Pictorialism in California: Photographs, 1900-1940, Malibu, California: J. Paul Getty Museum, and Huntington Library and Art Gallery, San Marino, 1994. Hardcover (black-stamped maroon cloth), 11 ¼ x 9 ¼ inches, 150 pages, 104 halftone illustrations, dustjacket. Signed.

This handsome book is the best one on the topic. Wilson contributes the essay “Northern California: The Heart of the Storm” and Reed writes about “Southern California Pictorialism: Its Modern Aspects.” Includes fifty biographies and a good bibliography. Among the heavy hitters with reproductions are Anne Brigman, Louis Fleckenstein, Arthur F. Kales, Hiromu Kira, William Mortensen, Karl F. Struss, and Edward Weston (from his early, pictorial phase). This copy signed and dated 1997 by Reed. Fine condition. $75

 

281. WOLFF’S PHOTOGRAPHIC REVIEW. Two issues, Chicago: Wolff’s Publications. Softcovers (metal spiral binding), 12 ¼ x 9 ¼ inches, 32 pages each, halftone illustrations.

January–March 1937 (vol. 1, no. 1). Introducing the periodial, the publisher’s stated, “In this the first issue of our new photographic magazine, we have endeavored to present a varied collection of some of the best work by modern photographers, along with a moderate amount of reading matter in keeping with the pictorial contents.” Among the rich reproductions are those by Alfred A. DéLardi, Adolf Fassbender, Fred G. Korth, Edward Quigley, and Shigeta-Wright. The only articles are “What About Photography?” by William M. Rittase and “Photographic Impressionism” by Don Wallace, which features a multiple-exposure image of top hats.

April–June 1937 (vol. 1, no. 2). Includes twenty-five full-page reproductions of work by Alexander Keighley, George C. Poundstone, Max Thorek, and others. Perhaps the standout image is Harry K. Shigeta’s modernist image A Photographer’s Nightmare, in which abstract curves are superimposed on a female nude in dark shadow. Photography instructor Nicholas Ház wrote the article “Pictorialism is Afterthought” and Morris Gurrie critiques all the images.

These two issues seem to comprise the full run of this Chicago periodical. With its mixture of creative commercial and hard-edged pictorial work, it effectively demonstrates how the boundary between the two photographic genres dissolved during the 1930s. The covers sport a modernist design, with silver ink, and are worn and soiled. The pair: $75

 

282. The YEAR’S PHOTOGRAPHY.

This annual was published by London’s Royal Photographic Society, as an alternative to the country’s Photograms of the Year. Rather than focusing only on pictorialism, it also included natural history and record photographs. They usually contained about 150 pages, measuring 9 ½ x 7 ½ inches.

1935-1936, 1938-1939, 1939-1940. Most of the illustrations are rich, full-page screen-gravures. Among the pictorialists contributing are Gustav Anderson, Harold Cazneaux, Christine B. Fletcher, Alexander Keighley, F. J. Mortimer, and D. J. Ruzicka, with commentary by J. Dudley Johnston. Softcovers, with rubbing and wear. Group of three: $75

1940-1941, 1941-1942, 1942-1943, 1943-1944, 1944-1945, 1945-1946, 1946-1947. The reproductions are now halftones and the commentary makes it clear that all the pictures were seen in the annual exhibition of the Royal Photographic Society. The three essays each year are on pictorial photography (by F. J. Mortimer and Bertram Cox), lantern slides, and nature photography. Pictorial images reproduced by Gustav Anderson, Cecil B. Atwater, Edward C. Crossett, Adolf Fassbender, Arthur Hammond, John R. Hogan, Alexander Keighley, Chin-San Long, P. H. Oelman, A. J. Patel, Stuyvesant Peabody, and Julian Smith. All softcovers, with rubbing and wear. Run of seven: $150

1950-1951, 1951-1952. Same format as above. While pictorialism is still the first and most prominent section, the annual now greatly expands its coverage to color, scientific, medical, nature, stereoscopic, architecture, news, industrial, and advertising photography, plus motion pictures. Pictorialists with reproductions include Boris Dobro, José Ortiz-Echagüe and Francis Wu. One softcover and one hardcover (with dustjacket), covers rubbed and worn. The pair: $45

 

Catalog 3 — January 2013