Catalog 4 – Women Photographers

Women photographers—you can’t live with them and you can’t live without them. There are plenty of female practitioners, both past and present, but they still form a minority, making this catalog feasible (one on men photographers would just be too big). Women photographers first appeared in increasing numbers starting around the turn of the twentieth century, participating significantly in the movement of pictorial photography. My last catalog was on Pictorialism and included books by many female workers. Thus, I have not included them again in this one, so please refer to that catalog or my website for books on women pictorialists. Note that I have a small group of original photographs by women and list some of them herein. But, please let me know if you are interested in gelatin silver prints by Berenice Abbott, Ruth Bernhard, Margaret Bourke-White, Eleanor Parke Custis, or Barbara Morgan.

 

  1. ABBOTT, Berenice. A Guide to Better Photography, New York: Crown, 1941. Hardcover (red-stamped tan cloth), 10 ¼ x 8 inches, 182 pages, 80 halftone illustrations, dustjacket.

This thick handbook was probably used as a high-school and college textbook. Abbott covers equipment, technique, composition, documentary work, and other topics. About half of the reproductions are by her, including the frontispiece of her now well-known night view of New York. Other photographers represented include Ansel Adams, Eugene Atget, Henri Cartier-Bresson, and Lewis Hine. Endpapers glue stained (as is normal), dustjacket worn. $35

 

  1. ABBOTT, Berenice. E. G. Valens, Motion, Cleveland: World Publishing Co., 1965. Hardcover (black-stamped red cloth), 8 ¼ x 8 ¼ inches, 80 pages, 36 halftone illustrations, dustjacket. Stated first edition.

This is one of two books authored by Valens for children using scientific photographs made by Abbott. While the title page features an image of a boy’s running feet, Abbott’s best pictures are those she made in her studio of moving objects such as balls as multiple exposures. Previous owner’s written name and wet stamp on both the front free endpaper and cloth cover. Dustjacket torn and wrinkled. $150

 

  1. ABBOTT, Berenice. Berenice Abbott Photographer: A Modern Vision,

2 softcovers, 11 ¾ x 8 ½ inches each, in slipcase with label.

The first volume features a selection of images and essays edited with an introduction by Julia Van Haaften and was published by the New York Public Library in 1989. It has 96 pages and 49 halftone illustrations of portraits, New York City, science studies, and American scenes. The second, with a matching design, has essays by Naohito Okude and Michiko Kasahara (text in both Japanese and English) and was published by the Tokyo Metropolitan Museum of Photography in 1990. The 14 reproductions are after prints in the museum’s collection. While the New York Public Library catalog is common in the U.S., this boxed set is not. Near fine condition. $100

 

  1. ABBOTT, Berenice. Ephemera.

“Berenice Abbott, 93 Dies; Her Camera Captured New York in Transition,” New York Times, December 11, 1991 (on original newsprint). Half-page obituary by Charles Hagen, which includes reproductions of three of her images.

“Berenice Abbott,” (London) Times, December 14, 1991 (on original newsprint). Obituary that includes a portrait of Abbott.

Prospectus for Berenice Abbott: American Photographer by Hank O’Neal, New York: McGraw-Hill, 1985. Half of brochure, with other half devoted to a book by Philippe Halsman.

A Berenice Abbott Photograph Can Grace Your Home, brochure for ordering one of four original Abbott photographs, signed and numbered, which was accompanied by Hank O’Neal’s book Berenice Abbott: American Photographer (see above). Limited to 400 sets, and offered by Artnews Books, New York, c. 1985.

Berenice Abbott: Vintage Photographs of New York from the 1930s, Winchester, Massachusetts: Lee Gallery, 1999. Brochure, 11 x 8 ½ inches, 6 panels, 15 halftone illustrations.

Group of five: $35

 

  1. ALPERN, Merry. Dirty Windows, Zurich: Scalo, 1995. Hardcover (red-stamped paper over boards), 11 ½ x 9 ¼ inches, 112 pages, 85 duotone illustrations, dustjacket. Stated first edition. Signed, with ephemera.

Alpern’s defining series of grainy pictures made looking into a bathroom window of a sex club in New York’s financial district, in which people urinate, take drugs, have sex, and count money. A fabulous voyeuristic study. Laid in are an announcement for the book and Alpern’s business card, plus this copy is signed by her (what more could you ask for?) One corner lightly bumped in mildly rumpled dustjacket. $150

 

  1. ANDERSON, Erica. The World of Albert Schweitzer: A Book of Photographs, New York: Harper and Brothers, 1955. Hardcover (red-stamped black cloth and paper over boards), 11 ¼ x 9 ¼ inches, 144 pages, screen-gravure illustrations, dustjacket. Ephemera.

Shows the renowned humanitarian in both French Equatorial and his homeland of Alsace, France. Schweitzer is pictured playing music and with patients, villagers, animals, and family members. Text and captions by Eugene Exman and editing, layout, and typography by fellow photographer Barbara Morgan. Anderson spent four years on this project and was also a filmmaker. Laid in is the New York Times obituary (on original newsprint) of Schweitzer’s daughter, Rhena, who died in 2009, with an image of her and her father by Anderson. Price-clipped dustjacket is rubbed, torn, and lightly edgeworn. $25

 

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

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

 

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

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

 

  1. ARBUS, Diane. Diane Arbus, Madrid, Spain: Fundacion Caja de Pensions, 1986. Softcover, 11 ¾ x 9 ½ inches, 32 pages, 11 halftone illustrations.

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

 

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

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

 

  1. ARBUS, Diane. Hellnation, Cheerleaders for Imperialism, San Francisco: Slap A Ham Records, 1999. Record cover, with vinyl LP and lyric sheet, 12 ¼ x 12 ¼ inches.

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

 

  1. ARBUS, Diane. Delta, Gun/Tonight, England: Dishy Records, 1994. Record cover with 45-RPM vinyl, 7 ¼ x 7 ¼ inches.

The front cover features Arbus’s image of the boy with a toy hand grenade, a detail of which is also on the label and back cover. Though Arbus is credited, the picture was certainly used without her permission (like the LP above). Light wrinkle to cover. $10

 

  1. ARBUS, Diane. Diane Arbus: The Libraries, San Francisco: Fraenkel Gallery, 2004. Hardcover (black-stamped paper over boards), 7 x 11 ¼ inches, accordion-style pages, one seemingly continuous color halftone illustration. Pamphlet and slipcase. Ephemera.

This intriguing item features one long shelf with many books from Arbus’s library, some face out and others revealing only their spines. The captions below identify such titles as The Family of Man, books by Eugene Atget, Bill Brandt, Walker Evans, and works of fiction, literature, and other genres. Accompanied by an announcement for the book. Mint, in shrink wrap. $75

 

  1. ARBUS, Diane. Diane Arbus, China, 2005. Softcover, 6 ¾ x 4 ¾ inches, 218 pages, halftone illustrations.

This little volume is heavily illustrated with many of Arbus’s known images. The short text and chronology are in Chinese. This is undoubtedly a pirated book, as the Chinese are prone to produce, issued without the approval of the strict Arbus estate. Thus, it is a desirable item for the Arbus completist. Tiny edgewear. $35

  1. ARBUS, Diane. A Box of Ten Photographs ephemera.

         A Box of Ten Photographs, Minneapolis Institute of Arts, 1973. Postcard announcement for a show of the museum’s portfolio, bought shortly after Arbus’s death in 1971 and one of the earliest to enter an institutional collection.

A Box of Ten Photographs, Minneapolis Institute of Arts, 1973. Brochure for the above exhibition, with a statement by curator Carroll T. Hartwell, who signed this copy.

A Box of Ten Photographs, Minneapolis Institute of Arts, 1973. Member’s January calendar with information on the above show.

Set of 3: $25

 

  1. ARBUS, Diane. Two magazines.

“Five Photographs by Diane Arbus,” cover, 5 photographs, and text by Arbus, Artforum, May 1971. Published a few months before her suicide.

“Arbus Reconsidered,” cover article by Arthur Lubow. Features seven never-before-published images by her, including a double self-portrait with her infant daughter, Doon, and the contact sheet of the boy with a toy hand grenade.

The pair: $35

 

  1. ARBUS, Diane. Newsprint articles.

“Diane Arbus: Her Vision, Life, and Death,” by Patricia Bosworth, New York Times Magazine, May 13, 1984. Published about the time Bosworth’s biography of Arbus was issued.

“Diane Arbus’s Family Values,” by Richard B. Woodward, New York Times, October 5, 2003. Review of the exhibition “Family Albums” at Mount Holyoke College Art Museum.

“The Profound Vision of Diane Arbus: Flaws in Beauty, Beauty in Flaws,” by Michael Kimmelman, New York Times, March 11, 2005. A review of the Metropolitan Museum of Art’s show “Diane Arbus Revelations.”

Set of 3: $15

 

  1. ARMER, Laura Adams. The Trader’s Children, New York: Longmans, Green and Co., 1937. Hardcover (blue-stamped yellow cloth), 9 ¼ x 7 ¼ inches, 242 pages, 16 halftone illustrations. Stated first edition.

This is the story of a Navaho trader and his children. The reproductions, after Armer’s photographs, show the Native American kids in activities such as tending livestock, riding horses, weaving, and playing. It is one of Armer’s books of juvenile fiction, some of which won national awards. Armer (1874-1963) was a portrait and pictorial photographer based in San Francisco. Cloth rubbed and lightly worn in a few places. $25

 

  1. ARNOLD, Eve. In America, New York: Alfred A. Knopf, 1983. Hardcover (silver stamped blue leatherette), 12 x 11 ¾ inches, 208 pages, color halftone illustrations, dustjacket. Stated first edition, with ephemera.

While she includes some city and rural scenes, Arnold focuses on the American people throughout the country. She pictures children, musicians, athletes, prisoners, Native Americans, educators, politicians, and many other generic types. Laid in is the New York Times obituary for Arnold (on original newsprint), who died in 2012 at 99. One corner bumped and dustjacket lightly browned. $35

 

  1. ARNOLD, Eve. The Great British, New York: Alfred A. Knopf, 1991. Hardcover (copper-stamped blue cloth), 11 ½ x 9 ½ inches, unpaginated, 100 halftone illustrations (some in color), dustjacket. Ephemera.

Arnold, a major Magnum photographer, turns her camera on the people of Great Britain, her adopted country, during the 1960s and seventies. She provides her own text and pictures both common folk, such as a gunsmith and a butler, and the famous. Among the known faces are Queen Elizabeth, Vanessa Redgrave, Richard Burton, and Margaret Thatcher. Laid in is the New York Times obituary for Arnold, January 6, 2012, on original newsprint. Near fine condition, in rubbed dustjacket. $25

 

  1. BEALS, Jessie Tarbox. Alexander Alland, Jessie Tarbox Beals: First Woman News Photographer, New York: Camera/ Graphic Press, 1978. Hardcover (brown and gold-stamped green cloth), 9 ¾ x 10 ¾ inches, 196 pages, 100 halftone illustrations, dustjacket.

The story of a fascinating woman and her long diversified career, from 1900 to her death in 1942. Covers her work as an itinerant photographer, her time in Buffalo and New York, having children, her poetry, travels, and final days in California. Her pictures were seen in many regional newspapers and national magazines such as Vogue, Harper’s Bazaar, and Ladies’ Home Journal. Near fine except for fold and two small tears to back of dustjacket. $35

 

  1. BEN-YUSUF, Zaida. Elizabeth Poulson, Zaida, Tempe: Arizona State University, 1985. Softcover, 8 ½ x 5 ½ inches, 16 pages, 4 halftone illustrations.

This little monograph was the first one on Ben-Yusuf, a portrait and pictorial photographer working around 1900. She was written about by critic Sadakichi Hartmann and associated with Alfred Stieglitz, who included three halftones by her in his quarterly Camera Notes. Born in England, Ben-Yusuf (1869-1933) was best known for her figure studies. Fine condition. $10

 

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

This tribute to San Francisco’s cable cars features bits of text by Van, a young cable car grip man, and Bernard’s documentary work on the subject. The author, whose full name was Melvin Van Peebles, went on to success as a black film actor and director. The title of the book came from his lines, “A cable car is a big heart with people for blood. The people pump on and off.” Bernhard shot the cable cars from both the inside and out, and included Melvin in a few of her pictures. Bottom of spine bumped and indentations to cover, dustjacket lightly worn with a few tears. $45

 

  1. BERNHARD, Ruth. The Eternal Body [A Collection of Fifty Nudes], San Francisco: Chronicle Books, 1986. Softcover, 11 ½ x 12 inches, unpaginated, 50 duotone illustrations. Signed.

As the title states, fifty nudes by one of the female masters of the genre. Features all of Bernhard’s best-known ones, dating 1934-1976. Includes an introduction by the photographer and commentary by writer/photographer Margaretta Mitchell. This copy signed by both Mitchell and Bernhard. Near fine condition. $150

  1. BERNHARD, Ruth. Ruth Bernhard: The Collection of Ginny Williams, Denver: Ginny Williams Foundation, 1993. Hardcover (silver-stamped black cloth), 12 ¼ x 11 ¼ inches, unpaginated, 43 tritone illustrations, dustjacket. Stated first edition.

Published on the occasion of an exhibition at the Denver Art Museum. Comprises a good selection of Bernhard’s still lifes and nudes, including some little-known images, like a 1929 portrait of a woman. Features text by Peter C. Bunnell and Williams, who begins, “Ruth Bernhard is a Renaissance woman. She is a timeless artist who lives by principle, curiosity, love, and discovery. She has been an influence in defining my gallery, sharpening my focus, and softening my life—all without advice.” Near fine condition. $150

 

  1. BERNHARD, Ruth. Signed ephemera.

Two Portfolios, prospectus for “The Eternal Body” and “The Gift of the Commonplace,” c. 1976. Folder, 8 ½ x 11 inches, 3 halftone illustrations. Each portfolio contained ten gelatin silver prints and cost $1,000.

Printed form letter, dated November 1, 1982, announcing that she would no longer be represented by Collected Visions and would begin selling her own work. Signed, in ink, by Bernhard.

Card reproducing her image “Skull and Rosary” signed twice by Bernhard, in mailed envelope, 1993.

Ruth Bernhard, San Francisco: Vision Editions, 1993. Folder, 7 x 4 ¾ inches, 11 loose cards, 10 halftone illustrations. This portfolio included ten platinum/palladium prints of nudes, featuring such popular pictures as “In the Box” and “Classic Torso.” The card with information about the portfolio is signed in ink by Bernhard.

Gift of the Commonplace, San Francisco: Vision Editions, 1994. Accordion-style brochure, 6 x 4 ¼ inches, 12 panels, 10 halftone illustrations. This portfolio of ten platinum/palladium prints comprises still lifes like “Teapot” and “Two Leaves.” This copy signed in ink by Bernhard.

“Ruth Bernhard, Photographer, Dies at 101,” obituary. New York Times, December 21, 2006 (on original newsprint). Reproduces her 1952 image “Classic Torso with Hands.”

A very nice group of six, most of them signed: $50

 

  1. BERNHARD, Ruth. Gift of the Commonplace, Carmel Valley, California:  Woodrose, 1996. Softcover, 9 ½ x 10 inches, 48 pages, 35 duotone illustrations. Stated first edition, signed.

This catalog celebrated Bernhard’s ninetieth birthday and features many of her well-known still lifes, such a “Lifesavers” and “Creation.” Introduction by fellow photographer Michael Kenna. This copy boldly signed by Bernard on the half-title page. Near fine condition, with lightly rubbed covers. $100

 

  1. BILLINGS, Edna. Harriet A. Wratten, Jo Anne Lives Here, Chicago: Albert Whitman, 1935. Hardcover (silver-stamped black cloth with mounted reproduction), 10 ½ x 8 ½ inches, unpaginated, halftone illustrations, dustjacket.

A very charming children’s book about Jo Anne and her friend Marshall, which, according to the flap, was “acclaimed by all as the most beautiful photograph book they have seen.” In an upper middle-class environment, the well-dressed children play with toys, pick daisies in a field, and go to the beach. Overall, a nice, sunlit period piece. Near fine condition, in a full-bleed image dustjacket with tiny edgewear and a few missing pieces. $125

 

  1. BOHM, Dorothy. A World Observed, London: Hugh Evelyn, 1970. Hardcover (gold-stamped red cloth), 9 ½ x 8 ¼ inches, unpaginated, 77 screen-gravure illustrations, dustjacket. Stated first edition.

Features Bohm’s images, from the 1950s and sixties, of people on the street, in the United States, Italy, Israel, Spain, Mexico, Russia, and elsewhere. Introduction by Roland Penrose. Faint stains to titled page, tiny cloth edgewear, in chipped dustjacket. $35

 

  1. BONNEY, Thérèse. Europe’s Children, 1939 to 1943, Rhode Publishing Co., 1943. Hardcover (paper over boards), 11 ½ x 8 ¾ inches, 144 pages, 68 halftone illustrations, dustjacket.

This is not a pretty book and nearly went unpublished. Bonney pictures the “unwanted” children of World War II, orphaned, poor, dirty, hungry, and otherwise disenfranchised. The reproductions bleed off the right-hand pages and are starkly visualized. Thérèse Bonney (1894-1978) was a devoted war photographer and correspondent who published other related books. Wear to edges, in dustjacket that is worn, torn, and chipped. $75

 

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

This is Bourke-White’s first and most significant book, produced when she was only twenty-five years old. She both wrote the text and provided the images, primarily of male and female workers and the dynamic architecture of Soviet industry. The dustjacket quotes her as saying, “Things are happening in Russia, and happening with staggering speed. I could not afford to miss any of it. I wanted to make the pictures of this astonishing development, because, whatever the outcome, whether success or failure, the plan is so gigantic, so unprecedented in all history, that I felt that these photographic records might have some historical value. I saw the five-year plan as a great scenic drama being unrolled before the eyes of the world.” Two pages stained from laid in newsprint article titled “Russians See Hope in a Change of Policy.” The cloth is particularly bright, due to the presence of the rare dustjacket, which is worn and missing pieces. $2,500

 

  1. BOURKE-WHITE, Margaret. Eyes on Russia, another copy, signed.

This copy is inscribed to an individual, “in remembrance of one of my [illegible] photographing days in the open iron mines.” This probably refers to Bourke-White’s 1936 visit to the Mesabi Iron Range in northern Minnesota. Pasted onto a preliminary blank page is a portrait of the photographer, cut from the original dustjacket. Front hinge separating, covers lightly browned, with faint ring mark. $2,500

 

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

The “biography of a business,” namely the Commercial Solvents Corporation. This Indiana company initially converted Midwestern grains into solvents and subsequently pioneered the development of acetone and butanol. The book covers fermenters, methanol, alcohol, dry ice, and other chemicals. Bourke-White is credited on the front of the dustjacket, but nowhere else in the book. Printed in high-quality gravure, her pictures are visually dynamic and rich in tonalities, sometimes spreading across two pages. The cloth sports a nice modernist design of a factory printed in silver ink. Laid into this copy is a business card for a regional manager of Commercial Solvents. Fine condition, in a lightly chipped, wrinkled, and torn dustjacket. $45

 

  1. BOURKE-WHITE, Margaret. Shooting the Russian War, New York: Simon and Schuster, 1943. Hardcover (red and black-stamped gray cloth), 9 ½ x 6 ¾ inches, 300 pages, halftone illustrations, dustjacket. Stated third printing.

Bourke-White’s first-person written and visual account of the Russian people under siege by the Germans at the beginning of World War II. Includes her extended captions to the pictures. Chipped dustjacket is laminated. $45

 

  1. BOURKE-WHITE, Margaret. “Dear Fatherland, Rest Quietly:” A Report on the Collapse of Hitler’s “Thousand Years,” New York: Simon and Schuster, 1946. Hardcover (brown-stamped gray cloth), 8 ½ x 6 inches, 180 pages, halftone illustrations, dustjacket.

Bourke-White’s insider text and pictures of Germany at the end of World War II. She photographed individuals, concentration camps, bombed-out cities, children, and other remnants—human and physical—of Hitler’s horror. Previous owner’s name and date written in, dustjacket wrinkled and chipped. $45

 

  1. BOURKE-WHITE, Margaret. Interview with India, London: Phoenix House, 1950. Hardcover (gold-stamped blue cloth), 8 ¾ x 5 ¾ inches, 192 pages, 64 halftone illustrations, dustjacket. Stated first edition.

Accompanying her text are recently made photographs of India’s princes, child laborers, impoverished factory workers, farmers, priests, revolutionaries, and Mahatma Gandhi, both alive and at his funeral pyre. Dustjacket spine sunned, with small tears and wear. $45

 

  1. BOURKE-WHITE, Margaret. John LaFarge, A Report on the American Jesuits, New York: Farrar, Straus and Cuday, 1956. Hardcover (gold-stamped black cloth and paper over boards), 9 ½ x 6 ½ inches, 238 pages, halftone illustrations, dustjacket. Stated first printing.

This book documents what at the time was the largest religious order in America, with text by Jesuit Father LaFarge. It and Bourke-White’s images (made on assignment for Life) cover Jesuit training, theory of education, apostleships, missions, and other activities. Previous owner’s address written in, dustjacket lightly rubbed and torn. $35

 

  1. BOURKE-WHITE, Margaret. Portrait of Myself, New York: Simon and Schuster, 1963. Hardcover (green-stamped black cloth and paper over boards),

9 ½ x 6 ½ inches, 384 pages, halftone illustrations, dustjacket. Stated first printing.

The photographer’s autobiography, covering most of her life. “For more than thirty years, Margaret Bourke-White has made photographic history—as the first photographer to see the artistic and storytelling possibilities in American industry, as the first to write social criticism with a lens, and as the most distinguished and venturesome foreign correspondent-with-a-camera to report wars, politics and social and political revolution on three continents. In the world of pictures, of magazines, of books, she won fame and fortune.” She candidly discusses her battle with Parkinson’s disease, of which she died less than a decade later. Price-clipped dustjacket wrinkled and chipped. $25

 

  1. BOURKE-WHITE, Margaret. Theodore M. Brown, Margaret Bourke-White: Photojournalist, Ithaca, New York: White Museum of Art, Cornell University, 1972. Hardcover (black and white-stamped gray cloth and paper over boards), 11 ¼ x 8 ¾ inches, 136 pages, halftone illustrations, dustjacket.

Published only a year after her death in 1971, this catalog accompanied one of the first museum retrospectives on Bourke-White, who attended Cornell. Art history professor Brown covers her life, love of machines and people, and her pictures in both war and peace. Includes reprints of two articles by Bourke-White from the 1930s. Mylar dustjacket rubbed, torn, taped, and missing a few pieces. $35

 

  1. BOURKE-WHITE, Margaret. Jonathan Silverman, For the World to See: The Life of Margaret Bourke-White, New York: Viking, 1983. Hardcover (gold-stamped black cloth), 12 ¼ x 9 ¼ inches, 224 pages, duotone illustrations, dustjacket.

A richly illustrated biography based on extensive new research and incorporating excerpts from her books and previously unpublished writing that vividly recall the momentous and poignant experiences of her remarkable career. Preface by fellow Life photographer Alfred Eisenstaedt. Near fine condition, with one short tear to dustjacket. $45

 

  1. BOURKE-WHITE, Margaret. Margaret Bourke-White Photographs, Toronto: Jane Corkin Gallery, 1988. Softcover, 8 ½ x 9 ½ inches, 60 pages, 31 duotone illustrations. Ephemera.

A dealer’s catalog picturing work dating from the 1920s to forties on such topics as gardens, steel mills, Moscow’s Kremlin, and children. Introduction by Terrence Heath. Laid into this copy is a sheet of Corkin Gallery letterhead “with my compliments.” Near fine condition. $25

 

  1. BRANDEIS, Madeline.

During the late 1920s and thirties Madeline Brandeis wrote and illustrated approximately twenty children’s books in her series, “The Children of All Lands,” about subjects largely in Europe. In each, she described and photographed the everyday life of a single child and his or her friends and family members. Her goal was to educate American children about their counterparts across the Atlantic, in simple prose and accessible images. It seems that these books were printed in large numbers and were popular. According to her obituary in the New York Times (June 29, 1937), Brandies died at the young age of 39, from injuries suffered in an automobile accident. The series was then continued by another author.

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

The Little Indian Weaver, 1928.

The Little Swiss Wood Carver, 1929.

Little Jeanne of France, 1929.

The Wee Scotch Piper, 1929.

Little Anne of Canada, 1931.

The Little Mexican Donkey Boy, 1931.

Little Tony of Italy, 1934.

Carmen of the Golden Coast, 1935.

Little Rose of the Mesa, 1935.

The Little Spanish Dancer, 1936.

Little John of New England, 1936.

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

Set of twelve: $95

 

  1. BURSON, Nancy. Richard Carling and David Kramlich. Composites: Computer-Generated Portraits, New York: Beech Tree Books and William Morrow, 1986. Hardcover (silver-stamped gray cloth and gray paper over boards), 11 ¼ x

8 ¾ inches, 96 pages, halftone illustrations, dustjacket. Stated first edition, signed.

This book represents a pioneering body of work, in which Burson and her collaborators combine multiple faces into single portraits, using early computer technology. Among the resulting generic composites are a movie star, businessman, president, assassin, and newborn. One image, titled “Mankind,” combines Asian, Caucasian, and Black faces, weighed according to their proportion in the world population. Includes an essay by William A. Ewing and Jeanne A. McDermott. This copy signed by Burson. Fine condition. $50

 

  1. BURSON, Nancy. Faces, Santa Fe, New Mexico: Twin Palms, 1993. Hardcover (blind-stamped black cloth), 8 ¼ x 8 ¼ inches, 43 sheet-fed gravure illustrations, dustjacket. Stated first edition.

Comprises Burson’s haunting examination of children suffering from craniofacial congenital malformations, primarily of the head and face. The pictures were probably made with a Diana-type camera, as they are square-format, grainy, and casually framed, though richly reproduced. Her friend Jeanne McDermott contributes a text that talks about Burson’s interest in photographing “people whose faces followed the exception rather than the rule. All faces were beautiful to her no matter what.” Near fine condition. $50

 

  1. CALVIN, Jane. Two original photographs.

Untitled, 1981. Color coupler print, 4 ½ x 5 ½ inches (image), 14 x 11 inches (sheet). Signed and dated, in ink, verso. This predominantly pink image is of a collage-like still life of such small items as doll limbs, fish bones, and netting.

Untitled, 1981. Color coupler print, 5 x 6 ½ inches (image), 14 x 11 inches (sheet). Signed and dated, in ink, verso. This image is similar to the one above and includes a few animal toys and much metallic mesh.

Jane Calvin (born 1938) is known for her color photographs of multiple imagery. During the 1980s she began teaching at Chicago’s Columbia College and commenced exhibiting her work nationally. The pair: $250

  1. CAMERON, Julia Margaret. Victorian Photographs of Famous Men & Fair Women by Julia Margaret Cameron, New York: Harcourt, Brace and Co., 1926. Hardcover (cloth spine, paper over boards, with two paper labels affixed), 12 ½ x 10 ¼ inches, unpaginated, 24 halftone illustrations.

This may be the earliest monograph on a woman photographer, indicative of the stature of Cameron (1815-1879) as England’s most important nineteenth-century female photographer. It includes introductions by Virginia Wolf, who sat for Cameron, and art historian Roger Fry. Among the subjects, presented as full-page reproductions with tissue guards, are Charles Darwin, scientist Sir John Herschel, writer Alfred Lord Tennyson, and painter George Frederick Watts. This edition was limited to 250 numbered copies for sale in the U.S. In unusually fine condition. $350

 

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

This is the first full-length study of the great English nineteenth-century portrait photographer. After the introduction by art critic Clive Bell, Gernsheim delves into Cameron’s life, environment, and photographic work. Among the brown-toned plates, printed in high-quality gravure, are images of all her most famous sitters: Thomas Carlyle, Charles Darwin, Sir John Herschel, Alice Liddell (the original Alice in Wonderland), Henry Wadsworth Longfellow, Alfred Lord Tennyson, Ellen Terry, George Frederick Watts, and even herself. Near fine condition, in dustjacket with two tape-repaired tears. $50

 

  1. CAMERON, Julia Margaret. Brian Hill, Julia Margaret Cameron: A Victorian Family Portrait, New York: St. Martin’s Press, 1973. Hardcover (paper over boards), 9 x 5 ½ inches, 204 pages, 22 halftone illustrations, dustjacket.

An in-depth account of Cameron’s life, family, friends, and photographic pursuits. Includes her family tree and bibliography. Near fine condition, in lightly rubbed and wrinkled dustjacket. $25

 

  1. CAMERON, Julia Margaret. Idylls of the King and Other Poems Photographically Illustrated by Julia Margaret Cameron, Text by Alfred Lord Tennyson, New York: Janet Lehr, 1985. Softcover, 11 x 8 ½ inches, 52 pages, 26 halftone illustrations.

This is Volume 7, Numbers 1-2 of the regular sales catalogs that Lehr issued. It reproduces albumen images Cameron made in 1874 of various figures and scenes from Tennyson’s Idylls, accompanied by his text. Among those pictured are King Arthur, Guinevere, Lancelot, Merlin, and Vivien, all in elaborate Victorian costume and surroundings. Near fine condition. $15

 

  1. CAMERON, Julia Margaret. Joanne Lukitsh, Julia Margaret Cameron: Her Work and Career, Rochester: International Museum of Photography at George Eastman House, 1986. Softcover, 11 x 8 ½ inches, 104 pages, halftone illustrations.

Exhibition catalog covering Cameron’s pictures of family, Madonnas and cherubs, “Idylls of the King,” and other portraits and illustrations. Spine faded with writing, light cover edgewear. $25

 

  1. CHAMLEE, Paula. Natural Connections: Photographs by Paula Chamlee, Revere, Pennsylvania: Lodima Press, 1994. Hardcover (silver-stamped gray cloth), 10 x 11 ¾ inches, 112 pages, 42 duotone illustrations, dustjacket. Signed, with ephemera.

Classic American landscape images in the tradition of Ansel Adams and her husband Michael A. Smith, dating from the early 1990s and produced with 8-x-10 and other large-format cameras. This, Chamlee’s first book, includes selections from the photographer’s journals and an essay by critic/art historian Estelle Jussim. This copy signed, with a prospectus and a 1996 letter signed by Chamlee laid in. Fine condition. $50

 

  1. CHARLESWORTH, Sarah. April 21, 1978, Riverside: California Museum of Photography, 1984. Softcover, 9 ¾ x 8 ½ inches, 32 pages, 30 halftone illustrations.

This issue of the CMP Bulletin is an artist’s book addressing public photographic imagery. It features a picture of Aldo Moro, the kidnapped prime minister of Italy, supposedly taken on April 21, 1978, to prove that he was still alive. Its authenticity was widely questioned and Charlesworth brings together its reproduction in over two dozen newspapers worldwide, including the New York Times. Near fine condition, missing part of the extra wrap-around mailer. $25

 

  1. CONNOR, Linda. Spiral Journey: Photographs, 1967-1990, Chicago: Columbia College Museum of Contemporary Photography, 1990. Softcover,

13 x 9 ¾ inches, 70 pages, 50 halftone illustrations. Signed.

An overview of Connor’s work to the time, beginning with her early images of pictures within pictures, her soft-focus studies of the 1970s, and then her forays into Asia and the Middle East. Preface by Denise Miller-Clark and introduction by Rebecca Solnit. This copy signed and dated in year of publication by Connor. Back cover rubbed and creased. $25

 

  1. CONNOR, Linda. Visits, Syracuse, New York: Menschel Photography Gallery, 1996. Softcover, 10 x 9 inches, 24 pages, 20 halftone illustrations. Signed.

Features a group of Connor’s spiritual landscape and figures studies, made during the 1970s to 1990s in Jordan, India, Egypt, Tibet, and other foreign lands. This copy inscribed and dated 1997 by Connor. Fine condition. $25

 

  1. CONTENT, Marjorie. Jill Quasha, Marjorie Content Photographs, New York:
  2. W. Norton, 1994. Hardcover (silver-stamped brown cloth), 9 x 6 ½ inches, 160 pages, 72 tritone illustrations, dustjacket.

This is the only book on Content, describing her life and examining her photographs from the late 1920s to early forties. Her straightforward, slightly modernist images include still lifes, landscapes, portraits, and urban scenes. Includes essays by Eugenia Parry Janis and Ben Lifson and Richard Eldridge. Content (1895-1984) was close friends with Alfred Stieglitz and Georgia O’Keeffe and kept most of her photographs to herself during her lifetime. Near fine condition. $25

 

  1. COSINDAS, Marie. Polaroid Color Photographs, 1966. Softcover, 11 ¼ x

9 ¼ inches, 12 pages, 10 color halftone illustrations.

This brochure accompanied an exhibition of 85 photographs, all dating from 1965 and 1966, presented at New York’s Museum of Modern Art, Boston’s Museum of Fine Arts, and the Art Institute of Chicago. It includes statements by John Szarkowski, Hugh Edwards, and the director of the Boston museum, as well as a checklist and biography of the artist. Bostonian Marie Cosindas (born 1925) was one of the first photographers to extensively use Polaroid color film and is known for her portraits and still lifes. Covers lightly browned. $15

 

  1. COSINDAS, Marie. Saturday Review, September 24, 1966.

Includes the article “A Show of Color” by Margaret R. Weiss, a review of the Cosindas exhibition that accompanied the above brochure, with all ten of the same color images, plus her “Masks” on the cover of the magazine. Tear and wrinkles to cover. $15

 

  1. COWIN, Eileen. Five original photographs.

These 4-x-5-inch color contact prints all picture spare, intimate still lifes that Cowin set up for the camera. Three of them feature snapshots set either on a table, at the base of lamp, or in bed sheets. The others picture a pair of men’s shoes next to pink panties and a bedroom clock with flowers. They likely date from the 1980s, when the photographer was most active making such narrative work. Eileen Cowin (born 1947) is a California-based photographer and teacher.

Set of five: $250

 

  1. CRANE, Barbara. Barbara Crane: Photographs, 1948-1980, Tucson: Center for Creative Photography, University of Arizona, 1981. Softcover, 9 x 9 ¼ inches, 126 pages, halftone illustrations (some in color). Signed.

An exhibition catalog that covers much of Crane’s career, beginning with early work in 1948. Features her street photographs, combines, multiple images, pictures of architecture, and more from this major Chicago figure. Estelle Jussim and Paul Vanderbilt contribute essays. This copy warmly inscribed and dated 1985. Covers rubbed and lightly worn. $35

 

  1. CRANE, Barbara. Barbara Crane: The Evolution of a Vision, Kuhn Library, University of Maryland Baltimore County, 1983. Softcover, 8 ½ x 11 inches, 20 pages, 21 halftone illustrations (some in color). Signed.

Exhibition catalog with text by Tom Beck and Paul Vanderbilt. Features images from Crane’s varied bodies of work, dating from the 1960s to eighties. This copy signed by Crane. One crease throughout. $25

 

  1. CUNNINGHAM, Imogen. Imogen! Imogen Cunningham Photographs, 1910-1973, Seattle: University of Washington Press, 1974. Hardcover (silver-stamped black leather and cloth), 11 ¼ x 8 ¼ inches, 112 pages, halftone illustrations, slipcase. Special edition, signed.

Features Cunningham’s photographs divided into six chronological sections: Early Years in Washington; Northern California Portraits; Artists, Actors, and Writers; Plants; Later Portraits; and Heads, Legs, and Hands. With an introduction by Margery Mann. This edition consists of 150 copies, numbered and signed by Cunningham in ink. Near fine condition, with tiny scuffing to slipcase. $350

 

  1. CUNNINGHAM, Imogen. After Ninety, Seattle: University of Washington Press, 1977. Hardcover (silver-stamped gray cloth), 12 ¼ x 9 ¼ inches, 112 pages, halftone illustrations, dustjacket.

At age ninety-two, Cunningham took up this project, photographing people in their nineties for the next year and a half. Most of the straightforward portraits appear here for the first time, though she included her previously known 1936 image of her father sitting on a woodpile. Her subjects include her ex-husband Roi Partridge, German photographer August Sander, American photographer Karl F. Struss, and many lesser-known proud seniors. With an introduction by Margaretta Mitchell. Near fine condition, in price-clipped dustjacket. $50

 

  1. CUNNINGHAM, Imogen. Judy Dater, Imogen Cunningham: A Portrait, Boston: New York Graphic Society, 1979. Hardcover (silver-stamped gray cloth), 11 ¼ x 8 ¾ inches, 188 pages, 120 duotone illustrations, dustjacket. Stated first edition.

Fellow photographer and friend Judy Dater tells the story of Cunningham’s long career, largely through the voice of others. Among those she interviewed were Cunningham’s son and husband, Ansel Adams, Laura Gilpin, Beaumont Newhall, Arnold Newman, and Brett Weston. Half of the pictures were reproduced here for the first time, only three years after Cunningham’s death in 1976. Near fine condition, in dustjacket with tiny edgewear. $75

 

  1. CUNNINGHAM, Imogen. Ephemera, with her signature.

Phyllis Dearborn Massar, Photographs by Imogen Cunningham, New York: Metropolitan Museum of Art, 1973. Softcover, 8 ¾ x 7 inches, 16 pages, 1 halftone illustration. This is a small catalog for an exhibition held in the balcony of the Met’s Blumenthal Patio. It features Massar’s essay, a chronology, and checklist.

Original Photographs Offered by the Imogen Cunningham Trust, Berkeley: Imogen Cunningham Trust, 1978. Softcover, 11 ¾ x 8 ½ inches, 16 pages, 131 halftone illustrations. This catalog offered 100 photographs by Cunningham printed by her (most priced at about $500) and 21 estate prints (priced at $150 each). They are all reproduced and include many of her revered images, such as “Magnolia Blossom,” “Triangles,” and “Alfred Stieglitz.” As they say, “Read it and weep.”

Signature. Cunningham’s full signature, in ink, on a piece of paper measuring 2 x

3 ¼ inches.

Group of three: $35

 

  1. 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. $25

  1. DATER, Judy. Judy Dater and Jack Welpott, Women and Other Visions, Dobbs Ferry, New York: Morgan and Morgan, 1975. Hardcover (silver-stamped cream leatherette), 10 ¾ x 9 ¼ inches, unpaginated, 107 halftone illustrations, dustjacket.

This defining book for the married couple of Dater and Welpott represents their likely unique collaboration of photographing the same female subjects. Most were strangers they encountered who expressed elements of the “feminine mystique.” Their pictures are generally paired on double-page spreads, making evident their differing responses to the women. Some of the images picture Dater, and Welpott appears once, in the final plate, which is a portrait of the couple by Arnold Newman. All the text pages are printed on a distinctive orange stock: an introduction by professor Henry Holmes Smith, list of images, and biographies of both photographers. Near fine condition. $50

 

  1. DATER, Judy. Judy Dater and Jack Welpott, Women and Other Visions, Dobbs Ferry, New York: Morgan and Morgan, 1975. Signed.

Another copy, but softcover. This copy signed by Dater on the title page. Previous owner’s blind stamp, light edgewear and rubbing to covers. $50

 

  1. DATER, Judy. Two portfolio prospectuses.

Ten Photographs, New York: Witkin-Berley Limited, 1973. Brochure, 5 x 4 inches, 14 panels, 11 halftone illustrations. This early portfolio (priced at $950) comprised primarily images that ended up in the above book and included Twinka, Imogen Cunningham, and others. A very nice little accordion-style piece.

Men/Women: Portfolio II, Berkeley: Collected Visions, 1981. Brochure, 4 x 8 ½ inches, 12 panels, 10 halftone illustrations. Evenly divided between men and women subjects, this portfolio includes images of Ansel Adams and Nehemiah, a nude black man. Laid in is a card about pricing, indicating that individual prints were also available.

The pair: $25

 

  1. DORR, Nell. Of Day and Night, Greenwich, Connecticut: New York Graphic Society, 1968. Hardcover (gold-stamped blue cloth and black-stamped paper over boards), 9 ¼ x 11 ¼ inches, 98 pages, screen-gravure illustrations, 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. Best known for her images of mothers and children, Nell Dorr (1893-1988) worked from the 1930s to 1960s and illustrated five books. Near fine condition, with two corners lightly bumped, in extremely bright dustjacket. $35

 

  1. FAUST, Marie. Mary Tyson Woodward, Dog on Vacation, Dallas: Kaleidograph Press, 1950. Hardcover (brown-stamped orange cloth), 7 ¼ x 6 ¼ inches, 36 pages, 14 halftone illustrations, dustjacket.

Children’s book written from the dog’s point of view about its first trek away from home, riding in the car and exploring a cabin and its environs. Marie Faust was the “mountain neighbor who officiated at the camera.” Near fine condition, in dustjacket with tiny wear and rubbing. $25

 

  1. FELLMAN, Sandi. Trick or Treat, Exposure Press, 1976. Softcover, 7 ¼ x

6 ¾ inches, 24 pages, 11 halftone illustrations. Ephemera.

This is a little-known artist’s book, created by Fellman in the year she earned her M.F.A. at the University of Wisconsin, Madison. It comprises a short sequence of photographs (taken on Halloween) of a man picking up a woman, them having sex, and then the naked male body morphing into a Milky Way candy bar, which the woman then eats. Sandi Fellman (born 1952) is best known for her 1986 book Japanese Tatoo, made up of images after her 20-x-24-inch color Polaroids. She issued Trick or Treat in a signed, numbered edition of 500 copies. Laid into this copy is her business card. Tiny bends to two corners. $35

 

  1. FERRATO, Donna. “The Business of Begging,” New York Times Magazine, April 24, 1994.

This cover story by Nicholas Dawidoff is illustrated with images by photojournalist Donna Ferrato, beginning with a double-page grid of close-up portraits of 32 panhandlers. Her cover image shows a man kneeling in a subway car with his hands folded, appearing Christ like. Additional pictures of down-and-out men and women, from when the magazine was printed in quality screen-gravure. Minor folds and chipping to covers. $15

 

  1. FICEK-SWENSON, Bernice. Original photograph.

Untitled, 1994. Van Dyke Brown print (?), 3 ½ x 3 inches (image), 5 ¼ x 5 ½ inches (sheet). Signed and dated, in pencil, under image. This emulsion print shows a vintage bicycle framed in a circular cut-out, suggesting a lens or peep hole. Handwritten note inside folded sheet, and accompanied by a mailed postcard announcing a lecture by her, also with a handwritten note. Bernie Ficek-Swenson (born 1951) is a Minneapolis photographer who uses alternative processes, especially photogravure. $35

 

  1. FRANK, JoAnn. 3 Dozen, New York: Sun Press, 1977. Softcover, 8 x 7 inches, unpaginated, 36 halftones.   Signed, with ephemera.

An artist’s book by Frank, consisting of three dozen photograms, all of which include eggs. Among the other items she uses are pins, glasses, jewelry, kitchen utensils, and a bra. According to the biography included, Frank was born in 1947 in Philadelphia and received her B.F.A. in fashion design. Her work is in the collection of the Metropolitan Museum of Art and other institutions in Japan and Australia. This copy is dated 1990 and signed by Frank, with her Witkin Gallery business card laid in. $35

 

  1. FREEDMAN, Jill. Circus Days, New York: Harmony Books, 1975. Softcover, 12 x 9 inches, 128 pages, halftone illustrations.

The written and visual results of Freedman spending two months with a New England traveling circus, which moved almost every evening. Comprises 35mm images she made mostly behind the scenes, of workmen, performers, clowns, trainers, and animals, especially her beloved elephants. Light scratching and edgewear to covers. $25

 

  1. FREEDMAN, Jill. Street Cops, New York: Harper and Row, 1981. Hardcover (silver-stamped black cloth), 12 ¾ x 10 inches, 256 pages, halftone illustrations, dustjacket. Stated first edition, with signed ephemera.

Freedman’s hefty visual diary of life on the beat of New York City policemen and women. She made the vast majority of the images at night, covering beatings, accidents, and deaths. The telling cover image features two men in blue facing apartment doors at the end of a narrow, claustrophobic hallway, guns and cigars in hand. Laid into this copy is Freedman’s signature, address, and phone number, written on another’s business card. Dustjacket darkened, rubbed and wrinkled. $250

 

  1. FREEDMAN, Jill. A Time That Was: Irish Moments, New York: Friendly Press, 1987. Hardcover (blind-stamped white cloth), 11 ½ x 9 ½ inches, unpaginated, halftone illustrations, dustjacket.

Freedman’s loving assessment of Ireland’s landscape, people, traditions, lifestyle, music, and (of course) pubs. Introduction and captions written by the photographer. Near fine condition. $35

 

  1. FREEMAN, Emma B. Peter E. Palmquist, With Nature’s Children: Emma B. Freeman [1880-1928]—Camera and Brush, Eureka, California: Interface California Corp., 1976. Softcover, 9 ¼ x 8 ¼ inches, 134 pages, halftone illustrations. Signed by author.

Biography of Freeman, with a selection of her studio portraits of Northwestern Native Americans, made during the 1910s. Includes an appendix titled “Women’s Work: Women and the Arts in Rural Humboldt County, 1900-1920.” Emma B. Freeman (1880-1928) ran a portrait studio in Eureka, California, excelled at photographing Indians and marine disasters, and was lauded by the national government. This copy signed by Palmquist. Covers rubbed. $25

 

  1. FRISSELL, Toni. Robert Lewis Stevenson, A Child’s Garden of Verses, New York: U.S. Camera, 1944. Hardcover (paper covered boards), 10 ¾ x 9 inches, 96 pages, 33 halftone illustrations, dustjacket.

This is the first of three children’s books that Frissell illustrated during the 1940s. Here, her frequent models were her own son and daughter. She pictured them climbing trees, on the beach, flying kites, with umbrellas and instruments, in bed, rowing a boat, interacting with animals, and (on the cover) swinging high into the sky. Toni Frissell (1907-1988) began as a fashion photographer for Condé Nast publications in the 1930s, photographed World War II for the American Red Cross, and subsequently made informal portraits of the famous and served as an early female sports photographer. Previous owner’s inscription, in dustjacket with light wear and tears. $75

 

  1. FRISSELL, Toni. The Happy Island, New York: T. J. Maloney, 1946. Hardcover (paper over boards), 10 ¾ x 9 inches, 72 pages, 47 halftone illustrations, dustjacket.

Due to the “unprecedented success” of the above title, U.S. Camera publisher Maloney secured Frissell to illustrate another children’s book. This one is set on the island of Bermuda and is seen through the eyes of native children. Her young subjects picnic, swim, fish, boat, and ride both turtles and bikes. Includes a story by Sally Lee Woodall, but Frissell’s images dominate the pages to a greater degree than her two other children’s books. Light foxing, a few bumped corners, some separation at spine, in dustjacket that is missing a few small pieces. $75

 

  1. FRISSELL, Toni. Toni Frissell’s Mother Goose, New York: Harper and Brothers, 1948. Hardcover (red cloth and paper over boards), 10 ¾ x 8 ¾ inches, 96 pages, 33 halftone illustrations, dustjacket.

Includes numerous Mother Goose nursery rhymes, over thirty of which are accompanied by full-page bleed images by Frissell of happy children. Among them are “Tom, Tom, the Piper’s Son,” “Rub-a Dub-dub,” “Jack and Jill,” “Mary Had a Little Lamb,” “Little Boy Blue,” “Simple Simon,” and “London Bridge.” Two corners and bottom edge worn, in a dustjacket that is missing some pieces. $75

 

  1. GARDUNO, Flor. Witnesses of Time, New York: Thames and Hudson, 1992. Softcover, 11 ¾ x 11 ¾ inches, 72 duotone illustrations. Ephemera.

This was Mexican photographer Flor Garduño’s breakout book, featuring her recent images from rural Central and South America. They portray the landscape, religious traditions, and social rites of the indigenous Indians. With a foreword by the world-renowned Mexican novelist Carlos Fuentes. This copy has Garduño’s business card laid in. Light bends to cover and small piece of laminate separating. $75

 

  1. GARNER, Gretchen. From the Most Distant Time, Columbus, Ohio: Gretchen Garner, 2011. Softcover, 8 x 9 ½ inches, unpaginated, color halftone illustrations. Signed.

Straight-forward nature photographs from the American Midwest and Europe, picturing mainly flowers, trees, and water, paired with ancient Chinese poems translated into English. Gretchen Garner (born 1939) is a photographer, writer, and curator, who has worked primarily in the Midwest. This copy signed by Garner. Slight bend to covers. $25

 

  1. GEESAMAN, Lynn. Sixteen original photographs.

These are holiday greeting cards comprising either a gelatin silver print or original color print, mounted to a card that is titled, dated, and signed. In addition, the backs of the cards have short, hand-written notes by Geesaman. The images are all from her long, well-known series of European formal gardens, rendered in evocative soft focus. The cards were mailed to me between 1987 and 2007, and most are housed in their original envelopes. Geesaman writes in the last one, “If it weren’t for you, I wouldn’t have pursued pictorialism! Many thanks.” Also included is a 2012 note from her about the failing health of her and her husband. Lynn Geesaman (born 1938) is a Minneapolis-based photographer who hand worked her images into accessible landscapes. Set of 16: $350

 

  1. GILPIN, Laura. The Rio Grande: River of Destiny, New York: Duell, Sloan and Pearce, 1949. Hardcover (brown-stamped green cloth), 10 ¾ x 8 ¼ inches, 244 pages, halftone illustrations, dustjacket. Stated second printing, signed.

This book is the result of Gilpin’s self-assigned, multi-year investigation of the 1,800 mile length of the epic Rio Grande River. Beginning at its source in Colorado she trekked with her cameras through its New Mexican midstream and finally along the Texas-Mexican border, until it spilled into the Gulf of Mexico. Her straightforward pictures essay the landscape, wildlife, livestock, farms, and peoples of the region. In the course of her work, she “had to be pioneer, auto mechanic, missionary to the Indians and goodwill ambassador to the Mexicans, naturalist, and economist.” This copy is signed by Gilpin. Tiny bump to one corner, in torn dustjacket that is missing a little at top of spine. $125

 

  1. 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. Mint condition, in opened shrink wrap and original shipping carton. $100

 

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

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

 

  1. GOVER, C. Jane. The Positive Image: Women Photographers in Turn of the Century America, Albany: State University of New York Press, 1988. Softcover,

9 x 5 ¾ inches, 192 pages, 38 halftone illustrations.

Professor Gover’s “group portrait” of a generation of artistic and professional female photographers working from the 1890s to about World War I. Gertrude Kasebier, Frances Benjamin Johnston, and Catherine Weed Ward were among those who secured personal and commercial success, making contributions to both women’s history and the development of the relatively new medium of photography. They formed strong alliances in camera clubs, with Alfred Stieglitz, and through other social means. Near fine condition. $25

 

  1. 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

 

  1. GROOVER, Jan. The Nation’s Capital in Photographs, 1976, Washington, D.C.: Corcoran Gallery of Art, 1976. Softcover, 8 x 8 inches, 20 pages, 11 halftone illustrations (some in color). Ephemera.

Understated little catalog that was part of a commission by the Corcoran on the nation’s Bicentennial. Essay by curator Jane Livingston. Among the multiple-image pieces by Groover are three gatefold reproductions. Laid in is Grover’s New York Times obituary (January 12, 2012, on original newsprint). Near fine condition. $35

 

  1. HAWARDEN, Clementina. Graham Ovenden, Clementina: Lady Hawarden, London: Academy Editions, 1974. Hardcover (gold-stamped red paper over boards), 11 ¾ x 8 ¾ inches, 112 pages, 106 halftone illustrations, dustjacket. Stated first edition.

Features primarily Hawarden’s indoor portraits of upper-class English women from the middle of the nineteenth century. Her Victorian subjects are well dressed and coiffed. “She is representative of those amateur photographers who adopted the poses and self-consciousness of art photography while avoiding its monumentality and didacticism.” Hawarden (1822-1865), whose work was admired by Lewis Carroll, was part of an aristocratic Scottish family and one of her sons was elected to the House of Lords. Near fine condition, in lightly wrinkled and rubbed dustjacket. $25

 

  1. HELLEBRAND, Nancy. Londoners: Photographs by Nancy Hellebrand, London: Lund Humphries, 1974. Hardcover (printed paper over boards),

10 ¼ x 9 ¼ inches, 56 pages, 48 halftone illustrations. Stated first edition.

Issued without a dustjacket and with an introduction by Simon Wilson. The photographs are straightforward portraits of individuals in their home environments, probably made with a 2 ¼-x-2 ¼ inch camera. Shortly before she published this book, the American photographer Nancy Hellebrand (born 1944) lived in London for a few years, where she studied with Bill Brandt. Her work is in the collection of the Museum of Modern Art, New York. Near fine condition. $25

 

  1. HENRI, Florence. Florence Henri, Genoa, Italy: Martini and Ronchetti, 1974. Hardcover, 11 x 8 ¼ inches, 52 pages, 17 halftone illustrations.

This slender monograph features reproductions of modernist portraits and still lifes by Henri, dating from 1928 to 1933. The texts by A. Ciacelli and Ester Carla de Miro d’Ajeta cover her life and work, and there are lists of her publications, photography exhibitions, and paintings exhibitions. Though born in New York, Florence Henri (1893-1982) spent her adult life in Europe, making cubist paintings and beginning photography while studying with Laszlo Moholy-Nagy at the Bauhaus in 1927. Two years later she opened a studio in Paris, where she produced experimental and advertising photographs. Bilingual text in Italian and English. Faint cover stain and tiny bumping to a few corners. $75

 

  1. HEYMAN, Abigail. Dreams & Schemes: Love and Marriage in Modern Times, New York: Aperture, 1987. Hardcover (brown and blind-stamped white cloth),

9 ½ x 10 ¾ inches, 112 pages, halftone illustrations, dustjacket.

Documentary photographer Heyman’s look at “life’s most intense and complex ritual.” She presents American marriage preparations, rehearsals, ceremonies (civil, religious, and group), and receptions, with all the normal players. Fine condition. $35

 

  1. HOFER, Evelyn.

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

Mary McCarthy, The Stones of Florence, New York: Harcourt, Brace, and Co., 1959. Hardcover (gold-stamped tan cloth), 11 ¼ x 8 ¾ inches, 130 pages, gravure illustrations, dustjacket. Near fine condition, in price-clipped dustjacket with tiny stains and tape repair.

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

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

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

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

Overall, a very nice grouping of books that are often found in poor condition. The set of six: $95

 

  1. HOLZER, Jenny.

New York Times Style Magazine, Women’s Fashion Fall 2009. For this fifth anniversary issue, Holzer and four other artists “reimagined” the magazine’s logo. Holzer’s image of the classic “T” apparently projected on roiling ocean waves is on the cover. The other contributors are Frank Gehry, Jeff Koons, Francesco Vezzoli, and Doug and Mike Starn. Minor crimping to spine. $15

  1. HOWER, Ida Lynch. The Art of Retouching Systematized, Chicago: A. C. McClurg, 1908. Hardcover (white-stamped brown cloth with mounted reproduction), 7 ¾ x 5 ¼ inches, 48 pages, 5 halftone illustrations and one original photograph tipped in.

This little instructional manual addresses equipment, technique, lessons on all parts of the head and face, and “useful specialties.” The reproductions are pairs of before and after pictures. The frontispiece is an original gelatin silver print of a young woman made more attractive by the author’s retouching of the negative. Ida Lynch Hower was an instructor at Chicago’s M. I. L. Retouching School and the author of at least one other book. Light wear to tips and on top of front cover. $35

 

  1. JOHNSON, Fanny L., and Jennie M. Colby. Educational Gymnastic Play for Little Folks, Boston: Educational Publishing Co., 1906. Hardcover (blue-stamped blue cloth with mounted reproduction), 8 ½ x 6 ½ inches, 88 pages, 12 halftone illustrations.

This is an early book of instructions for children’s exercise. It covers games, jumping, breathing, and movement of the arms, trunk, and head. The photographic images, made specifically for the book, show young boys and girls holding poses that illustrate the text. Previous owner’s name, tiny cover wear, and rubbing to the mounted reproduction. $35

 

  1. JOHNSTON, Frances Benjamin. Pete Daniel and Raymond Smock, A Talent for Detail: The Photographs of Frances Benjamin Johnston, 1889-1910, New York: Harmony Books, 1974. Hardcover (paper over boards), 8 ¾ x 11 inches, 182 pages, 179 halftone illustrations, dustjacket.

This is the biography of one of the leading photojournalists at the turn of the twentieth century and an historical record of the United States during the gilded age. Johnston photographed the iron industry, women workers, the World’s Columbian Exposition, Louisiana Purchase Exposition, the public schools of Washington, D.C., the Hampton and Tuskegee Institutes, Yellowstone National Park, and more. Among her famous subjects were presidents Grover Cleveland and Theodore Roosevelt. Price-clipped dustjacket has tiny edgewear and tears. $35

 

  1. KASTEN, Barbara. Constructs, Boston: New York Graphic Society, 1985. Hardcover (blind-stamped gray cloth), 11 ½ x 9 ½ inches, unpaginated, 16 color halftone illustrations, dustjacket. Ephemera.

Kasten’s “optical fantasies” are still lifes of mostly mirrors and geometrical objects, effectively arranged and lit with saturated colors. The images are juxtaposed with contemporary poems and followed by a critical essay by professor Estelle Jussim. Laid into this copy is Kasten’s business card. Near fine condition, in price-clipped dustjacket that has tiny wear and (as usual) light-struck spine. $35

 

  1. KASTEN, Barbara. Barbara Kasten: 1986-1990, Tokyo: RAM, 1991. Hardcover (black and silver-stamped cloth with mounted color reproduction), 12 ¾ x 10 ¼ inches, unpaginated, 23 color halftone illustrations. Stated first edition, signed.

Includes primarily images of buildings, both inside and out, at night, dramatically and colorfully lit by Kasten. Her subjects include the Equitable Building (New York), High Museum of Art (Atlanta), and museums in Los Angeles. Essays by Deborah Irmas and two others. This copy signed and dated 1991 on the title page. Near fine condition, except for two very lightly bumped corners. $50

 

  1. KASTEN, Barbara. El Médol, Terragona, Spain: Tinglado, 1992. Softcover, 11 ¾ x 9 ½ inches, 40 pages, 12 color halftone illustrations. Signed.

A group of images by Kasten of an isolated quarry in Catalonia, Spain. She used special lighting, nighttime conditions, and negative images. Glòria Picazo provides an essay, bilingual in both Spanish and English. This copy signed and dated 1993 by Kasten, with written note “Don’t miss the fold-out.” Fine condition. $50

 

  1. LANGE, Dorothea. John Steinbeck, Their Blood is Strong, San Francisco: Simon J. Lubin Society of California, 1938. Softcover, 9 x 6 inches, 40 pages, 5 halftone illustrations. Stated third printing (two months after the first).

Steinbeck’s heartbreaking text initially appeared serially in the San Francisco News and tells the story of the more than 250,000 homeless agricultural workers in California during the Great Depression. He addresses the squatters’ camps, corporate farming, government housing, relief, medicine, and diet. The cover features Lange’s 1936 image of a drought refugee from Oklahoma breastfeeding her son in ramshackle living conditions, similar in subject to her iconic image “Migrant Mother,” of the same year. The other images picture a migrant man, tents, and shacks. A rare Lange item. Light erasure to title page and wear to covers. $150

 

  1. LANGE, Dorothea. Dorothea Lange, New York: Museum of Modern Art, 1966. Hardcover (black-stamped paper over boards), 9 x 8 inches, 112 pages, screen-gravure illustrations, dustjacket. Stated second printing.

Published a year after Lange’s death, this book accompanied an exhibition organized by John Szarkowski with heavy input of the photographer. In rich gravure, it reproduces forty years of images, from portraits of the 1920s to pictures of Egypt in the 1960s. The text is by George P. Elliott, a close friend of the photographer who “recreates Miss Lange’s career within the framework of her art.” Near fine in rubbed dustjacket with spots and a tear. $30

 

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

Images primarily of individual rural women, made by Lange from the 1930s to 1950s. She states in her short introduction that “These are women of the American soil. They are a hardy stock. They are of the roots of our country. They inhabit our plains, our prairies, our deserts, our mountains, our valleys, and our country towns.” Includes a foreword by Beaumont Newhall. Miniscule wear to bottom of spine, in dustjacket with a tiny piece missing. $35

 

  1. LANGE, Dorothea. Therese Thau Heyman, Celebrating a Collection: The Work of Dorothea Lange, Oakland, California: Oakland Museum, 1978. Softcover, 8 ½ x 10 inches, 98 pages, halftone illustrations.

Includes essays on the museum’s Lange collection, her focus on family, and her early and late years, by Heyman, Daniel Dixon, Joyce Minick, and Paul Schuster Taylor. Her pictures are grouped in sections such as Group f.64, “Migrant Mother” as Icon, Farm Security Administration, and Lange and Steinbeck’s “The Grapes of Wrath.” Also has a guide to the museum’s Lange archive of contact sheets, study prints, manuscripts, journals, correspondence, and interviews. Tiny edge wear. $25

 

  1. LANGE, Dorothea. Therese Thau Heyman, Sandra S. Phillips, and John Szarkowski, Dorothea Lange: American Photographs, San Francisco: Chronicle Books and San Francisco Museum of Modern Art, 1994. Softcover, 10 x 9 ½ inches, 192 pages, 165 halftone illustrations. Author signatures, with ephemera.

The catalog accompanying a major traveling exhibition that provided an in-depth historical analysis and reevaluation of Lange’s oeuvre. Includes essays by three leading scholars that discuss her pivotal role in the evolution of the American documentary style, her relationship with California art photographers, and a collaboration with her husband, sociologist Paul Taylor. Laid in are two pieces of ephemera related to the exhibition’s venue at the Minneapolis Institute of Arts. This copy inscribed by Heyman and Phillips. Near fine condition, except small dent to cover and following twenty pages. $45

 

  1. LANGE, Dorothea. Knut Hamsun, The Hunger, Athens, Greece, c. 2000. Softcover, 8 x 5 ½ inches, 240 pages, 16 halftone illustrations.

This is a peculiar Lange/F.S.A. item. Hamsun was a famous Norwegian writer and The Hunger (1890) is one of his best-known novels, about a starving, homeless writer in Oslo. This edition, probably pirated, features Lange’s iconic “Migrant Mother” three times—on the cover and title page and as the frontispiece. Among the text pages there is at least one additional image by her, plus F.S.A. images by Walker Evans, Russell Lee, Ben Shahn, and John Vachon. Text in Greek. Covers rubbed and lightly worn. $25

 

  1. LANGE, Dorothea. Ephemera.

Gene Thornton, “From Dorothea Lange: A Very Different Theme,” New York Times, December 9, 1973. Review of Lange’s new book To a Cabin, on original newsprint. Includes an image of a child standing on a rock.

“Migrant Mother,” unused U.S. Postal Service 32-cent stamp, 1998. Printed on the back is the text: “Dorothea Lange’s 1936 photograph of Native American Florence Owens Thompson symbolizes the courage of Americans as they tried to survive the hard times of the Great Depression.” An unusual aspect to this image being used was the fact that Thompson’s children, seen on each side of her, were still alive, and subjects of U.S. stamps must usually be deceased.

The pair: $10

 

  1. LEIBOVITZ, Annie. Photographs, 1970-1990, New York: Harper Collins, 1991. Hardcover (paper over boards), 13 ¼ x 11 ¼ inches, 232 pages, halftone illustrations (some in color), dustjacket. Stated first edition, with ephemera.

A substantial volume covering Leibovitz’s most productive period, when she worked for Rolling Stone and Vanity Fair. Includes iconic images of musicians, actors, politicians, athletes, dancers, and artists, like the nude John Lennon wrapped around Yoko Ono (on the cover) and Whoppi Goldberg in a bathtub full of white milk. Also reproduces some early black-and-white work and family pictures. The text is a conversation with writer Ingrid Sischy. Laid in is a 2009 New York Times article (on original newsprint) about Leibovitz’s financial problems. Near fine condition, with one short tear to back of glassine dustjacket. $75

 

  1. LEIBOVITZ, Annie. Olympic Portraits, Boston: Little, Brown and Co., 1996. Hardcover (paper over boards), 11 ¼ x 8 ¾ inches, 190 pages, halftone illustrations. Stated first edition, signed.

A large group of Leibovitz’s strong images of athletes training for the 26th Olympiad held in Atlanta during the summer of 1996. Invited by the Olympic committee, she relished the assignment because of the freedom she was granted and the subject being new to her. She shot individuals in about two dozen disciplines, from aquatics to yachting. This copy boldly signed on the title page by Leibovitz. Near fine condition. $45

 

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

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

 

  1. LEVITT, Helen. James Agee, A Way of Seeing, New York: Viking Press, 1965. Softcover, 7 ½ x 9 inches, 80 pages, 50 screen-gravure illustrations. Stated first edition, signed, with ephemera.

Same as the above, but softcover, stamped on the cover “Special Museum of Modern Art Edition.” Includes the same obituary, book signed by Levitt. Tiny wear to covers. $1,500

 

  1. LEVITT, Helen. Helen Levitt: Color Photographs, El Cajon, California: Grossmont College, 1980. Softcover, 8 ¾ x 8 inches, 42 pages, 23 halftone color illustrations. Signed, with ephemera.

A selection of Levitt’s seemingly offhand but insightful New York street scenes of adults and children. Text by Roberta Hellman and Marvin Hoshino. Laid in is an announcement for the catalog. This copy signed by Levitt. Near fine condition, with two small label marks on the covers. $350

 

  1. LEVITT, Helen. Photographs by Helen Levitt, New York: Sidney Janis Gallery, 1980. Softcover, 11 x 8 ½ inches, 12 pages, 8 halftone illustrations. Signed.

Exhibition catalog listing 137 photographs, from Mexico (1941), New York (1940s), and New York subways (1970s). Excerpted text by James Agee and Jane Livingston. This copy signed by Levitt. Covers rubbed, worn, and bent. $50

 

  1. LEVITT, Helen. Sandra S. Phillips and Maria Morris Hambourg, Helen Levitt, San Francisco Museum of Modern Art, 1991. Hardcover (gold-stamped brown cloth), 11 ¼ x 9 ½ inches, 148 pages, 132 halftone illustrations (some in color), dustjacket. Signed by authors.

This is the scholarly publication, written by two leading curators, which accompanied a traveling exhibition. It remains one of the best reproduced and in-depth books on Levitt’s life and work. This copy inscribed by Phillips and signed by Hambourg. Fine condition. $75

 

  1. LEVITT, Helen. Ephemera.

Helen Levitt, Washington, D.C.: Corcoran Gallery of Art, 1980. Softcover, 8 x 8 inches, 16 pages, 8 halftone illustrations (most in color). Catalog for an exhibition at the Corcoran, with a chronology, bibliography, and text by curator Jane Livingston.

Helen Levitt, Syracuse, New York: Menschel Photography Gallery, Syracuse University, 1986. Softcover, 8 x 8 inches, 8 pages, 3 halftone illustrations. Exhibition catalog, with text by Roberta Hellman and Marvin Hoshino.

Margarett Loke, “Helen Levitt, Who Froze New York Street Life on Film, is Dead at 95,” New York Times, March 30, 2009. Half-page obituary on original newsprint. Features a portrait of Levitt and two of her street images.

Eight announcements for exhibitions of photographs by Levitt in Chevy Chase (Maryland), New York, Paris, and San Francisco, 1986-2007.

Group of eleven: $35

 

  1. LIPPER, Susan. Grapevine, Manchester, England: Cornerhouse Publications, 1994. Hardcover (black and blind-stamped white cloth), 12 ¾ x 11 inches, 12 pages, duotone illustrations, dustjacket. Stated first edition.

This is Lipper’s intimate portrait of the poor, rural village of Grapevine Hollow, West Virginia. Larry Fink-like in their subject matter and sensibility, the pictures present the inhabitants and their modest possessions with grace and candor. Near fine condition. $350

 

  1. MANN, Sally. The Lewis Law Portfolio, Washington, D.C.: Corcoran Gallery of Art, 1977. Softcover, 8 x 8 inches, 12 pages, 9 halftone illustrations.

This is the catalog for an early solo show of Mann’s work, with essay by Corcoran curator Jane Livingston. The images were all made inside the Lewis Law building at night while it was being constructed at Lee University. Most of them are soft and ethereal, of unidentifiable subjects. Tiny spotting to title page and light rubbing to front cover. $25

 

  1. MARK, Mary Ellen. Falkland Road, London: Thames and Hudson, 1981. Hardcover (copper-stamped blue cloth), 11 ¼ x 10 ¼ inches, unpaginated, color halftone illustrations, dustjacket. Stated first edition.

Mark’s moving look inside the brothels of the internationally famous street in Bombay, India. She obviously gained her subjects’ trust and pictures them dressing, soliciting, working, washing, and with both their children and clients. Near fine condition, in dustjacket with light wear and a few tears. $125

 

  1. MARK, Mary Ellen. Falkland Road, New York: Alfred A. Knopf, 1981. Softcover, 11 x 10 inches, unpaginated, color halftone illustrations. Signed, with ephemera.

This is the first American edition of the above, in soft. Laid in is a 1981 announcement of the book and show of work from it at the Castelli Gallery. Additionally, this copy is signed and dated 2000 by Mark. Light chipping to cover. $125

 

  1. MARK, Mary Ellen. Photographs of Mother Teresa’s Missions of Charity in Calcutta, India, Carmel, California: Friends of Photography, 1985. Softcover,

10 ¼ x 8 ¼ inches, 48 pages, 36 duotone illustrations. Signed.

This is issue number 39 of the Friends of Photography’s periodical Untitled, with an essay by David Featherstone. It is made up of Mark’s compassionate pictures of individuals that Mother Teresa and her fellow sisters nursed—lepers, the blind, poor, dying, and “retarted.” This copy signed by Mark. Near fine condition. $100

 

  1. MEISELAS, Susan. Nicaragua: June 1978 – July 1979, London: Writers and Readers Publishing Cooperative, 1981. Hardcover (white-stamped black cloth), 9 ¾ x 11 ¼ inches, unpaginated, 71 color halftone illustrations, dustjacket. Stated first impression and first edition, signed.

Magnum photographer Meiselas’s important chronicle of the Nicaraguan revolution in the late 1970s. She photographed the Somoza regime, the insurrection, and the final offensive. Includes interviews with principle figures and a chronology of the country beginning with its founding in 1524. This copy signed and dated 2004 by Meiselas. Near fine condition. $500

 

  1. MEISELAS, Susan. Nicaragua: June 1978 – July 1979, New York: Pantheon, 1981. Softcover, 8 ½ x 11 inches, unpaginated, 71 color halftone illustrations. Stated first edition, signed.

The American softcover edition of the above. This copy signed and dated 2001 by Meisales. A little edgewear. $350

 

  1. MEISELAS, Susan. Pandora’s Box, New York: Magnum Editions, 2001. Hardcover (paper over boards), 8 ¼ x 12 inches, unpaginated, color halftone illustrations. Stated first edition.

A nice and naughty book of pictures that Meisales made at a seemingly high-end New York sex-domination club of the same name. She pictures the workers with clients and statements by the owners and “mistresses.” Reproduces the form that customers would fill out upon entry, with their sexual preferences, such as gloves, spanking, humiliation, and foot worship. Bound in are seven pages of material used at the club, such as rubber and latex. Produced in an edition of 1,650 copies, each hand numbered. Mint condition, in shrink wrap. $175

 

  1. METZNER, Sheila. Objects of Desire, New York: Clarkson N. Potter, 1986. Hardcover (copper-stamped brown cloth), 11 ¼ x 12 ¼ inches, unpaginated, 55 color halftone illustrations, dustjacket. Stated first edition, signed.

This is probably Metzner’s most successful book and body of work. All dating from the early 1980s, her images of women and still lifes are pointillistic, due to the Fresson color process in which she prints, and highly stylized. Both her photographs and her subjects, human and inanimate (like Art Deco vases), are steeped in pure beauty. Preface by Mark Strand. Metzner (born 1939) was also a designer and art director, whose photographs appeared frequently in Vogue, Vanity Fair, and House & Garden magazines. Inscribed by Metzner. Near fine condition, in opened shrink wrap. $125

 

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

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

 

  1. MILLER, Lee. Antony Penrose, The Lives of Lee Miller, New York: Thames and Hudson, 1989. Softcover, 11 x 8 ¾ inches, 216 pages, 171 duotone illustrations.

This is the insider’s biography of Miller, written by her second husband. He breaks down her life into over ten chronological chapters. Covers lightly rubbed. $35

 

  1. MILLER, Lee. Jane Livingston, Lee Miller Photographer, New York: Thames and Hudson, 1989. Hardcover (silver and blind-stamped black cloth), 11 ¾ x

9 ¾ inches, 174 pages, halftone illustrations, dustjacket.

This volume details Miller’s career as a fashion model, friend of the Surrealists, war photographer, and portraitist. It commences with a group of pictures of the beautiful Miller by Arnold Genthe, Horst P. Horst, Man Ray, Edward Steichen, and others. Among the personalities upon whom she turned her own camera were Joseph Cornell, Max Ernst, René Magritte, and Picasso. Mint condition, in shrink wrap. $50

 

  1. MITCHELL, Suzanne. Deep Sea, Suzanne Mitchell, 1978. Softcover, 14 x 11 inches, 16 pages, halftone illustrations. Signed.

Oversized artist’s book with water and fish imagery. Every double-page spread is a collage of pictures, some in negative tonalities. This copy signed by Mitchell, in white ink, on the back cover. Near fine condition. $45

 

  1. MODEL, Lisette. Lisette Model, Tucson: Center for Creative Photography, University of Arizona, 1977. Softcover, 11 x 8 ½ inches, 20 pages, 26 halftone illustrations.

Reproduces many of Model’s best-known street images of people, made during the 1930s and forties. They all come from a group that she gave Ansel Adams, in thanks for him giving her a light meter after she lost hers while on a trip to San Francisco. Includes a chronology. Near fine condition. $10

 

  1. MODEL, Lisette. Lisette Model, New York: Aperture, 1979. Hardcover (paper over boards), 15 ¼ x 12 ¼ inches, unpaginated, halftone illustrations, dustjacket.

The oversize monograph on the accomplished New York street photographer. The images, from the 1930s to sixties, often focus on arresting individuals she encountered, such as the smiling overweight woman in a swim suit crouching at Coney Island (on the cover). Marvin Israel designed the book and Berenice Abbott wrote the preface. Tiny holes and piece of tape on front free endpaper, top and bottom of spine lightly bumped, and small tear in dustjacket. $150

 

  1. MODEL, Lisette. Lisette Model: A Retrospective, New Orleans Museum of Art, 1981. Softcover, 11 x 9 ½ inches, unpaginated, 115 halftone illustrations.

Heavily illustrated catalog for exhibition that also traveled to Germany. Includes short statements by Model on both books and her own work. Covers lightly rubbed. $75

 

  1. MODOTTI, Tina. Mildred Constantine, Tina Modotti: A Fragile Life, New York: Rizzoli, 1983. Hardcover (silver-stamped black cloth), 10 ½ x 10 ½ inches, 200 pages, halftone illustrations, dustjacket.

This was the first biography, well-illustrated, on Modotti, whom the author met a year before she died. Constantine covers the photographer’s early years in her native Italy and time in California, Mexico, and the Soviet Union. Modotti (1896-1942) is best known for her time with Edward Weston, as subject, lover, and photographer in her own right. Her modernist still lifes from the 1920s have become as sought after as the work of Weston. Near fine condition. $100

 

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

A short series of pictures that suggest the use of opium (thus the title) and captivity in a domestic environment. Moffatt’s images, almost exclusively of women, are melodramatic, softly focused, and replete with Victorian-era interiors and clothing. The book, which was issued without a dustjacket, includes essays by Stephan Berg, Bridgette Reinhardt, and Alexander Tolnay, in German and English. Tracey Moffatt (born 1960) is an Australian artist who works primarily in photography and video. This copy inscribed, “Ms. Moffatt/New York/2002.” Near fine condition. $35

 

  1. MOON, Sarah. Stitched Together, Minneapolis: Dayton’s Department Store, 1991. Softcover, 6 x 6 ½ inches, 48 pages, 18 halftone illustrations.

This little-known and extremely rare Moon piece was produced to promote a 1991 fashion show and fundraiser. Moon’s soft-focus and impressionistic images highlight her ability to fuse high-art and commercial photographic imagery. The pictures began as monochromatic images to which hand coloring was applied before being reproduced here. Among the designers represented are Chanel, Matsuda, Mary McFadden, Ozbek, and Yves Saint Laurent, in clothing priced up $13,000. Each copy of this item is hand bound with unique gold thread stitching on both the front cover and on a centerfold of glassine. Near fine condition. $375

 

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

Moon’s moody images are primarily of dolls and figures, softly focused, closely cropped, and darkly printed. Includes her explanation of the title of the book and additional text by artist Ilona Suschitzky. Sarah Moon (born 1940) is a French fashion and commercial photographer. Produced without a dustjacket, in a numbered, signed edition of 200 copies. Fine condition. $275

 

  1. MORATH, Inge. Dominique Aubier, Fiesta in Pamplona, Paris: Robert Delpire, 1956. Hardcover (brown-stamped white cloth), 11 ¼ x 9 inches, 148 pages, screen-gravure illustrations (some in color), dustjacket.

Visual and written elaborations on the week-long festival of St. Firmin that takes place in the northern Spanish city of Pamplona. Morath photographed the opening parade, the famous running of the bulls through the city streets, and the final stadium bull fights. Features a design by Picasso on the cloth cover and high-quality gravure images inside by the photographer. Inge Morath (1923 -2002) was a long-time member of the Magnum photo agency and produced many books, including some with her playwright husband, Arthur Miller. Near fine condition, in dustjacket with a tear and light wear. $75

 

  1. MORATH, Inge. De la Perse à l’Iran, Paris: Robert Delpire, 1958. Hardcover (black and gray-stamped gray cloth), 11 ¼ x 9 inches, 70 pages, screen-gravure illustrations (some in color), dustjacket.

An examination of Iran, in its pre-revolutionary days, with text by Edouard Sablier. Morath turns her camera on the country’s landscape, rulers, common people, ancient ruins, and oil industry. An early look at a country that at the time was little known to Westerners and is now notoriously different. Text in French. Mark on free endpaper, in dustjacket with tiny wear. $75

 

  1. MORATH, Inge. Arthur Miller, In Russia, New York: Viking Press, 1969. Hardcover (gold-stamped cream cloth), 9 ¾ x 7 ¾ inches, 240 pages, screen-gravure illustrations (some in color), dustjacket.

Apparently the first collaboration between Magnum photographer Morath and her playwright husband Arthur Miller, probing into the traditions and values of the people of the Soviet Union. Her images portray individuals in their homes, the museums and theaters of Leningrad and Moscow, and courtyards and country scenes from the Caucasus to Soviet Asia. Near fine condition, in price-clipped dustjacket with small edgewear. $25

 

  1. MORATH, Inge. Arthur Miller, In the Country, New York: Viking, 1977. Hardcover (gold-stamped white cloth and paper over boards), 10 ¼ x 8 ¾ inches, 192 pages, halftone illustrations (some in color), dustjacket. Stated first edition, signed.

Another duel effort of Morath and her husband. He writes about and she photographed typical scenes and activities of small town and rural America, probably mostly New England, as they lived in the countryside of Connecticut. Taped into this copy is a card printed “A Horchow Special Edition” that is signed by both Morath and Miller. Near fine condition, in dustjacket with two tears. $50

 

  1. MORATH, Inge. Arthur Miller, Chinese Encounters, New York: Farrar, Straus, Giroux, 1979. Hardcover (silver and blind-stamped black cloth), 9 ¾ x

7 ¾ inches, 256 pages, halftone illustrations (some in color), dustjacket. Stated first printing.

Photographs by Morath and observations of Miller made directly after the death of Mao, reflecting the hope of new freedoms in the country. Her images focus on workers, monuments, students, and aspects of everyday Chinese life. Price sticker to free endpaper, remainder mark to top of pages, in dustjacket with tiny edgewear. $25

 

  1. MORATH, Inge. Portraits, New York: Aperture, 1986. Hardcover (silver-stamped brown and tan cloth), 11 ½ x 9 ¾ inches, 96 pages, 66 halftone illustrations, dustjacket. Signed, with ephemera.

A selection of Morath’s straightforward pictures of such figures as Jean Cocteau, Marilyn Monroe, Dustin Hoffman, Alexander Calder, and Eleanor Roosevelt with Adlai Stevenson. Husband Henry Miller provides the introduction and Morath also contributes text about some of the sessions with her subjects. Laid in is Morath’s New York Times obituary (January 31, 2002, on original newsprint). This copy signed by Morath. Fine condition, in price-clipped dustjacket. $35

 

  1. MORGAN, Barbara. Martha Graham: Sixteen Dances in Photographs, New York: Duell, Sloan and Pearce, 1941. Hardcover (red-stamped cream cloth),

11 ¾ x 10 ½ inches, 160 pages, screen-gravure illustrations. Stated first edition.

This is Morgan’s extensive examination of moving performances of modernist dancer Graham and her company, rendered in high-quality gravure images. Includes text by both the subject and the photographer, plus descriptions of the sixteen dances, which include such famous ones as “Lamentation” and “Letter to the World.” This copy of the book is missing the dustjacket and has lightly stained covers, but includes some ephemera and extensive handwritten comments by a previous owner. A notice of the second edition is pasted in and two newspaper articles about Graham are laid in, including her obituary from the Village Voice. The comments, dated 1980, fill up primarily the last page, rear free endpapers, and inside back cover. They are enthusiastically written by a dancer, who appreciates the book, Graham’s artistry, and two of her performances in the Twin Cities. $75

 

  1. MORGAN, Barbara. Barbara Morgan, Hastings-on-Hudson, New York: Morgan and Morgan, 1972. Hardcover (gold-stamped burgundy leatherette),

10 ¾ x 9 ¾ inches, unpaginated, halftone illustrations, dustjacket.

A well-balanced monograph on Morgan, showing her main bodies of work largely from the 1940s: children, plants, composites, and dance images. Among the dancers she photographed were Merce Cunningham and, most famously, Martha Graham. With an introduction by Peter C. Bunnell, the book was edited and designed by Morgan herself (half of the husband/wife publishing team of Morgan and Morgan). Tiny wear to bottom edge, in dustjacket with a tear, chip, and rubbing. $35

 

  1. MORGAN, Barbara. Ephemera.

Martha Graham and Dance Company, New York: National Theatre, 1944. Four-panel brochure for a week of performances, with tickets priced between $1.10 and $4.20. Features three of Morgan’s dance images, including perhaps her most well-known, “Martha Graham, Letter to the World (Kick),” which covers the top half of the front panel. An attractive piece of Morgan ephemera, despite its being folded and missing a bit of one corner.

Jennifer Dunning, “Barbara Morgan, Photographer of Modern Dance, is Dead at 92,” New York Times, August 19, 1992. Obituary on original newsprint, which reproduces a portrait of Morgan and her 1940 image of Martha Graham “Letter to the World (Kick).”

Barbara Morgan: Photomontage, Rochester, New York: George Eastman House, c. 1979. Six-panel brochure for a traveling exhibition of 48 of Morgan’s photomontage prints. Dating from the 1930s to 1979, they included “Spring on Madison Square,” images of Martha Graham, and other subjects. Reproduces a light abstraction, with brief text by curator Marianne Fulton Margolis.

Barbara Morgan Limited Editions, New York: Daniel Wolf, c. 1980. Folded announcement for a show at the Wolf gallery. It also announces the publication of four limited edition photographs by Morgan, available for the first time at 30-x-40 inches.

Barbara Morgan Photographs, c. 1980. Four-panel brochures offering 42 of Morgan’s photographs, all illustrated. Dating from the 1930s to seventies, they include her images of dancers, photomontages, and a 1944 portrait of Berenice Abbott.

Group of five: $35

 

  1. New York Times Magazine, September 9, 2001, “Women Looking at Women: An Exploration in Pictures of Power and its Opposite.”

The “Photography Issue 2001,” completely devoted to the above subject. The cover sports a self-portrait by Sally Mann with her two daughters. Among the photographers who contribute internal pictures are Tina Barney, Nan Goldin, Lauren Greenfield, Mary Ellen Mark, Joyce Tenneson, and Diana Walker. Front cover with one short tear and one corner wrinkled. $15

 

  1. NORMAN, Dorothy. Dualities, New York: An American Place, 1933. Hardcover (black-stamped white cloth and paper over boards), 10 x 6 ½ inches, 118 pages, unillustrated, dustjacket.

This is a book of poems by Norman, on topics such as God, love, jealousy, death, and art, dedicated to Alfred Stieglitz and the “Spirit of An American Place,” the last gallery Stieglitz ran. Printed in an edition of four hundred copies, this one numbered 262. Dorothy Norman (1905-1997) was a writer who sought social change and a lover and mentor of Stieglitz. She became the subject of some of his photographs and took up the camera herself, with his encouragement. Small wear to two tips, with whitening to edges of covers, in the original glassine dustjacket which is browned and torn. $50

 

  1. NORMAN, Dorothy. Intimate Visions: The Photographs of Dorothy Norman, San Francisco: Chronicle Books, 1993. Softcover, 8 x 6 inches, 180 pages, duotone illustrations, dustjacket. Ephemera.

This, the first monograph of Norman’s photographs, presents her quiet, private images, mostly from the 1930s to fifties. In them she pictures the architecture of New York City, still lifes and landscapes, and intimate portraits of figures like Marc Chagall, Ingrid Bergman, and Albert Einstein. Introduction by the photographer and essay by curator Miles Barth. Laid into this copy is Barth’s business card and the New York Times obituary for Norman (April 14, 1997, on original newsprint). Near fine condition. $25

 

  1. NOSKOWIAK, Sonya. Donna Bender, Jan Stevenson, and Terrence R. Pitts, Sonya Noskowiak Archive, Tucson: Center for Creative Photography, University of Arizona, 1982. Softcover, 11 x 8 ½ inches, 40 pages, 372 halftone illustrations.

This, the Center’s Guide Number Five, includes a brief introduction by curator Pitts, small reproductions of most of the pictures by Noskowiak in the collection, and an index of sitter’s names. Sonya Noskowiak (1900-1975) was a close friend of Edward Weston, made her own accomplished photographs, and was a member of Group f.64. Tiny wear to spine. $10

 

  1. PALFI, Marion. Marion Palfi, Tucson: Center for Creative Photography, University of Arizona, 1983. Softcover, 11 x 8 ½ inches, 40 pages, 29 halftone illustrations.

This issue of the Center’s periodical The Archive is primarily devoted to Palfi. It features an appreciation by Elizabeth Lindquist-Cock. The reproductions reveal the photographer’s interest in the underprivileged and human justice and includes one of her best-known images, “Wife of the Victim” (1949) showing a black woman whose husband was recently lynched. Spine worn, covers rubbed, and one bumped corner. $10

 

  1. PALFI, Marion. Robert Sorgenfrei and David Peters, Marion Palfi Archive, Tucson: Center for Creative Photography, University of Arizona, 1985. Softcover, 11 x 8 ½ inches, 80 pages, halftone illustrations.

Includes biography, bibliography, and exhibition listing, and details the center’s archival holdings of Palfi’s correspondence, activity files, project files, and other material. Reproduces, in small scale, about 800 prints by her. Near fine condition. $10

  1. PARKER, Olivia. Signs of Life: Photographs by Olivia Parker, Boston: David R. Godine, 1978. Hardcover (silver-stamped orange cloth), 9 ¾ x 10 ¼ inches, unpaginated, 53 duotone illustrations, dustjacket.

Understated still lifes printed in their original sizes of 4 x 5 and 5 x 7 inches, made with a view camera. Fine condition, in lightly rubbed dustjacket. $125

 

  1. PICKETT, Keri. Love in the 90s: B.B. & Jo, The Story of a Lifelong Love, New York: Warner Books, 1995. Hardcover (printed paper over boards), 6 ¾ x 9 inches, 108 pages, halftone illustrations, dustjacket. Stated first printing, signed.

This is Pickett’s intimate observation of the close relationship between one set of her grandparents. Historical snapshots of the couple are interspersed among her moving images that are accompanied by years of letters between the two. Most of Pickett’s photographs were made around 1990 and end with the death of her grandfather and her grandmother residing in a nursing home. This copy warmly inscribed by the photographer. Keri Pickett (born 1954) is a Minneapolis-based documentary photographer, who regularly contributed to People magazine and whose work is always focused on the human condition. Fine condition. $35

 

  1. PLACHY, Sylvia. Sylvia Plachy’s Unguided Tour, New York: Aperture, 1990. Hardcover (printed paper over boards), 11 ½ x 10 ¾ inches, 114 pages, 130 duotone illustrations, dustjacket. Signed, with ephemera.

This is the first compilation of Plachy’s street photographs. Made during the 1980s primarily in New York and her native Budapest, they are poignant, intimate, humorous, and revealing. Many of them appeared in her weekly picture contributions to the Village Voice, also titled “Unguided Tour.” The book was designed by Yolanda Cuomo and includes an essay by Village Voice columnist Guy Trebay and a flexible record featuring an original composition by musician Tom Waits (making this also a collectible Waits item). The book accompanied an exhibition organized by the Minneapolis Institute of Arts. Laid in is an Aperture press release for the book, a postcard and poster for the show, and a photograph of designer Cuomo and Plachy in the gallery. In addition, this copy is signed by Cuomo and Plachy (and dated the day of the Minneapolis opening). A rich set of ephemera and signatures. Fine condition, with original shrink wrap laid in (featuring a sticker about the Waits record). $250

 

  1. PLACHY, Sylvia. Original photograph.

         The Visitor, 1984. Gelatin silver print, 9 ¼ x 6 ¼ inches (image), 10 x 8 inches (sheet). Signed, titled, and dated, in ink, verso. This humorous image pictures a monkey peering in a car window, apparently perched on the vehicle’s roof. It is reproduced in the above book, opposite the copyright page (where it is dated 1985). $500

 

  1. PURCELL, Rosamond Wolff. Half-Life: Photographs by Rosamond Wolff Purcell, Boston: David R. Godine, 1980. Hardcover (gold-stamped orange cloth), 9 ½ x 10 ¼ inches, unpaginated, 47 halftone illustrations (some in color), dustjacket. Signed, with ephemera.

According to the photographer’s own preface, “Many of the beings in these photographs belong to states of mind rather than to reality. The term ‘half-life’ refers, in many cases, to hybrid or interrupted identity.” Laid in is a review copy notice describing the book; in addition this copy is signed by Purcell. Fine condition. $50

 

  1. RESNICK, Marcia. Landscape, Marcia Resnick, 1975. Softcover, 8 ¼ x 11 inches, 64 pages, 30 halftone illustrations (some in color).

A self-published artist’s book, whose only text quotes Michel Tournier: “If beautiful landscapes could be eaten they would be photographed much less.” Most of the intentionally bland, Ruscha-like, images picture an expanse of sky over a thin strip of horizon. Occasionally, however, other subject matter fills in, though the images remain formally the same. Near fine condition. $75

 

  1. RESNICK, Marcia. Re-Visions, Toronto: Coach House Press, 1978. Softcover, 8 ½ x 11 inches, 104 pages, halftone illustrations.

Another Resnick artist’s book, this one concerning adolescent girl culture. The staged images generally depict faceless female figures with props such as food, toys, clothing, and books. Each is accompanied by a sentence or two of text addressing the subject’s dilemma, like “She secretly lusted for her television idols.” Tiny chipping to covers. $125

 

  1. REXROTH, Nancy. Original photograph.

         “My Mother Poses in the Nude with Her Clothes On,” 1968. Gelatin silver print, 3 ¼ x 5 inches (image, sheet), 11 x 8 ½ inches (paper mount). Titled, dated, and signed, in ink, on the mount. This image shows Rexroth’s mother on a bed posing in the Grecian manner of Isadora Duncan, with her eyes closed and not naked. She additionally adds the inscription, “This was done in my senior year of college to illustrate a Wallace Stephens poem.” This is the original print used for reproduction in Fred R. Parker’s important exhibition catalog Attitudes: Photography in the 1970’s (Santa Barbara Museum of Art, 1979). It is an early, uncharacteristic image by the photographer. Nancy Rexroth (born 1946) is most revered for her plastic camera images that comprised her 1976 book Iowa. $500

 

  1. SCHWARTZ, Dona. In the Kitchen, Heidelberg, Germany: Kehrer Verlag, 2009. Hardcover (printed paper over boards), 11 ½ x 9 ½ inches, 176 pages, 110 color halftone illustrations. Signed.

Schwartz’s first monograph is a tightly focused body of work all shot in her own domestic kitchen. She states that that room “is the place in the house where our daily dramas are enacted. It’s where, together, we make a mess of things and do our best to clean it all up.” Essay by Alison Nordstrom. Dona Schwartz (born 1955) is a Minneapolis scholar and educator, who teaches at University of Minnesota. Her photographs explore everyday life and culture. This copy signed by Schwartz. Fine condition. $45

 

  1. SHERMAN, Cindy. Cindy Sherman, New York: Pantheon, 1984. Softcover, 10 ½ x 8 ¾ inches, 198 pages, 89 halftone illustrations (some in color). Stated first edition.

The images are about evenly divided between her Untitled Film Stills from the late 1970s and color self-portraits from the early 1980s. Essays by Peter Schjeldahl and museum director I. Michael Danoff. Near fine condition. $35

 

  1. SHERMAN, Cindy. History Portraits, New York: Rizzoli, 1991. Hardcover (red-stamped gray cloth with mounted reproduction), 13 ½ x 10 ½ inches, 38 color halftone illustrations, dustjacket.

Sherman’s enactments of generic historical types and specific individuals like the Madonna and Salomé. As normal, she uses extensive props and costuming, and includes the frame as part of the work. Near fine condition, in original acetate dustjacket that is rubbed and wrinkled. $75

 

  1. SHERMAN, Cindy. Fitcher’s Bird, New York: Rizzoli, 1992. Hardcover (gold and blind-stamped black cloth), 9 ¾ x 9 ¾ inches, 32 pages, 16 color halftone illustrations, dustjacket.

Based on a tale by the Brothers Grimm, this is the grizzly story of a wicked wizard who cut up beautiful girls that he captured while begging from house to house. Most of Sherman’s images are close ups of the bearded Fitcher and his victims and their possessions. Fine condition. $35

 

  1. SHERMAN, Cindy. The Kaleidoscope House: Art Collection #1, Philadelphia: Bozart Toys, 2000. Cardboard box with objects, 8 x 14 ¼ x 4 ½ inches.

This unusual item comprises a set of accessories for the Kaleidoscope House, one of a series of children’s educational toys designed by artists. This collection comprises 1:12 scale reproductions of works by Mel Bochner, Carroll Dunham, Peter Halley, Mel Kendrick, Laurie Simmons, and Sherman. Sherman’s piece is her well-known “Untitled Film Still #54,” which shows her in an overcoat, walking at night, housed in a plastic frame that measures 1½ x 2 inches. The box is complete and unopened, in fine condition. $50

 

  1. SIMMONS, Laurie. Water Ballet/Family Collision, Minneapolis: Walker Art Center, 1987. Hardcover (stiff boards), 6 x 9 ¼ inches, 10 pages, 10 halftone illustrations (some in color).

This is an inventive artist’s book, issued without a dustjacket. The covers are made from an aqua-colored reflective material that shimmers like water. Inside, reproduced on very heavy board-pages are color images of nudes under water juxtaposed with black-and-white pictures of dolls also under water. Fine condition. $100

 

  1. SIMMONS, Laurie. Jan Howard, Laurie Simmons: The Music of Regret, Baltimore Museum of Art, 1997. Softcover, 10 ¾ x 9 ½ inches, 120 pages, halftone illustrations (most in color).

This is the catalog for a mid-career retrospective of Simmons’s staged photographic work, dating from the 1970s to 1990s, which frequently presents miniature domestic environments populated by dolls. Curator Howard observes that Simmons “routinely draws her imagery from the seemingly insignificant memories of her childhood and adolescence on suburban Long Island. By focusing on the most familiar or quirkiest portrayals of clichéd roles and fantasies, she reflects the very particular social and cultural patterns that applied during her youth.” Near fine condition. $35

 

  1. SIMMONS, Laurie. The Kaleidoscope House: Art Collection #1, Philadelphia: Bozart Toys, 2000. Cardboard box with objects, 8 x 14 ¼ x 4 ½ inches.

This unusual item comprises a set of accessories for the Kaleidoscope House, from a series of children’s educational toys designed by artists. This collection comprises 1:12 scale reproductions of works by Mel Bochner, Carroll Dunham, Peter Halley, Mel Kendrick, Cindy Sherman, and Simmons. Simmons’s piece is a soft-focus image of a female doll, housed in a plastic frame that measures 2 ½ x 3 ¼ inches. The box is complete and unopened, in fine condition. $50

 

  1. SIMMONS, Laurie.

New York Times Magazine, August 8, 2010. Cover and three other color halftone reproductions by Simmons, illustrating the article “My Shrunk Life: What 40 Years of Talking to Analysts Has—and Hasn’t—Done for Me,” by Daphne Merkin.

New York Times Style Magazine, November 6, 2011. Ten color halftone illustrations by Simmons of her own Georgian rural house. “For Laurie Simmons, a Connecticut mansion is really just a dollhouse of magnificent proportions.”

The pair: $15

 

  1. SOLOMON, Rosalind. Earth Rites: Photographs from Inside the Third World, San Diego: Museum of Photographic Arts, 1986. Softcover, 12 x 12 inches, 16 pages, 12 duotone illustrations. Signed.

Exhibition catalog with an introduction by museum director Arthur Ollman. The well-reproduced, large-scale reproductions depict the people of India, Guatemala, Brazil, and Nepal, and include her often seen image of a Peruvian woman breast-feeding a sheep. This copy inscribed and dated by Solomon. Two corners lightly bumped. $25

  1. SOLOMON, Rosalind. Rosalind Solomon: Photographs, 1976-1987, Tucson, Arizona: Etherton Gallery, 1988. Softcover, 11 x 8 ½ inches, 32 pages, 43 duotone illustrations. Signed.

Catalog for a traveling exhibition, with text by Arthur Ollman. The images comprise Solomon’s straightforward portraits of individuals in the United States, Asia, and Central and South America. This copy inscribed by Solomon. $25

 

  1. SOLOMON, Rosalind. Original photograph.

Man with Gun, Scottsboro, Alabama, 1981. Gelatin silver print, 7 ¼ x 7 ¼ inches (image), 11 x 8 inches (sheet). This image, which appeared in the above Etherton catalog, pictures a man in bib overalls and cap with his sawed-off shotgun in front of what looks like a government building. Menacing indeed, especially in today’s atmosphere of gun violence and right-wing radicals. On the back is the photographer’s wet stamp and a paper label for a Solomon exhibition at the Birmingham Museum of Art. $50

 

  1. SONNEMAN, Eve. Real Time: 1968-1974, New York: Printed Matter, 1976. Softcover, 8 x 15 inches, 96 pages, 46 halftone illustrations. Signed.

This elongated-format artist’s book was Sonneman’s first publication, and features the work for which she is best known. Each reproduction is a pair of images shot a few seconds apart, sometimes from a slightly different camera position and always addressing time and change in the real world. Her human subjects perform everyday activities such as talking, walking, and smoking. This copy warmly inscribed and dated 1980. Near fine condition. $250

 

  1. SPENCE, Marie Hays. Jamie’s Jingle Book, San Antonio: Naylor, 1940. Softcover (spiral binding with mounted reproduction), 7 ¾ x 5 ¼ inches, 140 pages, 70 halftone illustrations.

Spence make her son Jamie the subject of her verse and camera. She depicts the youngster with relatives, friends, toys, and pets, and performing mischievous acts such as stopping a pendulum clock. Mild browning and folds to covers. $25

 

  1. STEVENSON, Helen E. Kate Raworth Holmes, Pictures from Nature and Life, Chicago: A. C. McClurg, 1893. Hardcover (gold, brown, and orange-stamped brown cloth), 10 ½ x 8 ½ inches, 210 pages, halftone illustrations.

A good Victorian period piece of ten long poems by Holmes, with illustrations (both hand-drawn and photographic) by Stevenson. The pictures are mostly of children, women, flowers, and landscapes. One of the verses is titled “The Photograph,” which begins, “Sweet friend how often thou has begged a photograph of me. To please thee dear, I sat for this, and send it now to thee. I had not thought how many years had come and passed away. Until I looked upon the face I send to thee today.” Sports an intricate tri-color cover design of a tree with fruit/leaves. A fragile item with edgewear and some pages loose but all present. $75.

 

  1. STIMSON, Abbie Ann. Unique book of original photographs, c. 1950s. Spiral binding with clear hard plastic covers, 11 x 9 inches, 12 pages, 10 gelatin silver prints. Signed.

This seemingly one-of-a-kind item praises Stimson’s teacher Ed Kaminski, whom she studied under at Pasadena’s Art Center. It pictures a young man, with his camera, in class with Kaminski, and photographing, along with a full-page negative-image photogram. The full text, which is presented one sentence per page and photographically printed in the images reads: “You take the average photographer. He’s loaded with gadgets. Then you put him in Kaminski’s class. Where he learns to think. Gradually he grows. He emerges with new eyes to create. Rather than imitate.” After attending the Art Center, Abbie Ann Stimson (1916-1988) married Stewart W. Purcell, who supervised the installation of microwave relay stations in California from the 1950s to 1970s. This copy is inscribed and signed by Stimson. A revealing piece on photographic instruction, Los Angeles culture, and visual thinking. Covers rubbed. $350

 

  1. TRUAX, Karen. Original photograph.

From Painted Women series, 1978. Gelatin silver print, 9 ¼ x 6 ¼ inches (image), 10 x 8 inches (sheet). This image depicts a woman in a hat wearing a revealing lace bodice. The artist usually transformed such black-and-white pictures into hand-colored images for the series. Karen Truax (born 1946), of Los Angeles, was known for her staged images of women with applied color during the 1970s. Light vertical crease in parts of the center. $100

 

  1. TUCKER, Anne. The Woman’s Eye, New York: Alfred A. Knopf, 1973. Hardcover (silver and blind-stamped black cloth), 10 ¼ x 9 ¼ inches, 170 pages, 110 halftone illustrations, dustjacket. Stated first edition, with signed ephemera.

Tucker’s examination of ten top female photographers. After her general introduction, she addresses the life and work of the following individuals: Berenice Abbott, Diane Arbus, Margaret Bourke-White, Judy Dater, Frances Benjamin Johnston, Gertrude Käsebier, Dorothea Lange, Barbara Morgan, Bea Nettles, and Alisa Wells. Indicative of how early this study is, was the fact that fully half of the subjects were still alive. Laid in is a Knopf label with Tucker’s signature. Additionally present is a 1974 brochure from the College of Saint Catherine (St. Paul, Minnesota) for a solo show of 33 of Tucker’s own photographs and a seminar at which she discussed the contents of the above book. Most of you probably didn’t know that Tucker was “a photographer of unusual merit” who had “numerous one-woman” shows before becoming a curator; very illuminating ephemera. Near fine condition, in dustjacket with rubbing and tiny wear. $75

 

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

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

 

  1. TURCZAN, Katherine. Four original photographs.

In 1997 Turczan presented a one-person exhibition at the Minneapolis Institute of Arts of her portraits from the Ukraine, from which her parents immigrated. These four

8-x-10-inch gelatin silver prints were contact printed from her original negatives for publicity purposes. They depict, in her personal and quiet style, young adults and children that she encountered on her trips to the Ukraine during the mid-1990s. Katherine Turczan (born 1965) is a recent recipient of a Guggenheim Fellowship and teaches at the Minneapolis College of Art and Design. Accompanied by a press release for the exhibition. Set of four: $250

 

  1. 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. $50

 

  1. VERBURG, JoAnn. Susan Kismaric, Present Tense: Photographs by JoAnn Verburg, New York: Museum of Modern Art, 2007. Hardcover (white-stamped tan cloth), 11 x 9 ¼ inches, 184 pages, halftone illustrations (some in color), dustjacket. Signed ephemera.

This monograph accompanied a mid-career retrospective at the Museum of Modern Art. It nicely covers all of Verburg’s major bodies of work to date: black-and-white multi-print portraits and swimmers, intimate color pictures of her husband, poet Jim Moore, and selectively-focused color images of Italian olive trees. An attractive and well-written book. JoAnn Verburg (born 1950) was the artist liaison for Polaroid’s 20-x24-inch camera, worked on the Rephotographic Survey Project, and now lives and works in Minneapolis. Laid in a postcard with one of her images, warmly inscribed by Verburg. Near fine condition. $50

 

  1. WARD, Catharine Weed Barnes. Peter E. Palmquist, Catharine Weed Barnes Ward: Pioneer Advocate for Women in Photography, Arcata, California: Peter E. Palmquist, 1992. Softcover, 8 ½ x 6 ¼ inches, 96 pages, halftone illustrations.

This biography of Ward includes a chronology, bibliography, and selections of both her photographs and essays. Ward (1851-1913) was a fierce promoter of women in photography, first in her native America and later in England after she married. She edited magazines, wrote articles, and took her own images. Bump to top of spine. $25

 

  1. WEEMS, Carrie Mae. Thomas Piché, Jr., and Thelma Golden, Carrie Mae Weems: Recent Work, 1992-1998, New York: George Braziller, 1998. Hardcover (gold-stamped brown cloth), 10 ½ x 8 ¾ inches, 152 pages, halftone illustrations (some in color), dustjacket. Stated first edition.

This monograph accompanied an exhibition at the Everson Museum of Art in Syracuse, New York. It features five of the photographer’s recent bodies of work, all of them continuing her career-long engagement with identity, race, gender, class, the legacy of slavery, and the African diaspora. Insightful essays and quality reproductions. Near fine condition. $125

 

  1. WELTY, Eudora. One Time, One Place: Mississippi in the Depression/A Snapshot Album, New York: Random House, 1971. Hardcover (black and copper-stamped brown cloth), 8 ¼ x 8 inches, 114 pages, 100 halftone illustrations, dustjacket. Stated first edition, with ephemera.

Pictures that writer Welty made during the 1930s in Mississippi, while she was working for the W.P.A., not as a photographer but as a publicity agent. Showing the state’s poor residents, they are arranged in the following categories: Workday, Saturday, Sunday, and Portraits. Eudora Welty (1909-2001) is most renowned as a lyrical master of the short story. Laid in is her front page obituary from the New York Times (on original newsprint). Near fine condition, in dustjacket that is worn and missing a few small pieces. $75

 

  1. WOLCOTT, Marion Post. FSA Photographs, Carmel, California: Friends of Photography, 1983. Softcover, 11 x 9 ¼ inches, 48 pages, 37 halftone illustrations. Signed.

This is issue number 34 of the Friends’ periodical Untitled, with an essay by critic Sally Stein. Wolcott’s pictures, all dating from 1938 to 1941, show the poor living and working conditions of the Deep South, made for the government’s Farm Security Administration. Among them is her known image “Negro Boys Waiting Inside Plantation Store to be Paid for Picking Cotton, Mileston, Mississippi.” This copy inscribed and dated 1984 by Wolcott. Light edgewear to covers. $50

 

  1. Women of Photography: An Historical Survey. San Francisco Museum of Art, 1975. Softcover, 12 x 9 inches, 50 halftone illustrations. Signature and ephemera.

This catalog accompanied a traveling show of the work of fifty women photographers, from both the nineteenth and twentieth centuries. Each artist receives a page of text and one reproduction, plus bibliographic entries. Among the big names covered are Abbott, Arbus, Bourke-White, Cameron, Gilpin, Kasebier, Lange, Morgan, and Ullman.

But, happily, lesser-knowns are also included, such as Lady Filmer, Ingeborg Gerdes, Claudine Guéniot, and Markéta Luskacová. The text is by lecturer/curator Margery Mann. Laid in is a New York Times review of the show at the Sidney Janis Gallery (on original newsprint). Additionally, this copy is signed by photographer Mary Ellen Mark. Near fine condition, except for rubbed covers. $50

 

  1. WOOTEN, Bayard. Jerry W. Cotten, Light and Air: The Photography of Bayard Wooten, Chapel Hill: University of North Carolina Press, 1998. Hardcover (black-stamped white cloth), 10 ¼ x 8 ¼ inches, 252 pages, 187 halftone illustrations, dustjacket. Ephemera.

Presents primarily documentary photographs of rural black folk during the 1930s, in the Carolinas and neighboring states. Cotton writes about the photographer’s life and work. Bayard Wooten (1875-1959) enjoyed a half-century career in photography, advocated for the equality of women, and provided illustrations for six books. Laid in is a complimentary card from the author and publisher. One corner bumped, in original printed glassine dustjacket. $50

 

  1. WRIGHT, Dare. Holiday for Edith and the Bears, Garden City, New York: Doubleday, 1958. Hardcover (green cloth and printed paper over boards), 12 ½ x 9 inches, unpaginated, halftone illustrations.

This is Wright’s second children’s book, in which a doll and two teddy bears have adventures at the beach and on boats. In one sequence, Edith rescues the smaller bear who tried to retrieve a lost oar. Completely devoid of humans, the book is squarely directed at young girl readers. Dare Wright (1914-2001) was a model, photographer, and children’s book author. She issued nearly twenty titles, primarily during the 1960s and seventies, frequently starring dolls. Cover edges worn. $50

 

  1. WRIGHT, Dare. The Little One, Garden City, New York: Doubleday, 1959. Hardcover (red-stamped gray cloth and printed paper over boards), 12 ½ x 9 inches, 56 pages, halftone illustrations, dustjacket.

This is the story, in words and pictures, of the doll Persis, who encounters a turtle, butterfly, and crow. Her closest companions, however, are a pair of bear dolls, whom with she romps outdoors, au natural. Stickers to one free endpaper, light cover edgewear, in price-clipped dustjacket with tears and wear. $50

 

  1. WRIGHT, Dare. Date with London, New York: Random House, 1961. Hardcover (red and white-stamped black cloth and printed paper over boards), 12 ¾ x 9 ¼ inches, unpaginated, halftone illustrations, dustjacket.

Instead of dolls, a young boy and girl inhabit this book. On an enchanting tour of London, they hit the city’s main sites, serving as a guide for children and adults alike. Among the places they visit are Westminster Abbey, Buckingham Palace, Windsor Castle, and the Houses of Parliament. Wet stamp on front free endpaper, tiny cover edgewear, in dustjacket that is torn, taped, and missing a few small pieces. $35

 

  1. WRIGHT, Dare. Look at a Colt, New York: Random House, 1969. Hardcover (printed paper over boards), 11 ¼ x 8 ¼ inches, 40 pages, screen-gravure illustrations, dustjacket.

In this book, Wright observes the first eight days of a Colorado colt’s life. The text begins, “I am a colt. I am a baby horse. I am eight hours old.” The subject is shown feeding, wondering its ranch, being protected by its mother, and interacting with a few humans. Most of the reproductions bleed off the page and are all rich gravures. Previous owner’s inscription, in price-clipped and rubbed dustjacket. $50

 

  1. YEAGER, Bunny. How I Photograph Nudes, New York: A. S. Barnes, 1963. Hardcover (green-stamped black cloth), 11 ¼ x 8 ½ inches, 144 pages, halftone illustrations (some in color), dustjacket.

This healthy selection of Yeager’s female nudes comprises one of her most entertaining book. She melodramatically lights and poses her models, who are always well endowed. The front flap proclaims, “Figure photography is much more than recording a likeness of a naked female. It is an art form—an expression of feeling, both of the photographer and the model, for the model must feel part of what the photographer feels in order to set the mood of the photograph.” Bunny Yeager (born 1930) modeled in Florida and then became a prominent glamour photographer during the 1960s, when she published over ten books of her figure and pin-up work. Tiny edgewear, in dustjacket that is torn, worn, and missing a small piece. $75

  1. YEAGER, Bunny. How I Photograph Myself, New York: A. S. Barnes, 1964. Hardcover (silver-stamped blue cloth), 11 ¼ x 8 ½ inches, 158 pages, halftone illustrations (some in color), dustjacket.

This title matches the campy nature of the one above, declaring that it is “unique in the history of books on photography. It required the rare combination of three factors: A photographer experienced in glamour photography, who is herself a glamorous model, and an expert knowledge of all the tricks of the photographic trade.” Yeager pictures herself in the studio, on the beach, and in the bathtub, sometimes nude. The cover image presents her in a tight-fitting bright red outfit pulling the shutter of her tripod-mounted camera with a ribbon tied to her toes. Near fine condition, in price-clipped dustjacket that is torn, wrinkled, and missing a few small pieces. $75

 

  1. YEAGER, Bunny. Camera in Jamaica, New York: A. S. Barnes, 1967. Hardcover (silver-stamped black cloth), 11 ¼ x 8 ¾ inches, 182 pages, halftone illustrations (some in color), dustjacket.

An unusual subject for Yeager, as it deals primarily with the culture and clothed inhabitants of a foreign place. Nonetheless, she manages to slip in a number of her typical female nudes. The book is the result of three trips to the island, the first of which was on assignment for the location shooting of the James Bond film “Dr. No,” which yielded some of the candid shots of Sean Connery included here. Near fine condition, in rubbed and wrinkled dustjacket. $75

 

  1. YLLA. The Sleepy Little Lion, New York: Harper and Brothers, 1947. Hardcover (black-stamped blue cloth), 11 ½ x 9 ½ inches, 32 pages, halftone illustrations, dustjacket.

Verse by Margaret Wise Brown with Ylla’s pictures. Children’s book that follows a lion cub who leaves his mother for the day to meet a dog, cat, boy, and bunnies, falling asleep between each encounter. Ylla (1911-1955) was Camilla Koeffler (with variant spellings), of Vienna, Belgrade, Paris, and New York. She illustrated about twenty books of animals during her lifetime and is represented in the collections of the Eastman House and J. Paul Getty Museum. Browning to end papers, tiny wear to bottom of spine, in dustjacket that is worn, torn, and chipped. $15

 

  1. YLLA. Two Little Bears, New York: Harper and Brothers, 1954. Hardcover (green cloth spine and printed paper over boards), 11 ½ x 9 ½ inches, 32 pages, halftone illustrations.

A children’s book about two baby bears who run away from their mother on their first morning after hibernation. They swim, climb trees, and encounter other animals. Covers worn. $10

 

  1. YLLA. Animals in India, New York: Harper and Brothers, c. 1955. Hardcover (black-stamped green and black cloth), 11 ¼ x 9 inches, 132 pages, screen-gravure illustrations (some in color), dustjacket.

Features pictures of water buffalo, cobra, vultures, elephants, leopards, and numerous other indigenous Indian animals, in the wild and interacting with humans, rendered in high-quality gravure. Ylla was killed in a jeep accident while working on this book, and it includes excerpts from her diary spanning August 1954 to March 1955. Near fine condition, with previous owner’s name, in price-clipped dustjacket that has a few tears, wrinkles, and chips. $20

 

  1. YLLA. Cats, New York: Harper and Row, c. 1960. Hardcover (black cloth spine and black-stamped yellow cloth), 11 x 8 ½ inches, unpaginated, screen-gravure illustrations, dustjacket.

A selection of Ylla’s cat and kitten images, indoors and out, alone and with other animals. Printed in rich gravure and featuring many bleed images, including dramatic close-ups as the front and rear free endpapers. The foreword is by A. D. Hippisley and the designer, Bob Cato, gets title-page credit. One small gouge and wrinkle to cover, in dustjacket that is worn, torn, and chipped. $20

 

  1. YLLA. I’ll Show You Cats, New York: Harper and Row, c. 1964. Hardcover (yellow cloth spine and printed paper over boards), 11 ½ x 9 inches, 32 pages, screen-gravure illustrations, dustjacket.

This posthumous book is the fourth “collaboration” with prominent children’s author Crosby Bonsall. Ylla’s images show pussies with balls, goldfish, mice, in trees, and flying through the air. The two center pages feature a very tight close-up of a tabby’s face with opened mouth, bleed printed in gravure. Previous owner’s bookplate, minor edgewear to covers, in price-clipped dustjacket that is town, rubbed, and chipped. $20

 

  1. YTSMA, Petronella J. Legacy of an Ecocide: Agent Orange Aftermath, Minneapolis: Alifrom Publishing, 2009. Softcover, 7 ¾ x 7 ½ inches, 18 halftone illustrations, dustjacket. Signed special edition, with original photograph and additional ephemera.

Ytsma’s sensitive portraits of three generations of Vietnamese who were affected by the lingering poisons of the agent orange that the United States dropped on their country during the Vietnam War. Includes portraits of soldiers and civilian adults and children, born between 1940 and 2008, recently photographed. Statements, in addition to the photographer’s, by the directors of the War Legacies Project and the Special Initiative on Agent Orange. Born in Holland in 1948, Nel Ytsma is based in St. Paul, Minnesota, where she teaches and photographs as both an artist and professional. Laid in are three signed cards in envelopes from 2006, 2011, and 2012. This copy of the book is inscribed and dated 2009 by Ytsma. Additionally, this is number 51/200 in the edition produced with a gelatin silver print (also signed). Fine condition. $375

 

Catalog 4 — May 2013