Catalog 10 — Half-Price Sale

To celebrate my tenth (10th) catalog I am having a sale. As you can see, everything is marked down to half price (or approximately so; I don’t price in less than whole dollars). I have multiple copies of all of these titles, so, as Melvin McCosh, a renowned Twin Cities used-book seller, often said, “You Need These Books More Than I Do.” Unfortunately, at these prices, I cannot offer any further discounts. These prices are in effect as long as I have multiple copies on my shelves; in other words, after one copy sells, the price for the remaining one goes back up. The books are in very good or better antiquarian condition; most are near fine and some are in their original shrink wrap (noted). Contact me if you’d like detailed condition reports.


  1. ADAMS, Ansel. Ansel Adams, Hastings-on-Hudson, New York: Morgan and Morgan, 1972. Hardcover (silver-stamped gray paper over boards), 10 ¾ x 9 ¼ inches, unpaginated, 117 halftone illustrations, dustjacket.

A standard selection of classic straight photographs by one of the few household names in fine photography. Edited by Liliane De Cock, with a foreword by Minor White. $35 $20

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

This large-scale book includes an introduction by Adams, a foreword by Wallace Stegner, and many high-quality illustrations. This copy inscribed and dated in the year of publication. $500 $250

  1. ADAMS, Ansel. Yosemite and the Range of Light, Boston: New York Graphic Society, 1979. Hardcover (gold-stamped maroon and gray cloth), 12 ¼ x 15 ¼ inches, unpaginated, 116 duotone illustrations, dustjacket.

Features photographs by Adams of California’s Yosemite and other Western national parks, dating from the 1920s through 1960s, in their classic visual bravura. Includes an autobiographic foreword by Adams and an essay by author/conservationist Paul Brooks. $150 $75

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

Revelaciones was the catalog for a traveling exhibition, presented at eight American museums. It includes an introduction by MPA director Arthur Ollman, an essay by Nissan N. Perez, and a chronology of the artist; all text bilingual in both English and Spanish. A subsequent printing did not have the cover illustration tipped-on. $50 $25

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

The American Annual of Photography was the longest-running and most significant photographic yearly published in the United States. It first appeared in 1887, and by the time of its demise in 1953 covered over half the lifespan of the photographic medium. It remains today a rich resource on three generations of photographers. Included were such early figures as Edward Bierstadt and Napoleon Sarony, pictorialists Gertrude Käsebier and Clarence H. White, and twentieth-century masters like Minor White. This index encompasses every credited article and photographic reproduction in the annual’s sixty-seven volumes; over 3,500 names are alphabetically listed with citations. Privately printed in an edition of 500 copies. $25 $10

  1. ANDERSON, Paul Lewis.

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

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

The set of two: $30 $15

  1. ANDREWS, Ralph W. Picture Gallery Pioneers, 1850 to 1875, Seattle: Superior, 1964. Hardcover (orange-stamped black cloth), 10 ¾ x 8 ¼ inches, 192 pages, halftone illustrations, dustjacket.

This is an early history of Western professional photographers, working on government surveys and in their studios to make cartes-de-visite, stereocards, and full-size albumen prints. Among those profiled are William Henry Jackson, Timothy H. O’Sullivan, and operators in California, Idaho, Montana, Portland, Seattle, Denver, and Salt Lake City. $35 $20

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

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

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

Run of 98 consecutive issues: $500 $250

  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. $250 $125

  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 $10

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

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

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

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

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

The four-volume set that constitutes the most comprehensive study of the great Parisian photographer, based on MOMA’s in-depth holdings. Includes intelligent essays by Hambourg and Szarkowski and extensive notes to the plates. Volume III features a fold-out chart with Atget’s negative numbers and the dates and places of his pictures, made possible by the curators cracking his esoteric numbering code. All mint, in shrink wrap. $500 $250

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

This is the catalog for one of Avedon’s earliest museum exhibitions, when he was considered largely a fashion photographer and not yet accepted by the art world. Comprised primarily of portraits, it was installed on walls painted silver and served as the major summer show for the Minneapolis Institute of Arts in 1970. The catalog’s complete contents, all present here, are: a translucent sheet with a statement by Avedon about his pictures of the Chicago Seven (a late addition to the show); ten reproductions of portraits, varying in size from 9 x 6 ½ inches (George Wallace) to 9 x 11 ¼ inches (Generals of the Daughters of the American Revolution); a ten-page pamphlet with an introduction by the museum’s director and curator Carroll T. Hartwell, text by Avedon, and biographical and bibliographical information on the photographer; and a folded sheet measuring 27 x 26 inches, with 240 thumbnail images of the pictures in the show. While elegantly designed by Marvin Israel, the contents do not fill the depth of the folder, so copies of this catalog are invariably flattened and in poor shape. This one is in fine condition, in a protective sandwich of boards. $100 $50

  1. AVEDON, Richard. Portraits, New York: Farrar, Straus and Giroux, 1976. Softcover, 12 x 9 inches, unpaginated, halftone illustrations, dustjacket.

Among the images are foldout portraits of the Mission Council, Andy Warhol and members of the Factory, the Chicago Seven, and Igor Stravinsky. Includes an essay by Harold Rosenberg. $75 $35

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

Seventy-three portraits reproduced on pages 51-96, most of them one per page. Rolling Stone commissioned Avedon to cover America’s bicentennial presidential election, but he made portraits of a broad group of men and women that constituted the country’s political leadership. Among the figures included are Jerry Brown, Jimmy Carter, Cesar Chavez, Lady Bird Johnson, Barbara Jordan, Henry Kissinger, George Meany, Ronald Reagan, Donald Rumsfeld, and George Wallace. The only text accompanying the pictures are dense biographies of the sitters. $40 $20

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

This book, with an essay by Harold Brodkey, was published in conjunction with a retrospective of Avedon portrait and fashion photographs at the Metropolitan Museum of Art. $500 $250

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

This folded poster was for a show at the museum, presented March 5 to May 4, 1980. One side features large images of Loulou de La Falaise, Marcel Duchamp, and President Dwight D. Eisenhower, while the other is a collage of over twenty portrait and fashion images. $50 $25

  1. AVEDON, Richard. Richard Avedon: Evidence, 1944-1994, New York: Random House, 1994. Softcover, 14 x 11 inches, 184 pages, halftone illustrations.

This book was produced on the occasion of a traveling exhibition organized by the Whitney Museum of American Art, New York. It was edited by Mary Shanahan and has essays by Jane Livingston and Adam Gopnik. Mint condition, in shrink wrap. $75 $35

  1. BALTZ, Lewis. Nevada, New York: Castelli Graphics, 1978. Softcover, 8 ½ x 10 ½ inches, 24 pages, 15 halftone illustrations.

This booklet promoted a portfolio of fifteen original photographs by Baltz being published by Castelli. It reproduces all the images and gives information such as edition number and paper and box materials. Two thousand of these booklets were printed. Laid into this copy is a press release about the portfolio and an announcement for an accompanying exhibition at Castelli. $75 $40

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

Baltz’s assessment of the wholesale construction of a development of new homes outside of Salt Lake City. He reveals a wasteland that once it was covered with residential and commercial buildings only “increased the sense of starkness and desolation.” A key body of work and book from the “New Topographics” movement. Gus Blaisdell provides the essay “Skeptical Landscapes.” Printed in an edition of 3,000 copies. $500 $250

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

The book is filled with full-bleed color photographs by Beard of his richly collaged diary pages. While they feature his distinctive handwriting, there is an overabundance of visual material, such as newspaper clippings and photographs, plus three-dimensional objects placed on the pages before he photographed them. Includes two short essays and an artist’s chronology, in Japanese. The copyright page states, “Catalogue for show ‘Diary,’ From a Dead Man’s Wallet: Confessions of a Bookmaker.” $650 $325

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

Beaton’s extensive documentation of the decade-long renaissance of creative impulses after World War II. His photographs, drawings, and writing covers world renowned figures in art, literature, dance, theater, music, philosophy, and politics. Many text pages are printed on heavy, colored paper. $50 $25

  1. BENNETT, H. H. Sarah Rath, Pioneer Photographer: Wisconsin’s H. H. Bennett, Madison, Wisconsin: Tamarack Press, 1979. Softcover, 11 x 8 ½ inches, 192 pages, halftone illustrations.

This was the first substantial examination of the work of Henry Hamilton Bennett (1843-1908). Based in what is now the city of Wisconsin Dells, Bennett made a name for himself photographing the unique rock, cliffs, and caves of the Wisconsin River, and was primarily responsible for the public image of the dells in the late nineteenth century. A family-run business from the start, the H. H. Bennett studio is still in existence today. MOMA curator John Szarkowski proclaimed that his work “was a portrait of America discovering an identity with the wild world,” and reflected an “awakening to the poetic uses of the land.” $30 $15

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

The subtitle, in classic nineteenth-century fashion, describes the book’s subject in detail: “An album on the Saint-Gaudens Memorial on Boston Common honoring black and white men together who served the Union cause with Robert Gould Shaw and died with him July 18, 1863.” An elegant book, with text printed by the Stinehour Press and rich halftone illustrations by Meriden Gravure. Includes the text of Frederick Douglass’s 1863 call “Men of Color, to Arms,” an essay by Lincoln Kirstein, and a list of the regiment members. According to Eakins Press, this book inspired the 1989 film “Glory.” Mint condition, in shrink wrap. $75 $35

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

Published five years after Bischof’s death at less than forty, this is an early overview of his work. It features his documentary photographs, in both black-and-white and color, from India, Japan, New York, Mexico, Peru, and elsewhere. Among them is an image of a Peruvian boy walking and playing the flute, perhaps his most recognizable picture. The text is by Manuel Gasser and the illustrations are printed in high-quality gravure. Swiss photojournalist Werner Bischof (1916 -1954) was a prominent member of the Magnum photo agency. $75 $35

  1. BISCHOF, Werner. Werner Bischof, 1916-1954, New York: Grossman, 1974. Softcover, 8 ½ x 7 ¼ inches, 94 pages, screen-gravure illustrations. Signed.

Introduction by Bhupendra Karia and Manuel Gasser, followed by pictures by and letters from Bischof from Germany, Eastern Europe, England, India, Japan, Korea, Indochina, and Peru. Signed by Bishof’s son, Marco. $35 $20

  1. BISCHOF, Werner. Werner Bischof: After the War, Washington, D.C.: Smithsonian Institution Press, 1997. Hardcover (white-stamped paper over boards), 9 x 9 inches, unpaginated, 40 halftone illustrations, dustjacket.

Foreword by Miriam Mafai, with a short passage from Bischof’s diary. Bischof’s photographs show the destruction and rebuilding efforts in Germany, France, and other European countries, between 1945 and 1950. Werner Bischof (1916 – 1954) was a leading photojournalist and member of the Magnum photo agency during his short life. $30 $15

  1. BLUMBERG, Donald. Donald Blumberg, Buffalo: Albright-Knox Art Gallery, 1979. Softcover, 10 x 9 inches, 48 pages, halftone illustrations (some in color).

Exhibition catalog that features work from sixteen bodies of work, dating from 1965 to 1978, among them perhaps his best known, “In Front of Saint Patrick’s Cathedral.” Chronology, interview, and bibliography. $25 $10

  1. BODINE, A. Aubrey. My Maryland, Baltimore: Bodine and Associates, 1952. Hardcover (pictorial cloth), 12 ¼ x 9 ¼ inches, 128 pages, screen-gravure illustrations, dustjacket.

This is the first of four books Bodine produced of dramatic images in the Maryland and Virginia area. Printed in high-quality gravure, his pictures show the state’s people, architecture, landscape, and water life. Includes a playful end paper map illustration by Richard Q. Yardley. A. Aubrey Bodine (1906 -1970) was a career photographer for Baltimore’s Sunday Sun and a successful pictorialist with some of the same pictures. $50 $25

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

Bodine’s second book, now published by his own concern, but distributed by New York’s Hastings House. His accessible images show many aspects of the bay, including recreational, commercial, and military uses. Includes a playful end paper map illustration by Richard Q. Yardley. A. Aubrey Bodine (1906 -1970) was a career photographer for Baltimore’s Sunday Sun and a successful pictorialist with some of the same pictures. $50 $25

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

This is one of five plays by Kennedy for which Boughton provided illustrations, between 1908 and 1917. The Terrible Meek is the shortest of them, being a one-act play for three voices, performed in darkness. Edith Wynne Matthison, Kennedy’s wife, played a peasant woman and is the subject of Boughton’s portrait. Alice Boughton (1866 -1943) was a professional and pictorial photographer, working in New York, after apprenticing with Gertrude Käsebier. Alfred Stieglitz included six photogravures by her in the April 1906 issue of Camera Work, most of them picturing nude women and children. The book’s elaborate embossed cover was created by the Decorative Designers. $30 $15

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

A biography of the famous Civil War and portrait photographer by Komroff, a photographer in his own right. From the series “Britannica Bookshelf: Great Lives for Young Americans.” $30 $15

  1. BRANDEIS, Madeline.

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

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.

The Little Indian Weaver, 1928.

The Little Swiss Wood Carver, 1929.

Little Jeanne of France, 1929.

The Wee Scotch Piper, 1929.

Little Anne of Canada, 1931.

The Little Mexican Donkey Boy, 1931.

Little Tony of Italy, 1934.

Carmen of the Golden Coast, 1935.

Little Rose of the Mesa, 1935.

The Little Spanish Dancer, 1936.

Little John of New England, 1936.

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

Group of twelve: $50 $25

  1. BRAZIL. Gilberto Ferrez and Weston J. Naef, Pioneer Photographers of Brazil, 1840-1920, New York: Center for Inter-American Relations, 1976. Hardcover (gold-stamped black cloth), 8 ¼ x 9 ¼ inches, 144 pages, halftone illustrations, dustjacket. Signed.

The co-authors give a brief history of photography’s first eighty years in Brazil. Includes portraits of the Imperial Family and a map of the country keyed to a chronological grid with cities and photographers. The bulk of the book comprises biographies and pictures by fifteen Brazilian photographers, virtually all of them unknown to North Americans at the time. Among them: Milato Augusto de Azevedo, Victor Frond, and Marc Ferrez, the standout. This copy signed by author Naef. $75 $40

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

This elegant book features text by the photographer’s daughter, Barbara, and notes by Bullock on some of the images. His somewhat mystical pictures, of figures, landscapes, and still lifes, are grouped by decade, from the 1940s to 1970s. Published a year before his death in 1972, it remains the classic book on Bullock. $300 $150

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

This book, diminutive in size but large in message, poses the question “I wonder why some people don’t like me?” It then proceeds to present accessible images of things the speaker admires, such as God, rain, apples, babies, and lambs. Only upon seeing the last picture—of a young black girl—does the reader get the anti-racist message of the book. Burden (1908 -1989), a writer, filmmaker, and photographer, was associated for many years with Aperture, which named its gallery after him. $30 $15

  1. BURKE, Bill. Portraits, New York: Ecco Press, 1987. Hardcover (blind-stamped black cloth), 12 ¼ x 9 ½ inches, 64 pages, 32 halftone illustrations, dustjacket.

Published the same year as his more famous title, I Want to Take Picture, this one is more traditional, being made up of straightforward, large-format portraits. Burke’s rural subjects, primarily from the American South, gaze back at him unflinchingly. Includes a preface by critic Andy Grundberg and an autobiographical essay by writer Raymond Carver. Mint condition, in shrink wrap. $75 $40

  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.

This book represents a pioneering body of work, in which Burson and her collaborators combine multiple faces into a single portrait, using early computer technology. Among the resulting generic composites are a movie star, businessman, president, assassin, and newborn. One image, titled “Mankind,” combines Asian, Caucasian, and Black faces, weighed according to their proportion to the world population. Includes an essay by William A. Ewing and Jeanne A. McDermott. $50 $25

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

This is a conceptual bookwork, made up primarily of his mundane color photographs of American and Mexican pop culture items. Among the pictures of plastic Jesus babies and graffiti, Byrne intersperses text on topics such as “Power Tools and Piss” and “Bizarro World.” Since most of the photographs are two-page spread and bleed off the page, captions are relegated to the rear of the book. $50 $25

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

This exhibition catalog was among the earliest to pay attention to pictorial photographs made after World War I. While there is work from around the turn of the twentieth century, much of it is later, going even past World War II. Mann investigates pictorialism in California through its clubs, salons, periodicals, techniques, and visual style. She features work by Anne W. Brigman, William E. Dassonville, Margrethe Mather, Karl F. Struss, Edward Weston, the very influential William Mortensen, and about ten other pictorialists. $30 $15

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

This handsome book is the best one on the topic. Wilson contributes the essay “Northern California: The Heart of the Storm” and Reed writes about “Southern California Pictorialism: Its Modern Aspects.” Includes fifty biographies and a good bibliography. Among the heavy hitters with reproductions are Anne Brigman, Louis Fleckenstein, Arthur F. Kales, Hiromu Kira, William Mortensen, Karl F. Struss, and Edward Weston (from his early, pictorial phase). This copy signed by Reed. $75 $40

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

This, the first major monograph on Callahan features five sections of plates; Eleanor and Barbara (wife and daughter); signs, windows, and other urban details; people on the street; miscellaneous pictures; and landscapes. Includes a statement by Callahan and a bibliography of exactly one hundred entries. Published without a dustjacket in an edition of 1,500, this is still the most desirable book on Callahan. $1,000 $500

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

This oversize book, issued without a dustjacket, features Callahan’s color cityscapes and landscapes, primarily from Europe and the United States. Includes a foreword by Jonathan Williams and an afterword by critic A. D. Coleman. Lacking the slipcase. $200 $100

  1. CAMERA NOTES. Christian A. Peterson, Alfred Stieglitz’s “Camera Notes,” Minneapolis Institute of Arts and W. W. Norton, New York, 1993. Softcover, 10 ¼ x 8 ½ inches, 204 pages, 367 halftone illustrations.

Camera Notes (1897-1903) was the most significant American photographic periodical before Camera Work began in 1903. Edited for most of its six-year life by Alfred Stieglitz, it represented a critical phase in the campaign to legitimize photography as an artistic pursuit, running thoughtful articles as well as high-quality photogravure illustrations. Among the pictorialists represented were F. Holland Day, Rudolf Eickemeyer, Jr., Gertrude Käsebier, Edward Steichen, and Clarence H. White. This book is the only one that details the history and meaning of the magazine. In addition to the thorough essay, are full-color reproductions of all the photogravures and indexes to both the articles and halftone illustrations. $30 $15

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

This uncommon publication accompanied the exhibition, “I Am An American,” that traveled to over a dozen Minnesota towns in 1973, on the Minneapolis Institute of Arts’ Artmobile. The show was comprised of photogravures from Camera Work, plus paintings, drawing, and watercolors by members of the Stieglitz circle. This item includes a facsimile cover of the magazine, brief text by curator Carroll T. Hartwell, and reprints of articles from Camera Work. Most importantly, it features images by James Craig Annan, Alvin Langdon Coburn, and Stieglitz, printed on translucent paper and tipped in (in a modest effort to replicate the delicate nature of the original gravures).  $30 $15

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

Long the standard reference on Camera Work, this hefty book features an essay by Green on the magazine, and many articles and images from it. It also includes biographies, a bibliography, and no less than five indexes. Published and edited by Alfred Stieglitz from 1903 to 1917, Camera Work remains to this day the most exquisite American periodical on artistic photography. Previous owner’s inscription on half-title page, small sticker on inside cover, and miniscule edge wear to the sensitive metallic-gold printed cover. $75 $40

  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.

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. $75 $40

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

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

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

Pair: $75 $40

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

A little catalog for the first retrospective exhibition (organized by Magnum Photos and Life magazine) of Capa’s work after his death in 1954 at only forty-one years of age. It includes an introduction by John Steinbeck and photographs from countries such as England, France, Germany, Israel, and China. $20 $10

  1. CARROLL, Lewis. Morton N. Cohen, Lewis Carroll, Photographer of Children: Four Nude Studies, Philadelphia: Rosenbach Foundation, and Clarkson N. Potter, 1979. Hardcover (brown-stamped yellow cloth), 10 x 7 inches, 32 pages, 4 color halftone illustrations, dustjacket.

Examines just four pictures of nude girls by English writer Charles L. Dodgson (1832-1898), acquired by the Rosenbach Foundation in the 1950s. The images are heavily hand-worked, all but obscuring their photographic origins, and show the subjects on seashores, seated beside a tree, and in the studio. Carroll proclaimed that “I have been largely privileged in tête-à-tête intercourse with children.” $35 $20

  1. CARTIER-BRESSON, Henri. The Decisive Moment, New York: Simon and Schuster, 1952. Hardcover (paper over boards), 14 ½ x

10 ¾ inches, unpaginated, 126 screen-gravure illustrations, dustjacket, original booklet.

Cartier-Bresson’s most influential book, comprising pictures from the United States, Europe, Middle East, and Asia. They are printed large and in high-quality gravure. Henri Matisse provided the cover design (seen on both the paper boards and dustjacket) specifically for the book. $2,000 $1,000

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

Exhibition catalog for a show of Cartier-Bresson’s photographs, drawings, and paintings. Printed in an edition of 1,200 copies, it includes text by Evan M. Maurer (museum director), Carroll T. Hartwell (museum curator), and Michael Brenson (art historian and critic). Features reproductions of early paintings, drawings from the 1970s to1990s, and many of Cartier-Bresson’s most well- known photographs. $50 $25

  1. CASTLEBERRY, May. Perpetual Mirage: Photographic Narratives of the Desert West, New York: Whitney Museum of American Art, 1996. Hardcover (gold-stamped orange cloth), 11 ¼ x 9 ¾ inches, 240 pages, 157 tritone and color illustrations.

Impressive publication on photographs and books on the American West, over more than a century. Divided into the following sections: “Surveying an Unfamiliar Land, 1840-1880,” “Discovering a Human Past, Inventing a Scenic West, 1880-1930,” “Modernist Visions and Traditional Voices, 1930-1960,” and “Transformation and Reassessment, 1960-1996.” Features work by Ansel Adams, Edward S. Curtis, Laura Gilpin, Edward Weston, Edward Ruscha, Frederick Sommer, Richard Misrach, and many others. $50 $25

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

Abstract images made from life, in the vein of Aaron Siskind (on whom Chiarenza wrote a book), made from the 1950s to 1980s. Includes a preface by the photographer, introduction by Estelle Jussim, afterword by Charles W. Millard, chronology, and bibliography. Photographer and author Carl Chiarenza (born 1935) was also a long-time professor, teaching art history first at Boston University and then at the University of Rochester. Accompanying this copy is an envelope from the University of Rochester, with Chiarenza’s signature. Mint condition, in shrink wrap. $60 $30

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

A thick book, without text and featuring bleed halftones of primarily adolescent boys, with guns, nooses, and in various stages of undress. Though designated in an edition of 1,000 copies, about half of them were inadvertently destroyed. Mint condition, in shrink wrap. $750 $375

  1. CLARK, Larry. The Perfect Childhood, London: Larry Clark Books, 1993. Hardcover (gray-printed black paper over boards), 11 ¼ x 9 ¼ inches, unpaginated, halftone illustrations (some in color), dustjacket.

Clark’s tribute to youth, with collages of photographic images, newspaper clippings, and other ephemera. Most of the full-page pictures are color images of young men, some of them apparently shot from a television or video screen. The book, which was also published in a German edition by Scallo, was banned in the United States, due to some sexual content. Mint condition, in shrink wrap. $300 $150

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

Film stills and photographs made on the set of Clark’s film of the same name. Color images of kids skateboarding, drinking, having sex; kids being kids. Includes the full screenplay by nineteen-year old Harmony Korine. Clark explains that he wanted to make a film that would ring true for the subjects, and it comes off as a documentary. Mint condition, in shrink wrap. $40 $20

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

Originally self-published by Clark in 1983 and 1987, this is the third incarnation of Teenage Lust and the only Japanese edition. Commencing with the touching image on the cover of a nude teenage couple in the backseat of a car, the photographer revels in the sexual escapades of young people, indoors and out. This edition, of 1,000 copies, has about ten extra pictures and Clark’s 23-page autobiographical text printed in Japanese. $500 $250

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

This two-inch thick book continues Clark’s autobiographical publishing streak. It features reproductions of records, baseball cards, newspaper clippings, letters, and images from his projects such as Tulsa, Teenage Lust, and Kids. The book’s title was coined by David Denby, who referred to Clark as a “punk Picasso” in a review of the photographer’s 2001 film, Bully. Printed in a numbered edition of 1,000, it includes a folded sheet of three color pictures of his nineteen-year old girlfriend, and is signed and dated 2003 by Clark. Mint condition. $750 $375

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

The exhibition catalog for a show of clichés-verre spanning a century and a half. This hybrid of printmaking and photography usually features a hand-rendered image on a transparent base that is then used like a negative to make a print on light sensitive paper. Among the nineteenth-century artists featured here are Jean-Baptiste-Camille Corot, Eugène Delacroix, and Jean-François Millet; twentieth-century contributors include Brassaï, Man Ray, Henry Holmes Smith, and Frederick Sommer. $40 $20

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

Scholar Mike Weaver examines Coburn’s life and the influence of Japanese and Symbolist art on his photographs, during his early years as a pictorialist. In the beginning of the twentieth century, he created softly-focused images of the landscape, cities, and people, in the United States and England. Then in 1917, he produced a radical series of cubist photographs, he termed vortographs. Mint condition, in shrink wrap. $40 $20

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

A powerful record by an insider of life for blacks in South Africa under apartheid, showing examples of violence, discrimination, and poverty. The text is by New York Times correspondent Joseph Lelyveld, who characterized the country as “one of the least-known” in the world, and the images are printed in high-quality gravure. Ernest Cole (1940 -1990) was perhaps South Africa’s most important native photographer of the 1960s. By getting himself classified as colored, rather than black (a meaningful distinction in the eyes of the government), he was able to secure photographic assignments from newspapers and magazines. Cole, however, left South Africa in 1966, one step ahead of the law, in order to publish the book, which, unsurprisingly, was banned in his home country. $50 $25

  1. COLNAGHI, P. & D. Photography: The First Eighty Years, London: P. & D. Colnaghi & Co., 1976. Softcover, 9 ¾ x 7 ¼ inches, 262 pages, halftone illustrations.

This is an early, important sales catalog, offering 431 items. They are arranged chronologically in the following sections: Pre-Photographic Material; Early Photographic Papers; Daguerreotypes; Early English Photography; French Photography; British Pictorial, Genre and Landscape Photography; British Portrait Photography; Miscellaneous Books, Albums and Ephemera; Italian Photography; Turkish and Greek Photography; American Photography; Canadian Photography; English Topographical and Documentary Photography; Sun Artists; the Naturalists; and the Photo-Secession. Among the offerings were a copy of Talbot’s The Pencil of Nature, prints by Atget for $1,200, portraits by Cameron for less than $1,000, Gardner’s Photographic Sketchbook of the War, a complete set of Muybridge’s Animal Locomotion, and platinum prints by Peter Henry Emerson for $1,600. Well-researched text and descriptions by Valerie Lloyd, with price list laid in. $50 $25

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

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. Lacking the rare dustjacket. $30 $15

  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. $50 $25

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

A history of the medium from a Swiss viewpoint; the book was originally published in Geneva, in French. Part of a series that also addressed drawings, paintings, and other arts, and as a consequence, draws on examples from other media, especially beginning in the 1960s. $75 $40

  1. DAVIDSON, Bruce. Bruce Davidson: Photographs, New York: Agrinde, 1978. Softcover, 11 x 11 ½ inches, 168 pages, duotone illustrations.

This was the first major overview of Davidson’s work, covering fifteen of his photo essays, produced over twenty years. Among them are The Dwarf (1958), Brooklyn Gang (1958), The Bridge (1963), Topless Restaurant (1965), Welsh Miners (1965), and East 100th Street (1966-68). With an introduction by art critic Henry Geldzahler, this is a large-scale book with rich reproductions. $100 $50

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

This was the first and remains perhaps the most extensive critical biography of the unique individual, F. Holland Day, pictorialist and much more (as is evident from the title of the book). For a short time at the turn of the twentieth century, Day rivaled Alfred Stieglitz for prominence as both a photographer and organizer. However, he ultimately declined to take on Stieglitz’s outsized ego, and contented himself with making portraits of young boys and posing himself as Jesus Christ. $75 $40

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

This elegant, oversize book was printed in an edition of 5,000 copies. Crump’s insightful essay covers Day’s devotion to book publishing, pictorialism, decadent British literature, Orientalism, and other ideas. The full-page plates reproduce Day’s monochromatic work in full color, revealing their great sensitivity and richness. Mint condition, in shrink wrap. $100 $50

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

This artist’s book by de Lory features the story of two men and two women, set simultaneously in rural Idaho and New York City. According to the author, “All in all, Franky and Joey switch places, and lady friends too. In the end, they become more like each other’s’ extremes, one more wild, one more innocent.” Also published as an issue of the CMP Bulletin, it includes a song by Terry Allen. De Lory’s color photographic illustrations are fabricated set ups with real objects such as silverware and shower curtains, but they are dominated by black cut-out images of people and everyday objects. Peter de Lory (born 1948) taught for many years at San Jose State University and for the last decade has been the commissioned documentarian for the Seattle regional transit system. $30 $15

  1. DEMACHY, Robert. Anna Bowman Dodd, In and Out of Three Normandy Inns, Boston: Little, Brown, 1910. Hardcover (gold-stamped blue cloth with mounted reproduction), 8 x 5 ½ inches, 398 pages, 32 halftone illustrations.

This is the revised and corrected edition (issued without a dustjacket) of the 1892 first, which did not have illustrations by Demachy. Dodd’s charming travelogue through the French countryside is interspersed with 24 of Demachy’s soft, evocative landscape and rural images, made especially for the book. $35 $20

  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. Nell Dorr (1893 -1988) was a professional photographer whose creative pictures never fit into a movement. She produced five books, most of them with softly-focused images of women and children. $50 $25

  1. DRAKE Collection. Christian A. Peterson, The Poetics of Vision: Photographs from the Collection of Harry M. Drake, Minneapolis Institute of Arts, 1997. Hardcover (black and blind-stamped green cloth), 10 ¼ x 10 ¼ inches, 80 pages, 35 duotone and 2 color halftone illustrations, dustjacket. Signed.

Includes a statement by the collector and a short essay by curator Peterson. The full-page reproductions are accompanied by commentary on the images and their makers, including such famous figures as Paul Caponigro, Paul Strand, and Minor White (whose work represented about half of the collection—over 100 photographs). But lesser-knowns also appear, such as Paul Funk Angelo, Elio Ciol, Christopher Faust, and David Teplica. Printed in an edition of only 500 copies. This copy boldly signed by Drake. $50 $25

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

This is Dyer’s most widely-seen and lasting work. Accompanying poems by Riley are over seventy-five of his images, mostly figure studies with borders, vignetting, or other printer’s alterations, making them intimate and gemlike. Over the next six years, the book went through a number of editions. William B. Dyer (1860 -1931) was a pictorialist and Chicago professional photographer, specializing in portraits and book illustration. Alfred Stieglitz made him a member of his elite Photo-Secession group and put two of his photogravures (both of female nudes) in a 1907 issue of Camera Work. $30 $15

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

The influential book (issued without a dustjacket) accompanying Eggleston’s 1976 exhibition at the Museum of Modern Art that was considered to be the coming out of color photography for the art world (even though it was not the first show of color photographs at the museum, as is often misstated). Sporting the look of a children’s book, it features green pages for John Szarkowski’s introductory essay and Eggleston’s now famous tricycle picture on the cover. $600 $300

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

With a foreword by Sotheby Parke Bernet’s photography expert, Anne Horton, this volume takes the reader on a visual journey from Cairo south (upstream on the River Nile, to all of Egypt’s major monuments. It features pictures of the sphinx, pyramids, and other subjects, by Antonio Beato, Felix Bonfils, Maxime Du Camp, Francis Firth, J. B. Greene, Felix Tenyard, and about twenty other pioneering workers. $50 $25

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

Prolific author Mabie’s spiritual outlook on the interdependence of mankind and nature. The high-quality illustrations are printed different colors and have tissue guards with a line from the text. Eickemeyer photographed the seashore, woods, streams, flowers, and other natural settings, sometimes effectively emphasizing the foreground. The book, which has an attractive cover pattern of oak leaves and acorns, was also issued in white cloth and with a dustjacket (now very rare). Rudolf Eickemeyer (1862-1932), a New York portrait photographer, had his creative work included as photogravures in Camera Notes. He produced a significant amount of portrait, genre, and landscape work for book illustrations in the first decade of the twentieth century. $30 $15

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

Naturalist writer Kirkham provides sixteen essays on subjects such as the seasons, wild gardens, weeds, mountains, forests, and the sea. Accompanying them are appropriate images by Eickemeyer, the consummate illustrator of turn-of-the-century “back-to-nature” books. $30 $15

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

While much has been written on P. H. Emerson and English naturalistic photography, this is the major study of the movement that he spawned in the United States. Like Emerson, American naturalists working from the 1890s to about 1930 emphasized the beauty of Mother Nature and humankind’s harmony with her. They photographed the land in all its forms and seasons as well as the devoted individuals who farmed and nurtured it, often using Emerson’s technique of differential focusing, wherein everything but the key subject is rendered in soft focus. Includes illustrations and biographies on such little-known figures as Theodore Eitel and J. H. Field. An important and attractive book. Edition of 1,750. Mint, in original shrink wrap. $50 $25

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

The first little monograph devoted to Evans has Newhall discussing Evans as a bookseller and artistic photographer, covering his trans-Atlantic relationship with Alfred Stieglitz, his involvement with the Royal Photographic Society and Linked Ring Brotherhood, and his glorious pictures of cathedral interiors. Commences with his most famous image, A Sea of Steps, from Wells Cathedral in 1903. Frederick H. Evans (1853-1943) was one of England’s most accomplished pictorialists around the turn of the twentieth century. His cathedral pictures concentrated on the light and spirit of the subjects, rather than the architecture per se, rendered as straight platinum prints, without overt manipulation. $35 $20

  1. EVANS, Walker. John A. Kouwenhoven, Partners in Banking: An Historical Portrait of a Great Private Bank: Brown Brothers Harriman and Co., 1818-1968, Garden City, New York: Doubleday, 1968. Hardcover (gold-stamped blue cloth), 11 ¼ x 8 ¾ inches, 248 pages, halftone illustrations, dustjacket.

While the majority of the book comprises Kouwenhoven’s text and historical photographs, Evans gets his due in the epilogue, “Bankers, and Evans, and Chance,” made up of his 55 images, selected from a much larger number produced on commission by the bank. Generally, they show bank employees at work, but a few are typical Evans studies of the vernacular. $35 $15

  1. EVANS, Walker. James Agee, Let Us Now Praise Famous Men, Boston: Houghton Mifflin, 1969. Hardcover (gold-stamped black cloth), 8 ½ x 6 inches, 472 pages, 62 halftone illustrations, dustjacket.

This is the third printing of the initial reissue of the 1941 original, which sold poorly and exists in small numbers. It includes twice the number of pictures by Evans seen in the first edition, still prominently and unusually placed in the book before the title page. A defining book for Agee, Evans, and the Great Depression. $30 $15

  1. EVANS, Walker. John Szarkowski, Walker Evans, New York: Museum of Modern Art, 1971. Hardcover (gray-stamped gray cloth), 10 ¼ x 9 ½ inches, 192 pages, halftone illustrations, dustjacket.

This book accompanied the rediscovery exhibition of Evans, a few years before his death in 1975. It includes curator Szarkowski’s short but insightful essay and images from 1929 to 1970. Wisely, about half of the photographs date from the mid-1930s when Evans was working for the government’s Farm Security Administration and experiencing an artistic hot streak that he never subsequently matched. $35 $20

  1. EVANS, Walker. Walker Evans, American Photographs, New York: East River Press, 1975. Softcover, 8 ¾ x 8 inches, 192 pages, 87 halftone illustrations.

This third edition of the title appeared in the year of Evans’s death and after the book had gone out of copyright. It is the most pedestrian of them, due to it being issued in softcover and the illustrations being mere reproductions from a copy of the original book. $75 $35

  1. EVANS, Walker. Lesley K. Baier, Walker Evans at “Fortune:” 1945-1965, Wellesley, Massachusetts: Wellesley College Museum, 1977. Softcover, 8 ½ x 11 inches, 64 pages, 31 halftone illustrations.

An early scholarly investigation on the defined period during which Evans wrote and photographed for Fortune, with great freedom. Despite the magazine’s prime audience of businessmen looking to the future, Evans nostalgically focused on small towns, old practices, and everyday workers. Perhaps his most memorable images were those made for his 1955 picture story “Beauties of the Common Tool,” which presented such objects as a crescent wrench isolated against a seamless background, in elegant simplicity. $35 $20

  1. EVANS, Walker. Walker Evans: First and Last, New York: Harper & Row, 1978. Hardcover (gray and blind-stamped gray cloth), 12 x 11 ¾ inches, 204 pages, 219 duotone illustrations, dustjacket.

A large-format book, giving Evans’s sharp and authoritative images ample scale and surrounding white space, printed in high quality 300-line duotone. The text is a mere one-paragraph publisher’s note that states “this book maps the creative range of a great American artist,” and that its images were “chosen from more than 20,000 negatives and span forty-five years of continuous activity.” $150 $75

  1. EVANS, Walker. Sarah Greenough, Walker Evans: Subways and Streets, Washington, D.C.: National Gallery of Art, 1991. Softcover, 10 x 10 ¾ inches, 132 pages, halftone illustrations.

While this exhibition catalog includes some early and late pictures by Evans, its core is a study of his New York City subway portraits, made between 1938 and 1941. Evans used a hidden camera to capture his subterranean subjects in difficult conditions of light and movement. Curator Greenough explains how his pictures did not see the light of day until years later when small samplings were reproduced in the Cambridge Review in 1956 and Harper’s Bazaar in 1962, and, more fully, in the 1966 book Many Are Called. $75 $35

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

A substantial selection of work by Evans, covering his entire career. Presented in six chronological sections, from the early small abstractions of 1928 to the color Polaroid SX-70s of 1974. Includes a chronology and bibliography. Mint condition, in shrink wrap. $100 $50

  1. EVANS, Walker. Rodger Kingston, Walker Evans in Print: An Illustrated Bibliography, Belmont, Massachusetts: R. P. Kingston Photographs, 1995. Softcover, 10 ¾ x 8 ½ inches, 102 pages, 51 halftone illustrations.

While the Getty collection catalog contained about 800 entries in its bibliography, Kingston here pushed that number to 1,210. The majority of his citations are for books and catalogs by Evans or with significant contributions by him, books about or including him, illustrations and text in periodicals, and posters. Within these categories, they are listed chronologically, and an author index is provided. $30 $15

  1. EVANS, Walker. Christian A. Peterson, Walker Evans: The Collection of the Minneapolis Institute of Arts, Minneapolis Institute of Arts, 2003. Softcover, 10 ½ x 8 ¼ inches, 112 pages, 100 duotone illustrations.

This publication documents the museum’s holdings and tells about how the collection was built over three decades. It reproduces all 96 prints, spanning the 1920s to 1960s, though most are from the photographer’s fruitful Great Depression years with the F.S.A. Includes a short essay and images of ten of Evans’ stamps. $35 $20

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

Covering over a century of photography, this was the first systematic history of fashion photography. It addresses the genre’s beginnings, and its machinations related to pictorialism, modernism, realism, and surrealism. Haute couture designer Yves Saint Laurent provided the preface and costume historian Robert Riley the foreword. Among the seventy photographers with richly detailed profiles are Diane Arbus, Richard Avedon, Cecil Beaton, Baron Adolf de Meyer, Hiro, Horst P. Horst, Sarah Moon, Martin Munkacsi, Helmut Newton, Irving Penn, Edward Steichen, and Deborah Turbeville. $75 $40

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

Includes an article by Walker Evans on Frank and a statement by Frank. In between are thirty-three reproductions of Frank’s images, about half of which appeared a year later in the first edition of The Americans. Strangely, the pages on which they are printed measure an elongated 11 ¼ x 6 inches, sometimes resulting in severe cropping. Among the four images that are given two-page spreads is the one of the New Orleans trolley car, seen later on the cover of many editions of The Americans. An important item, for its early date and inclusion of images that were excluded from the famous book. $60 $30

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

Frank’s monumental classic, considered by many to be the most influential book of photographs from the twentieth century, with an introduction by Jack Kerouac. This is the second American edition, coming ten years after the Grove Press first. It is designated the “revised and enlarged edition” on the front flap and “An Aperture Book” on the title page. The major change is the “Continuation” at the end, in which Frank added film strips from his first four movies: “Pull My Daisy,” “The Sin of Jesus,” “O.K. End Here,” and “Me and My Brother.” $750 $375

  1. FRANK, Robert. Creative Camera International Year Book 1975, London: Coo Press, 1974. Hardcover (silver-stamped blue cloth), 12 x 8 ¾ inches, 236 pages, gravure illustrations, dustjacket.

Includes a selection of 30 images by Frank from Wales and London, mostly little-seen pictures of Welsh miners, street scenes, and domestic portraits. A strong two-page spread of five of the better-known pictures of London bankers shows them in top hats, walking with their closed umbrellas, almost all from the rear. Ian Jeffrey provides the text. $75 $40

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

The catalog for a traveling exhibition of 188 photographs, books, films, and videos, spanning Frank’s career to date. Includes reprints of letters, articles on Frank, and new text by Robert Coles, Allen Ginsberg, Brookman, and Tucker. Laid into this copy is a brochure for the show in Houston. $35 $20

  1. FRANK, Robert. Sarah Greenough and Philip Brookman, Robert Frank: Moving Out, Washington, D.C.: National Gallery of Art, 1994. Hardcover (black-stamped maroon cloth), 11 ¾ x 9 ¾ inches, 336 pages, tritone illustrations (some in color), dustjacket.

This book accompanied a major retrospective on Frank and remains the most comprehensive general publication on him. Covers much of his early and later work, before and after The Americans, and includes a chronology and filmography. Essays by the primary authors, plus W. S. De Piero, Martin Gasser, and John Hanhardt. $100 $50

  1. FRANK, Robert. Black White and Things, Washington, D.C.: National Gallery of Art, and Scalo, Zurich, Switzerland, 1994. Softcover, 11 x 10 ½ inches, unpaginated, 34 halftone illustrations.

This volume is a facsimile of a book Frank made by hand in 1952, with original photographs in a small edition. It presents three sections of images (as listed in the book’s title), shot in New York, London, Paris, and Peru, in the late 1940s and early 1950s. Mint condition, in shrink wrap. $30 $15

  1. FRANK, Robert. Flamingo, Göteborg, Sweden: Hasselblad Center, 1997. Hardcover (blind-stamped black leatherette over boards), 12 x 7 ¾ inches, 52 pages, 25 halftone illustrations (some in color), dustjacket.

This thin volume comprises an eclectic selection of Frank’s work, including typical early street photographs, combination images with handwriting, and other genres. Produced on the occasion of him winning the 1996 Hasselblad Award, it features four gatefolds and an essay by Mikael Van Reis titled “That Spot of Light: Robert Frank’s Life Studies.” $35 $20

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

Friedlander’s first solo book, published by his own Haywire Press, only in soft and perhaps his signature publication. Includes many of his now classic self-portraits, like the one where his shadow falls on the back of a woman, implying stalking, and his hair is rendered spikey by the subject’s fur collar. In his brief introduction, Friedlander claims that he did not make the pictures as a project, instead finding them among his other work. “They began as straight portraits but soon I was finding myself at times in the landscape of my photography. I might call myself an intruder.” A modestly sized book that packed great influence. $500 $250

  1. FRIEDLANDER, Lee, and Jim Dine. Work from the Same House: Photographs and Etchings, London: Trigram Press, 1969. Softcover, 9 ¾ x 10 inches, 48 pages, 33 halftone illustrations.

An unusual pairing of photographs and etchings by the artists, on two-page spreads. Shortly after they met in the early 1960s their work started to spark responses from one another, and they eventually joined images together for this project and the closely related portfolio of originals, titled “Photographs and Etchings.” The reasons for the pairings are sometimes formal but usually difficult to discern and certainly personal on the artists’ part. Friedlander’s social landscape photographs work well with Dine’s Pop Art imagery of simple objects such as a pair of scissors, a chair, an onion, and hands. $250 $125

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

An elegant, oversize production, issued without a dustjacket. Features Friedlander’s attractive and sometimes challenging images, all dating from the 1970s. The minimal text is in letterpress and the inside covers sport a dark green cloth that compliments the outside purple. This copy signed by Friedlander. $1,250 $625

  1. FRIEDLANDER, Lee. Maria, Washington, D.C.: Smithsonian Institution Press, 1992. Softcover, 10 x 8 ½ inches, 64 pages, 30 duotone illustrations.

Here is Friedlander’s tribute to his wife, Maria, a convenient and loving subject. The couple’s son and daughter and the photographer himself occasionally creep into the frame, making this something of a family album, casual and intimate. Its bookends are a pair of portraits of Maria and Lee out in nature—the first taken in 1958 on their honeymoon and the last over thirty years later. Includes a short biography of the photographer and an interview with him. Printed in an edition of 5,000 copies. Part of the Smithsonian’s “Photographers at Work” series. $75 $40

  1. FRIEDLANDER, Lee. Lee Friedlander, Valencia, Spain: Institut Valencià d’Art Modern, 1992. Softcover, 9 ½ x 11 ¾ inches, 154 pages, halftone illustrations.

This is a heavily illustrated, rarely seen catalog for a show at Valencia’s Centre Julio González in late 1992. The cover features the 1968 image of a woman standing behind a bar window with a Diners Club label (and its suggestive circular design) strategically placed over her crotch. Internally, the pictures proceed chronologically from the 1950s portraits of jazz musicians to the 1980s pictures of female nudes. Josep Vicent Monzó and Christian Caujolle provide the essays, in Spanish. $250 $125

  1. FRIEDLANDER, Lee. Peter Galassi, Friedlander, New York: Museum of Modern Art, 2005. Softcover, 12 ¾ x 11 ¾ inches, 480 pages, 812 duotone and 48 color illustrations.

The massive tome accompanied a huge traveling show organized by MOMA. The high-quality plates are organized by decade, beginning with the 1960s, while Galassi integrates Friedlander’s earliest pictures, 1950s images of jazz musicians, into his introductory essay. Includes a comprehensive chronology and bibliography. Most enlightening, however, is the section “Making Books,” in which Richard Benson writes about photographic reproduction and working with Friedlander. Included are details of all of the photographer’s books, special editions, and portfolios, a bibliophile’s delight. Beyond the obvious facts, this illustrated grouping denotes edition numbers, designers, printers, binders, and more. Accompanied by the original newsprint review of the show from the New York Times, May 29, 2005. Mint condition, in shrink wrap. $75 $40

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

This understated publication features well-reproduced images from Friedlander’s major series. There are self-portraits, television sets, American monuments, portraits, nudes, graffiti, architecture, plants, and landscapes. Printed in an edition of only 700 copies. $100 $50

  1. GEE, Helen. Photography of the Fifties: An American Perspective, Tucson, Arizona: Center for Creative Photography, 1980. Softcover,

9 x 9 ¼ inches, 162 pages, halftone illustrations.

The catalog for a traveling exhibition that included work by over thirty photographers. Those with four or more reproductions are Richard Avedon, Harry Callahan, Imogen Cunningham, Roy DeCarava, Robert Frank, William Klein, Arnold Newman, Irving Penn, Aaron Siskind, W. Eugene Smith, Paul Strand, and Minor White. Helen Gee (1919-2004) was well qualified to head this project, as she ran the Limelight Gallery in New York during the 1950s, a pioneering exhibition space for fine photographs. $40 $20

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

The book comprises journalistic photographs of world events (with a heavy emphasis on war), printed in high-quality gravure, one per page. The Gernsheims provide factual information about each scene and rarely credit the photographers, as the source for most of the pictures were news agencies and archives. Among the events depicted are President Lincoln’s second inauguration (1865), the opening of the Suez Canal (1869), the first long-distance telephone call (1883), Queen Victoria’s funeral (1901), the departure of the Titanic (1912), the creation of the League of Nations (1920), and the explosion of the Hindenburg blimp (1937). $50 $25 

  1. GOWIN, Emmet. Photographs, New York: Alfred A. Knopf, 1976. Softcover, 10 x 9 ¼ inches, 102 pages, duotone illustrations.

Gowin’s first monograph, containing his most appreciated body of work, depicting his wife, Edith, and other family members. $125 $65

  1. GREENOUGH, Sarah, Joel Snyder, David Travis, and Colin Westerbeck. On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, Washington, D.C.: National Gallery of Art, and the Art Institute of Chicago, 1989. Hardcover (silver-stamped brown cloth, 10 x 12 inches, 510 pages, 387 halftone illustrations, dustjacket. Signed.

One of the more substantial publications to celebrate the sesquicentennial of photography in 1989. The curators divided up the medium into four sections, about which they wrote: “Inventing Photography, 1839-1879” by Snyder, “The Curious Contagion of the Camera, 1880-1918” by Greenough, “Ephemeral Truths, 1919-1945” by Travis, and “Beyond the Photographic Frame, 1946-1989” by Westerbeck. This copy signed by author David Travis. $100 $50

  1. GURNEY, Jeremiah. Christian A. Peterson, Chaining the Sun: Portraits by Jeremiah Gurney, Minneapolis, Minnesota: Minneapolis Institute of Arts, 1999. Hardcover (gold-stamped brown cloth), 10 ¼ x 7 inches, 104 pages, 60 duotone illustrations (2 in color), bellyband.

This is the only monograph on Gurney, a leading nineteenth-century American portrait photographer, based on the museum’s extensive collection of his material. It covers his life and work, making daguerreotypes, card photographs, stereocards, and illustrating a few books. Jeremiah Gurney (1812-1895) and Mathew Brady both ran portrait studios on New York’s fashionable Broadway Avenue, competing fiercely for well-known subjects and for prizes at photographic exhibitions. Each began their career making daguerreotypes in the early 1840s, but by 1853 it was Gurney who became the national number-one portraitist, winning in that year the coveted Anthony pitcher. In 1868, Humphrey’s Journal, a leading photographic magazine, stated that he still stood “preeminent in New York.” Ten years later Brady was declaring bankruptcy while Gurney was turning his thriving business over to his son, who ran it for another twenty years. Mint condition, in shrink wrap. $35 $20

  1. HACKENSMID, Alexander. John Steinbeck, The Forgotten Village, New York: Viking, 1941. Hardcover (green-stamped cream cloth), 10 ¼ x 7 ¼ inches, 144 pages, 136 screen-gravure illustrations, dustjacket.

This book tells the story of a young boy and his family, as modern medicine comes to their Mexican pueblo. The images are stills from a film by the same name, which was written by Steinbeck, directed and produced by Herbert Kline, and co-directed by Alexander Hackensmid, who also was the director of photography. They show the villagers farming, celebrating traditions, and adapting to the new science. Czech-born Alexandr Hackenschmied (1907-2004) created experimental films in his native country before settling in Hollywood at the beginning of World War II. Renaming himself Alexander Hammid, he went on to have a long career making documentary and Imax films. $30 $15

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

The only monograph on Hanna includes an essay on him by Mark Sawyer, the story of one of his pictures in his own words, and fifty-seven full-page plates, dating as late as 1948. They picture largely landscapes, Native Americans, and female nudes. Forman G. Hanna (1881-1950), a pharmacist based in Globe, Arizona, was active in the Pictorial Photographers of America. He was widely revered for his pictures of young nude women in rocky surroundings, exhibiting them in salons for forty years beginning in the 1910s. $30 $15

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

This small and little-known catalog accompanied Ted Hartwell’s second exhibition at the Minneapolis Institute of Arts and was his first publication. Technically, he was still the museum’s staff photographer, but his choices show that he clearly had done his homework in the history of photography. Among the reproductions are work by such big names as Ansel Adams, Eugene Atget, Henri Cartier-Bresson, Robert Frank, Alfred Stieglitz, Paul Strand, Edward Weston, and Minor White. An early exhibition catalog (printed in an edition of 850) by one of the longest-serving curators of photography (he died in the position in 2007). $20 $10

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

Ház was so keen on emphasizing art and composition in this book that he did not include a single photographic reproduction, opting instead for diagrams and hand-rendered images. Among his many short lessons are those on shape, line, tone, color, edge, surface, texture, depth, motion, balance, unity, clarity, rhythm, and harmony. $30 $15

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

According to the front flap, the book is “a paean to life—tragic, comic, and lyrical. It begins with a photographic prologue that sets the theme: the solitude of the individual. Photographs of lovers pursue the theme, suggesting that even this relationship may not be enough to alter the essential loneliness of the soul. A series of photographs taken in Korea shows the frustration, hardship, and ennui of Army life. A group of Negro portraits and another group exploring the bewilderments of youth, further reveal the undeniable and haunting aspects of alienation. In seeking to probe the meaning of the world around him and his relation to it, Dave Heath has transmuted into photographic images his intense feeling and concern for the world. He concurs with W. B. Yeats’ assertion that creative expression is the social act of the solitary man.” A groundbreaking and influential book in American photography. $1,500 $750

  1. HEINECKEN, Robert. Studiesnineteenseventy, Tucson, Arizona: Nazraeli Press, 2002. Hardcover (printed paper over boards), 7 ½ x

5 ¾ inches, 16 pages, 12 halftone illustrations and one original photograph. Signed by Heinecken.

Heinecken made these combination images, rendered in negative tones, from pornographic magazines. Originally created in 1970, they were part of his ongoing investigation of printed imagery and the female nude. This title is from the Nazraeli Press’s “One Picture Book” series, all issued without dustjackets. The original tipped-in photograph is signed and dated 2002 by Heinecken, and numbered (edition of 500). Robert Heinecken, a major force in Los Angeles photography as both an artist and teacher, died four years later. $500 $250

  1. HOFER, Evelyn. James Morris, The Presence of Spain, New York: Harcourt, Brace and World, 1964. Hardcover (gold-stamped cloth), 11 ¼ x 8 ¾ inches, 120 pages, gravure illustrations, dustjacket.

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 her five books on foreign cities and countries. 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. $30 $15

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

Produced during the optimistic 1950s, shortly before the environmental movement began to take shape, this book boldly promotes the production and use of petroleum products. Hollyman democratically photographed not just those working the drills, but also turned his camera on geologists, refiners, and, finally, the service station owner-operator, cleverly humanized here with a wife and name—Scotty. Charles Parker wrote the text, but Hollyman’s strong pictures are dominant, often printed large and in rich gravure. Photojournalist Thomas Hollyman (1919-2009) was the first staff photographer for Holiday magazine and later became its picture editor. He also worked in film, television, and advertising. $30 $15

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

This is a playful book, using a dog to teach children the rudiments of Japanese life. Hosoe’s pictures show a silver poodle eating, bedding down, sightseeing, visiting shrines, at a public bath, and doing other activities in Tokyo. Eikoh Hosoe (born 1933), better known for his figurative work, produced another book with Lifton on a dog in Japan. Laid into this copy is a 1998 letter signed by Hosoe. $150 $75

  1. HOSOE, Eikoh. BA•RA•KEI: Ordeal by Roses, New York: Aperture, 1985. Hardcover (silver-stamped purple cloth), 14 ½ x 10 ½ inches, unpaginated, halftone illustrations, dustjacket. Signature.

Initially issued in Japan in 1971, this is the first Western edition of Hosoe’s photographic essay on the renowned Japanese writer Yukio Mishima. The high-contrast pictures, grouped into five sections, reveal the subject’s inner and outer worlds, in a highly surrealistic fashion. Includes a preface by Mishima, afterword by Mark Holborn, and notes by the photographer. Eikoh Hosoe (born 1933) is known for his figurative work and remains today Japan’s most recognized creative photographer. Laid into this copy is a 1998 letter signed by Hosoe. $250 $125

  1. HOSOE, Eikoh. Betty Jean Lifton, Taka-chan and I: A Dog’s Journey to Japan, Tokyo: Chihiro Ishizu, 1997. Hardcover (black-stamped red paper over boards), 10 ½ x 8 ½ inches, unpaginated, halftone illustrations, dustjacket and bellyband. Signed.

A children’s book about a Weimaraner that digs a hole all the way through the earth, to Japan. The dog befriends a young Japanese girl and rescues her from a dragon. This is the first Japanese edition of Taka-chan, which was originally published in the United States in 1967. Though slightly smaller, it largely follows the layout of the first. Eikoh Hosoe (born 1933), better known for his figurative work, produced another book with Lifton on a dog in Japan. Text in Japanese. Laid into this is a 1998 letter signed by Hosoe; this copy is also signed by Hosoe in gold ink on the half-title page. $200 $100

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

Originally published three years earlier in Switzerland, this American edition celebrated the tenth anniversary of the founding of the state of Israel. It features a perceptive preface by Andre Malraux and frontispiece and dust-jacket designs by Marc Chagall. Additional text comes from the Old and New Testaments, modern Hebrew poets, and other sources. Photographer Izis provides pictures of the young country and its people, rendered in rich gravure. Here are such sites as the hills of Nazareth and the Dead Sea, and Jewish men, women, and children, building and enjoying Israel. Born Israëlis Bidermanas in Lithuania, Izis (1911-1980), worked most of his life in France as a photojournalist, including at the magazine Paris-Match. $50 $25

  1. JACKSON, William Henry. Clarence S. Jackson, Pageant of the Pioneers: The Veritable Art of William Henry Jackson, “Picture Maker of the Old West,” Minden, Nebraska: Pioneer Village, 1958. Hardcover (silver-stamped brown cloth), 11 ¼ x 8 ¾ inches, 90 pages, halftone illustrations (some in color), dustjacket. Signed by author.

With the exception of a handful of Indian portraits, this volume comprises paintings and drawings by Jackson, not his more well-known Western photographs. They depict wagon trains, landscapes, settlements, forts, miners, Pony Express riders, and more. Jackson produced them during the 1930s (when he was in his nineties), on commission from the American Pioneer Trails Association. This copy signed by Clarence Jackson. An unusual and entertaining Jackson item. $50 $25

  1. JACKSON, William Henry. Aylesa Forsee, William Henry Jackson, Pioneer Photographer of the West, New York: Viking Press, 1964. Hardcover (brown-stamped yellow cloth), 8 ½ x 5 ¾ inches, 206 pages, 23 halftone illustrations, dustjacket.

Judging from the small scale and accessible text, this book was aimed at young adult readers. $30 $15

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

With a critical essay by William L. Broecker and a substantial chronology and bibliography, this is an early museum publication on Jackson. It also forms one of the titles in Morgan and Morgan’s prescient series of monographs on leading photographers. The brown-toned reproductions show Jackson’s main skills as a photographer of Native Americans and the Western American landscape during the late nineteenth century. Mint condition, in shrink wrap. $50 $25

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

Oversize exhibition catalog covering an important private collection of nineteenth-century photographs. Introduction by Chicago curator David Travis and text by the Jammeses on collecting and various aspects of their holdings. Features illustrations by Hippolyte Bayard, Charles Marville, Roger Fenton, Gustave Le Gray, Charles Nègre, and other early masters. This copy signed by Travis. $150 $75

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

Columbia University professor Keene’s in-depth and accessible study of Japan, covering its history, religion, economy, government, education, arts, and other topics. Heavily illustrated in high-quality gravure by Werner Bischof, Robert Capa, Eliot Elisofon, and Ken Heyman, plus such leading Japanese photographers as Yoichi Midorikawa and Hiroshi Hamaya. $30 $15

  1. JAPANESE PICTORIALISM. The Pictorial Landscape in Japanese Photography, Tokyo Metropolitan Museum of Photography, 1992. Softcover, 10 ½ x 8 ½ inches, 140 pages, 105 duotone illustrations.

This tasteful exhibition catalog addresses the great success that Japanese pictorialists achieved photographing in nature, with an essay by curator Ryuichi Kaneko. The understated, softly focused images date from about 1906 to the early 1940s. Among the thirty-one pictorialists represented are Gesshu Ogawa and the brothers Roso and Shinzo Fukuhara. Bilingual essay in Japanese and English. $50 $25

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

This handsome little book is the only one on Johnston, a leading English pictorial photographer, who worked both before and after World War I. Fellow photographer Bertram Cox wrote an appreciation of the pictures, dating from 1905 to 1940 and printed in exquisite gravure. Johnston’s landscapes, cityscapes, and figure studies are all classic, soft-focus examples of pictorialism; most noteworthy are his “impressions” of such cities as Liverpool, his birthplace. J. Dudley Johnston (1868 -1955) served the Royal Photographic Society in many positions, most importantly as its curator of photographs for thirty years, helping to create its extraordinary permanent collection. $50 $25

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

Catalog for a retrospective exhibition that was also shown at the Brooklyn Museum. Homer, a University of Delaware art history professor, provides the main essay, which addresses Käsebier’s life and work as both a professional and pictorial photographer. His students contribute short pieces on her early childhood, equipment, printing methods, and her portraits of Native Americans. $30 $15

  1. KLETT, Mark, Ellen Manchester, and JoAnn Verburg. Second View: The Rephotographic Survey Project, Albuquerque: University of New Mexico Press, 1984. Hardcover (silver-stamped gray cloth), 9 ¼ x 12 ¼ inches, 214 pages, 260 halftone illustrations, dustjacket. Signed.

Klett was the chief photographer; Manchester the project director, Verburg the project coordinator, and Gordon Bushaw and Rick Dingus were project photographers. Most of them provided text, as did critic/photographer Paul Berger. This is perhaps the most well-known of the many rephotographic projects that have been undertaken since. The crew located the sites of government survey photographs made during the late nineteenth century in the American West and then meticulously remade images from the same camera position and at the same time of day. Among the original photographers represented are William Henry Jackson, Timothy H. O’Sullivan, and Andrew J. Russell. The before and after shots are paired for easy comparison and are sometimes accompanied by site maps. This copy signed by Verburg. $100 $50

  1. KOUDELKA, Josef. Gypsies, Millerton, New York: Aperture, 1975. Softcover, 10 ½ x 11 ¾ inches, unpaginated, halftone illustrations.

Koudelka’s first and still most revered book. He made most of the images in East Slovakian gypsy settlements in the early 1960s. Short text by John Szarkowski and Czech photo historian Anna Fárová. $75 $40

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

Booklet accompanying a traveling exhibition organized by the Philadelphia Museum of Art. Comprises a general introduction by Laughlin, text by him about the approximately twenty groups of photographs, and his comments on many of the individual pictures. Extensive notes on all his major bodies of work and known photographs. Long-time New Orleans resident Clarence John Laughlin (1905-1985) was known for his surrealist and architectural photographs of the South. $20 $10

  1. LESY, Michael. Wisconsin Death Trip, New York: Pantheon Books, 1973. Softcover, 8 ½ x 11 inches, unpaginated, halftone illustrations.

Lesy’s groundbreaking mashup of vintage photographs and quotations from local Wisconsin newspapers, creating an important socio-historical interpretation of small-town America in the late nineteenth century. After the preface by Warren Susman, Lesy creates sections by year, from 1885 to 1900. The photographs, all by Charles Van Schaick from negatives at the Wisconsin State Historical Society, show people shot in his studio and elsewhere. The newspaper text emphasizes death, mental illness, and other human tragedies, making for haunting reading. $75 $35

  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.

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.” $1,100 $550

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

Exhibition catalog on an important collection of American and European modern photographs. Includes Travis’s overview and full-page biographies on the twenty-eight photographers represented. Among them are Ilse Bing, Brassaï, Imogen Cunningham, André Kertész, Man Ray, László Moholy-Nagy, Paul Outerbridge, Maurice Tabard, and Umbo. Laid into this copy is an announcement for the show at the Art Institute of Chicago. This copy inscribed by author Travis. $100 $50

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

Catalog for a traveling exhibition, with text by Donald R. Torbert, University of Minnesota professor. While there are some historical photographs, the vast majority are by Liebling, who is credited on the title page. Among the architects represented by domestic and commercial buildings are Marcel Breuer, Cass Gilbert, Philip Johnson, Louis Sullivan, and Frank Lloyd Wright. Printed in an edition of 1,000 copies. This copy signed by Liebling. $25 $15

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

Issued a decade after John Szarkowski’s Face of Minnesota, this book takes a similarly honest and wide-ranging look at its subject. In words and pictures, it presents facets of the Mill City’s history, education, government, architecture, arts, seasons, and citizens. Don Morrison was a local newspaper writer, columnist, and editor. This copy inscribed by Liebling. $50 $25

  1. LIEBLING, Jerome. The People, Yes, New York: Aperture, 1995. Hardcover (silver-stamped black cloth and white paper over boards),

11 ¾ x 9 ¾ inches, 128 pages, halftone illustrations (some in color), dustjacket. Signed.

Titled after Carl Sandburg’s epic poem, this book includes a foreword by Carroll T. Hartwell, curator of photographs at the Minneapolis Institute of Arts, and an introduction by Ken Burns, a former student of Liebling’s. It features humanistic pictures of people such as slaughterhouse workers and handicapped individuals. Concerned photographer Jerome Liebling (1924-2011) was a member of New York’s famed Photo League, and taught most of his life at the University of Minnesota (Minneapolis) and Hampshire College (Amherst, Massachusetts). This copy signed and dated by Liebling. $50 $25

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

Catalog for a traveling exhibition, with text by curator Thomas A. Garver. Covers work from 1962 to 1972, including pictures from his series “The Bikeriders” and “Conversations with the Dead.” $20 $10

  1. LYONS, Nathan, Syl Labrot, and Walter Chappell. Under the Sun: The Abstract Art of Camera Vision, New York: George Braziller, 1960. Hard-cover (tan-stamped brown cloth), 8 ¾ x 10 ½ inches, unpaginated, 26 halftone illustrations (some in color).

This early examination of creative photography, comprises abstract work very much in the tradition of Minor White, a friend of all three photographers. Includes the introduction, “Intuitions of Reality,” which is unsigned but probably by Chappell, and comments by each photographer. Printed by the German firm J. J. Augustin, which fifteen years earlier published Alexey Brodovitch’s innovative book, Ballet. Lacking the dustjacket. $100 $50

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

This is a defining publication for the movement of social landscape photography. Curator Nathan Lyons chose the work of but five photographers for an accompanying show at the Eastman House, that then traveled. They were Bruce Davidson, Lee Friedlander, Garry Winogrand, Danny Lyon, and Duane Michals, now acknowledged as major figures of the period. $100 $50

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

This exhibition catalog came shortly after Lyons’s Toward a Social Landscape, and mimics it in size and format. However, now the pictures are not street photographs but represent experimental uses of the camera, involving hand work, multiple exposures, and even sculpture. Lyons, as Eastman House curator, once again made a prescient selection; Donald Blumberg, Charles Gill, Robert Heinecken, Ray K. Metzker, Jerry N. Uelsmann, and John Wood. $75 $35

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

The subtitle reads: “The Loves, Cares, Cartoons and Caricatures of Alice Prin, Originally Souvenirs Kiki in French and Kiki’s Memoirs in English.” Introduction by Ernest Hemingway. Originally published twenty years earlier and banned in the United States, these are the tales of a young woman modeling and living among the avant-garde artists of Paris. The illustrations include artwork by and of Kiki; most of the photographic reproductions are uncredited, except for six portraits of her by Man Ray. $50 $25

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

Exhibition catalog for a show at the Milwaukee Art Center, of photographs (color and black-and-white), rayographs, collages, clichés-verre, and other items. Includes a foreword by museum director Tracy Atkinson and a short essay by Crane, a Chicago attorney and important early collector of photographs. $20 $10

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

This is an early collectors’ guide to the prominent nineteenth-century card formats. Mathews discusses the history of each, photographers, sitters, other nineteenth-century photographic processes, and the market. $50 $25

  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.

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. Mint condition, in shrink wrap. $50 $25

  1. MOHOLY, Lucia. A Hundred Years of Photography, 1839-1939, Harmondsworth, England: Penguin, 1939. Softcover, 7 x 4 ½ inches, 190 pages, 35 halftone illustrations.

A rudimentary but early history of photography, published on the centennial of the medium. Most of the illustrations are of nineteenth-century work, but include portraits by Cecil Beaton and, unapologetically, the author. Except for the small section of images, the pages are on newsprint, which are darkened and fragile, as is usual. Prague-born Lucia Moholy (1894 -1989), the first wife of László Moholy-Nagy, was an historian, writer, and photographer. $40 $20

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

Catalog for a traveling exhibition of photographs and photograms by the great modern artist. Includes essays by Lloyd C. Engelbrecht and Henry Holmes Smith and a selected bibliography. The first printing of 1975 was of 3,000 copies, while the second was of two thousand. $20 $10

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

Despite the title, not a single person appears in any of the photographs. Instead, Morris turns his camera on examples of rural and small-town vernacular architecture, often framed frontally, like Walker Evans. Morris’s text, on the other hand, addresses the imagined inhabitants of the structures, talking about their activities and personalities. $100 $50

  1. MORTENSEN, William. Monsters and Madonnas, San Francisco: Camera Craft, 1936. Softcover with metal ring binding, 12 x 9 ½ inches, unpaginated, 20 screen-gravure and 10 halftone illustrations. Third printing.

This is Mortensen’s acknowledged magnum opus and one of the most important books from the second generation of pictorialists. The first edition (also 1936) was printed in halftone, so this is the first in gravure. The gravure edition was so popular that it was printed four times, over twelve years. The well-designed cover, which has the subtitle “A Book of Methods,” features the provocative full-frontal nude “Torso.” Inside, the book includes text by Mortensen on both his photographic technique and aesthetic theories. The rich, full-page gravures are divided into three sections: characters, nudes, and grotesques. Each plate is accompanied by a page of analysis and sometimes a small halftone of the image before Mortensen manipulated it. Mortensen (1897-1965) was the most widely known American pictorialist during the 1930s and 1940s. He made flamboyant images, wrote many books and articles, and ran a photography school in Laguna Beach, California. $250 $125

  1. NAEF, Weston J., and James N. Wood. Era of Exploration: The Rise of Landscape Photography in the American West, 1860-1885, Buffalo: Albright-Knox Art Gallery, and Metropolitan Museum of Art, New York, 1975. Hardcover (gold and blind-stamped brown cloth), 9 ¼ x 12 inches, 260 pages, 313 halftone illustrations, dustjacket.

This is the groundbreaking study of nineteenth-century American Western landscape photography. This golden age was facilitated by popular curiosity, government support, and the perfect photographic combination of the wet-collodion negative and albumen paper. The text explores the science, nature, and art of the breathtaking pictures. The five main photographers represented, each with a section of their own, are William Henry Jackson, Eadweard J. Muybridge, Timothy H. O’Sullivan, Andrew Joseph Russell, and Carleton E. Watkins. $75 $35

  1. N.A.S.A. (National Aeronautics and Space Administration). Edgar M. Cortright, compiler and editor, Exploring Space with a Camera, Washington, D.C.: NASA, 1968. Hardcover (gold-stamped blue cloth), 11 ¾ x 9 ¼ inches, 214 pages, halftone illustrations (some in color).

Issued without a dustjacket, NASA SP-168 is a collection of the best photographs taken from space during the first decade of space exploration. It begins with a grainy black-and-white image over the Atlantic Ocean from 1959 and ends with color pictures made by astronauts with high-quality Hasselblads. This is the most commonly seen NASA book of photographs. $30 $15

  1. NATKIN, Marcel. Photography and the Art of Seeing, London: Fountain Press, 1948. Hardcover (gold-stamped yellow cloth), 11 ¼ x 8 ¾ inches, 74 pages, screen-gravure illustrations, dustjacket.

Originally published in 1935 with different pictures, this book covers the leading trends in photography; pictorial, artistic, advertising, and fashion. Natkin also addresses visual strategies for creatively inclined practitioners, such as composition, lighting, movement, personality, and nature. Full-page images, rendered in rich gravure, are provided by French photographers such as Laure Albin-Guillot, Pierre Boucher, Brassaï, Robert Doisneau, Ernö Vadas, and Natkin himself. $75 $35

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

The third state of Newhall’s history, rewritten and redesigned. He includes less technical material, and photographers such as Arnold Newman, W. Eugene Smith, and Weegee make their first appearance. The last chapter is on color photography, but the only color image is a 1946 waterfront scene by Edward Weston, presented as the book’s frontispiece. $100 $50

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

Former Eastman House director Newhall writes about how aerial photography created a new understanding of the earth, scientifically and visually. He begins with the first images made from an unmanned balloon in 1858 and concludes with the famous 1968 image of earth as marble, seen by the crew of Apollo 8. The pictures show highways, cities, lakes, mountains, and military formations from a unique perspective, and are largely by unknown photographers, though William A. Garnett contributes his share. The once benign 1966 cover image of Ethiopia, Somalia and the Gulf of Aden today resonates much differently for viewers. $40 $20

  1. NEWMAN, Arnold. Bravo Stravinsky, Cleveland: World Publishing Co., 1967. Hardcover (silver and blind-stamped black cloth), 12 ¼ x 9 ¼ inches, unpaginated, halftone illustrations, dustjacket. Signed.

The renowned portrait photographer Arnold Newman captures Stravinsky, then the “greatest living musician,” composing, practicing, and conducting. Includes a foreword by Francis Steegmuller and text by Robert Craft. This copy signed and dated 1999 by Newman. $150 $75

  1. NEWMAN, Arnold. Arthur Ollman, Five Decades, San Diego: Harcourt Brace Jovanovich, 1986. Softcover, 11 ¼ x 10 ½ inches, 124 pages, halftone illustrations. Signed.

Catalog for a traveling exhibition organized by the Museum of Photographic Arts, San Diego. Contains work by Newman from the late 1930s through the mid-1980s, most of it his accomplished environmental portraits. Among the most recognizable are those of Piet Mondrian, Georgia O’Keeffe, and Igor Stravinsky. This copy signed by Newman. $75 $40

  1. OHARA, Ken . One, Tucson, Arizona: Nazraeli Press, 2005. Hardcover (paper over boards), 7 ½ x 5 ¾ inches, 16 pages, 10 halftone illustrations and one original photograph. Signed.

These images are a tiny representation of the more than five hundred that comprised Ohara’s innovative 1970 book of the same title. They show people’s faces tightly cropped to just outside of the eyes and mouth. This title is part of Nazraeli Press’s “One Picture Book” series, all issued without dustjackets. Ken Ohara (born 1942 in Japan), worked with New York fashion photographers Hiro and Richard Avedon, and remains known for his various bodies of portrait work. The book was printed in a numbered edition of 500. The tipped-in original print is signed on the back by Ohara. $250 $125

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

Photographs from the photographer’s major series on discos and boxing, plus other images, dating from the late-1970s to early-1990s. Drawn to the fringes of American society, Old searches for poignant moments at public events like county fairs, where he captured, for instance, a horse diving into a pool of water. All the pictures here are from the permanent collection of New York’s International Center of Photography, whose curator, Miles Barth, provides an introduction. Toby Old (born 1945) is a native of Minnesota, worked as a dentist, and has been a New York street photographer for decades. This copy signed by Old. $20 $10

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

This is an understated, little item, the first monograph on Outerbridge. It features largely his early black-and-white work, presented with glassine interleaving, although a color nude is seen on the cover. Howe provides a biographical sketch on the photographer and an appreciation. Printed in a numbered edition of 3,000. $50 $25

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

A selection of Outerbridge’s nude, still life, and commercial work, dating from the early 1920s to late 1930s. The section of plates commences with his renowned 1922 “Ide Collar.” Includes the essay “From Ideal Form to Idealized Fetishism” by Howe and Jacqueline Markham. $100 $50

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

An ambitious project, this is one of the few catalog raisonnés for a photographer. It includes an introduction by Dines, Howe, and Bernard Barryte, a 1940 essay by Outerbridge on the color carbro process, a selected bibliography, and, most importantly, every image by him known at the time. Featured are his modernist ink drawings, delicate platinum prints, and color nude and advertising images. The challenging cover image shows a nude woman wearing only a mask and gloves with metal fingertips. Laid into this copy is a prospectus for this limited edition of 1,500 copies. $500 $250

  1. OUTERBRIDGE, Paul, Jr. Elaine Dines and Graham Howe, Paul Outerbridge: A Singular Aesthetic: Photographs and Drawings, 1921-1941: A Catalogue Raisonné, Laguna Beach (California) Museum of Art, 1981. Softcover, 11 ¾ x 9 inches, 240 pages, 564 halftone illustrations (some in color).

This is the softcover version of the above, without the elaborate cover. It accompanied a traveling exhibition organized by the museum. $100 $50

  1. PAPER NEGATIVES. Nowell Ward, Picture Making with Paper Negatives, Boston: American Photographic Publishing Co., 1941. Hardcover (gold-stamped blue cloth), 10 ¼ x 7 ¼ inches, 88 pages, 16 halftone illustrations, dustjacket.

This was one of the most popular titles on the subject, originally published in 1938 and going through at least six printings within a decade. Ward provides a thorough examination of the paper negative, perhaps the most widely used control process by pictorialists between the World Wars. Most of the illustrations are by Ward himself and are figure studies. He exhibited in pictorial salons during the late 1930s and taught at the Chicago School of Photography. $30 $15

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

This is an elaborate catalog for a large show at the Santa Barbara Museum of Art—something of a West Coast answer to John Szarkowski’s “Mirrors and Windows” book and exhibition at New York’s Museum of Modern Art, of the previous year. The original items are a screen print by Keith A. Smith (signed), an offset lithograph by Todd Walker (signed), an offset lithograph by Alex Sweetman (signed and numbered), and a piece by Robert Heinecken. The latter is a unique page extracted from a popular magazine (Vogue, in this case) over which Heinecken printed (on both sides) the grizzly image of a Vietnamese soldier holding two severed human heads. Printed in an edition of 1,000 copies, all of which were numbered and signed by Parker. $600 $300

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

One of the Lumiere Press’s “Homage” series, issued without a dustjacket, nicely designed and printed in letterpress. It focuses on two of Parks’s Life magazine photo essays; one on a Harlem gang leader (1948) and the other a Harlem family (1968). Publisher Michael Torosian interviews the photographer, who discusses the evolution and production of the essays and his interaction with the subjects. The high-quality illustrations are tipped in, as is the frontispiece self-portrait, a silver print made from a copy negative. Printed in a numbered edition of only 200 copies. $500 $250

  1. PENN, Irving. Worlds in a Small Room, New York: Penguin, 1974. Softcover, 10 ½ x 10 ½ inches, 96 pages, screen-gravure illustrations.

A fine selection of Penn’s portraits, made against a seamless backdrop. Features well-known images from Cuzco, Small Trades, Crete, Gypsies of Extremadura, Dahomey, Kirdi of Cameroon, San Francisco, Nepal, New Guinea, and Morocco. Nicely reproduced in gravure, with an introduction and text on each section by the photographer. $75 $35

  1. PERESS, Gilles. Telex Iran: In The Name of Revolution, New York: Aperture, 1983. Softcover, 15 x 10 ½ inches, 102 pages, duotone illustrations.

Comprises photographs that French photographer Peress made in1979, during Iran’s turbulent Islamic Revolution, when American hostages were snatched from the country’s embassy. Countering the routine photojournalistic conceit of presenting an objective view of his subject, he instead pursued a highly personal approach. Many of his resulting images are fragmented and disorienting, like the one on the cover of the book that is presented as a bleed image across front, spine, and back. Inside, telex communications between Peress and his agency are interspersed among the images. Texts by Claude Nori and Gholam-Hossein Sa’dei, in French. This is one of the most important photography books from the late twentieth century and is included in Parr and Badger’s The Photobook: A History. $250 $125

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

This large-scale book, issued without a dustjacket, comprises Peress’s insightful documentation of the impact of the 1993 Bosnian war on its civilian population. Traveling by car from the center of the country to Mostar and Sarajevo, he photographed refugees, the wounded, and the dead, both young and old. His graphically strong images are well-reproduced and printed large on the pages, for maximum visual impact. $125 $65

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

This attractive exhibition catalog examines pictorial photography in Minnesota and its national context around World War II. It covers fifteen years of the Minneapolis salon and other camera club activities in the Twin Cities, highlighted in a chronology. The work of many local amateurs is discussed, as well as that of eight internationally known pictorialists who sent their work to Minneapolis; among them were Adolf Fassbender, Léonard Misonne, William Mortensen, D. J. Ruzicka, and Max Thorek. An early revival of interest in the second generation of pictorialists. 500 copies. $50 $25

  1. PETERSON, Christian A. After the Photo-Secession: American Pictorial Photography, 1910-1955, New York: W.W. Norton, 1997. Hardcover (gold-stamped blue cloth), 11 ¼ x 10 ½ inches, 220 pages, 90 halftone illustrations (some in color).

The major reference on the second generation of pictorialists, working after Alfred Stieglitz turned to modernism. Insightful essay about the populism and pluralism of pictorialism after World War I. Includes biographies of over 75 workers, many of whom are not written about anywhere else. Mint condition, in shrink wrap. $50 $25

  1. PETERSON, Christian A. Masterpiece Photographs from the Minneapolis Institute of Arts: The Curator Legacy of Carroll T. Hartwell, Minneapolis Institute of Arts, 2008. Hardcover (silver-stamped tan cloth), 12 ¼ x 9 ½ inches, 124 pages 55 duotone and color illustrations.

This book commemorates the museum’s founding and long-serving curator of photographs, Ted Hartwell. It features fifty of outstanding pictures from its permanent collection, with short texts about each piece. Arranged chronologically, they go from William Henry Fox Talbot (1845) to Alec Soth (2002), and include Francis Frith, Walker Evans, Edward Weston, and Robert Frank. Includes an essay about the history of the museum’s collection of photographs. Mint condition, in shrink wrap. $50 $25

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

This is the last issue of the little periodical originally named Platinum Print, edited by Edward R. Dickson, a close associate of Clarence H. White. It was designated the “Exhibition Number,” as most of its reproductions feature work from a traveling show organized by the Pictorial Photographers of America (PPA). Among them are pictures by Laura Gilpin, D. J. Ruzicka, Doris Ulmann, Edward Weston, and White. Includes an article by the great typographer Frederic W. Goudy, one about the aims of the PPA, and a complete list of its members. $50 $25

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

The catalog for a show of press photographs drawn from the morgues of about ten Minnesota newspapers. The pictures, arranged by topics such as people, sports, family, and the arts, cover the 1930s to seventies. Among the likely subjects are the politicians Eugene McCarthy and Hubert H. Humphrey; among the unlikely photographers is Weegee the Famous, who in 1950 talked his way into the women’s dressing room of a downtown Minneapolis nightclub. Thomas F. Arndt was the Walker’s staff photographer at the time and helped with the show. The essays are by newspaper editor Charles Bailey, photographer Mike Zerby, and Carroll T. Hartwell, curator of photography at the neighboring Minneapolis Institute of Arts. The catalog designer cleverly had a page of newsprint bound in, printed with the mastheads of Minnesota newspapers such as the Duluth Herald and St. Paul Pioneer Press. This copy signed by Hartwell. $30 $15

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

This is an elegant, oversize exhibition catalog that includes an essay on the history and technique of various photomechanical methods of reproducing photographs. The full-color plates reproduce halftones, photogravures, collotypes, woodburytypes, photolithographs, and other processes. The book was printed in an edition of 700 copies and includes a CD-ROM of the entire show. This copy signed by Hanson. $100 $50

  1. PHOTO-PICTORIALISTS OF BUFFALO. Anthony Bannon and others, The Photo-Pictorialists of Buffalo, Buffalo: Media Study, 1981. Softcover, 10 x 8 inches, 128 pages, halftone illustrations.

Catalog that accompanied an exhibition seen at the George Eastman House and two other museums. It includes Bannon’s overview of the group, a chronology of its activities, biographies of all its members (including Wilbur H. Porterfied, its most important member), and a reprint of an article the group wrote on “Modification of the Negative.” The Photo-Pictorialists of Buffalo were one of America’s most exclusive and advanced camera clubs, active from 1906 to 1914. Issued only in soft, in an edition of 2,500 copies. $35 $20

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

This handsome volume was the first study of Alfred Stieglitz’s groundbreaking cadre of pictorialists, the Photo-Secession, organized in 1902. Doty succinctly covers the group’s formation, gallery, exhibitions, and publication, Camera Work. Included are a complete calendar of the shows at “291” and a listing of the members of the Secession, plus images by all the usual suspects; Gertrude Käsebier, Edward Steichen, Stieglitz, Clarence H. White, and more. $50 $25

  2. 1920. New York: Pictorial Photographers of America, 1920. Hardcover (blue cloth and gold-stamped gray paper over boards), 11 ¼ x 8 ¼ inches, 126 pages, 100 halftone illustrations. The first of five annuals published by the Pictorial Photographers of America (PPA) during the 1920s. Beautifully designed item, with the cover typography by the influential Frederic W. Goudy. It has articles on the PPA and pictorial photography in particular American states. Among the photographers represented by images are Alvin Langdon Coburn, Imogen Cunningham, Edward R. Dickson, Louis Fleckenstein, Laura Gilpin, Gertrude Käsebier, Margrethe Mather, Doris Ulmann, and Edward Weston.
  3. 1922. New York: Pictorial Photographer of America, 1922. Hardcover (gray cloth and blue paper over boards), 10 ¾ x 8 inches, 110 pages, 75 halftone illustrations. The third of five annuals published by the Pictorial Photographers of America during the 1920s, it is beautifully designed, with cover typography by Frederic W. Goudy. Includes an essay on progress in pictorial photography over the last year, plus one, “On Ideas,” by Condé Nast art director Heyworth Campbell. Among those contributing images are Arnold Genthe, Johan Hagemeyer, William E. Macnaughtan, Jane Reece, D. J. Ruzicka, Clara E. Sipprell, Margaret Watkins, Edward Weston, and Clarence H. White.

Pair: $250 $125

  1. POLLACK, Peter. The History of Photography: From the Earliest Beginnings to the Present Day, New York: Harry N. Abrams, 1958. Hardcover (gold and blue-stamped black cloth), 11 ¼ x 9 inches, 624 pages, halftone illustrations (some in color). dustjacket.

The former curator of photographs at the Art Institute of Chicago presents his take on the history in this substantial volume. It is heavy on pictures, including more than 600 reproductions. Pollack divides his text into four sections: “The Beginnings,” “Masters of the Nineteenth Century,” “Masters of the Modern Era,” and “Photography Today” (meaning around the 1950s). $75 $35

  1. POST, William B. Christian A. Peterson, The Quiet Landscapes of William B. Post, Minneapolis Institute of Arts, 2005. Softcover, 10 x

8 ½ inches, 98 pages, 45 duotone illustrations.

This is the only book on Post, understated in design and produced on the occasion of a traveling solo show. The essay covers his early life and travels, prolific exhibiting, membership in photographic societies, his preferred subjects (snow and water lilies), and his important early collection of the work of other artistic photographers. Mint condition, in shrink wrap. $25 $15

  1. PULTZ, John, and Catherine B. Scallen. Cubism and American Photography, 1910-1930, Williamstown, Massachusetts: Clark Art Institute, 1981. Softcover, 7 ¾ x 8 ½ inches, 78 pages, halftone illustrations.

An intelligent exhibition catalog, with chapters on cubist criticism, innate modernism in pictorial photography, abstraction, the Clarence H. White School of Photography, commercial photography, and the dissemination of modernism. Reproduces work by Margaret Bourke-White, Francis Bruguière, Alvin Langdon Coburn, Paul Outerbridge, Jr., Charles Sheeler, Edward Weston, and others. $20 $10

  1. RENGER-PATZSCH, Albert. Die Welt ist Schön, Munich: Kurt Wolff Verlag, 1928. Hardcover (silver-stamped blue flexible cloth),

11 ½ x 8 ¾ inches, unpaginated, 100 halftone illustrations.

The World is Beautiful was Renger-Patzsch’s major contribution to the New Objectivity movement. It features his emotionally detached photographs of plants, animals, people, the landscape, industrial products, architecture, and machinery. Includes an introduction by Carl Georg Heise. Lacking the dustjacket. $300 $150

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

The Rinhart’s early examination of the daguerreian era of 1840 to 1860 in this country. They cover portraiture, outdoor scenes, color imagery, and cases, and provide biographical notes for about one hundred daguerreotypists. Laid into this copy is the original errata slip and a copy of a remembrance of Floyd from a 1997 issue of the Daguerreian Society Newsletter. $50 $25

  1. ROBINSON, William F. A Certain Slant of Light: The First Hundred Years of New England Photography, Boston: New York Graphic Society, 1980. Hardcover (gold-stamped blue cloth), 10 ¼ x 7 ¼ inches, 244 pages, halftone illustrations, dustjacket.

A decent survey of the initial century of photography in the Northeastern states, from 1939 to the 1940s. Features chapters on daguerreotypes, landscapes, stereocards, portraiture, commercial work, pictorialists, the Great Depression, and Walker Evans and Paul Strand. $35 $20

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

This is the only monograph on Ruzicka produced after his death, on the occasion of an exhibition seen in both Prague and the United States. Mrázkova writes about his importance to Czech photography and Peterson covers him as an American pictorialist. The images survey his work from 1909 to 1951, including four images of Pennsylvania Station and two of the 1939 New York World’s Fair. All text bilingual, in Czech and English. Gravure printed in an edition of 2,000. $25 $15

  1. SALOMON, Erich. Portrait of an Age, New York: MacMillan, 1967. Hardcover (black and gold-stamped brown cloth), 11 ¼ x 8 ¾ inches, 222 pages, screen-gravure illustrations, dustjacket.

Originally published in Germany four years earlier as Porträt einer Epoche, this remains the major monograph of Salomon’s work. It attests to his obsession with capturing the private moments of political and social life in Europe and America between the World Wars. Using a concealed Ermanox camera, he haunted conferences, trials, banquets, and other gatherings of the powerful. Included here are images of Winston Churchill, Herbert Hoover, Franklin D. Roosevelt, William Randolph Hearst, Marlene Dietrich, Albert Einstein, Joseph Goebbels, Benito Mussolini, and hundreds of others. Printed in high-quality gravure, with an essay on the photographer by his son, Peter Hunter-Salomon. Salomon (1886 -1944) was privileged to have the term “candid camera” reportedly coined for his type of picture making, but he had the misfortune of dying at the Auschwitz concentration camp. $75 $35


Chicago. Sixth Chicago International Salon of Photography, 1947. Softcover, 8 x 5 ½ inches, 36 pagers, 16 halftone illustrations.

Cincinnati. Eighth Annual Cincinnati Salon of Photography, 1949. Softcover, 6 x 6 inches, 28 pages, 11 halftone illustrations.

Kalamazoo, Michigan. First Annual Kalamazoo International Salon of Photography, 1949. Softcover, 9 x 6 inches, 26 pages, 9 halftone illustrations.

Minneapolis. Fourteenth Annual Minneapolis Salon of Photography, 1945. Softcover, 9 x 6 inches, 2 pages, 1 halftone illustration.

Seattle. 1949 Seattle International Exhibition of Photography, 1949. Softcover, 8 ½ x 5 ¾ inches, 36 pages, 13 halftone illustrations.

Group of five: $75 $35

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

After a general introduction, Scharf presents discrete chapters primarily on major individuals from the first half century of photography. They are William Henry Fox Talbot, Julia Margaret Cameron, Samuel Bourne, Nadar, and Eadweard Muybridge, but there are also sections on the daguerreotype, calotype, autochrome, and Camera Work. $40 $20

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

Danny Seymour’s poignant, personal visual poem of casual photographs and handwritten text. One of Lustrum’s first publications and an early example of the autobiographical photobook. Includes pictures of family members such as his mother, Isabella Gardner II (of the wealthy Boston family), and friends like Robert Frank and actress Jessica Lange. Seymour wrote in the introduction that he considered the book as something of a “storyboard for a movie. It is an attempt to survive—to preserve my identity.” Unfortunately, the last picture shows the author getting ready to shoot heroin. Printed in an edition of five thousand copies. Seymour (born 1945) helped fund Ralph Gibson’s Lustrum Press, and make photographs and films from the 1960s until his mysterious disappearance in 1973. Mint condition, in shrink wrap. $300 $150

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

Images of trees from all seasons and many locations throughout the United States, paired with Sheckell’s short descriptive and emotive text. In the foreword, he states, “As long as I can remember I have been impressed with the form and beauty of trees, and it is not strange that I have for many years made portraits of them with my camera. I have sought always the pictorial effect rather than the mere recording of botanical details.” This book was favorably reviewed in photographic periodicals and the January 10, 1937, issue of the New York Times Book Review. Thomas O. Sheckell (1883 -1943) was a prominent pictorialist from the 1930s until his early death, specializing in tree and landscapes photographs. Lacking the dustjacket. $30 $15

  1. SHIGETA, Harry K. Harry K. Shigeta: Life and Photographs, Ueda, Japan: Ueda City Board of Education, 2003. Softcover, 11 ¾ x 8 ¾ inches, 72 pages, 60 halftone illustrations (some in color).

This is one of only two monographs on this leading Chicago photographer, covering his life and work as both a pictorialist and professional. Reproduces his creative nudes, still lifes, and landscapes images, plus examples of his commercial output, primarily color photographs of food, his specialty. The text is by Yuko Fukishiro, most of it bilingual in Japanese and English. Shigeta (1887-1963) was born in Japan, came to this country as a teenager, and was successful as a pictorial and commercial photographer during the 1920s to 1940s. $40 $20

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

The groundbreaking history of color photography by Dr. Sipley, the director of Philadelphia’s American Museum of Photography. Features innovative fashion pictures by the likes of Erwin Blumenfeld, Horst P. Horst, and Edward Steichen. Sipley covers the invention and development of many color processes, but also devotes much text to methods of photomechanical reproduction in color. Pioneering photographers, engravers, and printers all receive his attention. The book includes many color inserts, such as a five-panel fold out comparing letterpress, offset lithography, and gravure, and an actual Pavelle color print, found in an envelope between pages 158 and 159 (sometimes missing). $100 $50

  1. SISKIND, Aaron. Places: Aaron Siskind Photographs, New York: Light Gallery, 1976. Softcover, 11 ¾ x 11 inches, 112 pages, 99 duotone illustrations.

Contains then new work dating from the mid-1960s to 1975. Siskind’s classic abstract images, with a section of about thirty as an homage to his painter friend, Franz Kline. Introductory essay by the art critic Thomas B. Hess and printed in an edition of 7,500 copies (hard and soft). $75 $35

  1. SMITH, W. Eugene and Aileen M. Minimata, New York: Holt, Rinehart and Winston, 1975. Softcover, 11 ¾ x 9 ¾ inches, 192 pages, halftone illustrations.

This was Smith’s last major project before he died three years later and is his most searing. It documents individual residents of the southern Japanese fishing town of Minimata, where a chemical plant dumped mercury into the water. People died and many children were born severely deformed, among them Tomoko Uemura, whose image being bathed by her mother is the book’s signature picture. The husband/wife team also photographed protests, and other events related to the chemical company. Ends with a chilling ten-page medical report on the mercury poisoning. $50 $25

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

Catalog for a smart show at the University of Chicago’s Smart Gallery. Includes essays by John Cawelti, Alan Fern, Munson, and Snyder. Comprises the kind of well-seen nineteenth-century landscape work that has now been accepted by museums as art. In addition to some from unknown practitioners, the illustrations are by such big names as George N. Barnard, John H. Hillers, William Henry Jackson, Timothy H. O’Sullivan, Andrew Joseph Russell, and Carleton E. Watkins. $40 $20

  1. SOMMER, Frederick. All Children are Ambassadors/Alle Kinder sind Botschafter, Tucson: Nazraeli Press, 1992. Softcover, 5 ½ x 7 inches, 30 halftone illustrations (some in color), slipcase.

Contains a group of untitled and undated images, including collages, drawings, and photographs. They are interspersed with text, in German and English, in two sections, bound back-to-back. In the original printed and embossed cream slipcase. $75 $40

  1. STEICHEN, Edward. A Life in Photography, New York: Doubleday, 1963. Hardcover (gold-stamped black cloth), 11 ½ x 10 inches, unpaginated, 249 screen-gravure illustrations, dustjacket.

An even-handed, autobiographical look at the great American photographer’s long career, published ten years before he died. Steichen begins with his apprenticeship as a printer in Milwaukee, moves through his time as a painter and pictorialist in Paris, his association with Alfred Stieglitz and modern art, and then his photographs from World War I, fashion, theater, advertising, portraiture, World War II, and late color work. He also covers his time as a curator at the Museum of Modern Art, where his most important contribution was the wildly popular 1955 show, “The Family of Man.” Well illustrated in high-quality gravure. $50 $25

  1. STEREOCARDS. Edward W. Earle and others, Points of View: The Stereograph in America—A Cultural History, Rochester: Visual Studies Workshop, 1979. Softcover, 11 ½ x 7 ¾ inches, 120 pages, halftone illustrations (some in color), dustjacket.

A thoughtful study of the subject, with an introduction by V.S.W. director Nathan Lyons. In addition to Earle’s essay, the other contributions are “Stereographs: Local, National and International Art Worlds” by Howard S. Becker, “White Mountain Stereographs and the Development of a Collective Vision” by Thomas Southall, and “Pasteboard Masks, the Stereograph in American Culture, 1865-1910” by Harvey Green. Also includes a 65-page interpretive chronology, with illustrations and key developments. $35 $20

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

Herbert J. Seligmann was an American poet and critic who became friends with Stieglitz and spent time with him at his galleries, An Intimate Gallery and An American Place. This book recounts conversations that Stieglitz had with Seligman and others. Big Al’s wide-ranging comments were usually sparked by exhibitions of work by three artists in his stable: Arthur G. Dove, John Marin, and Georgia O’Keeffe. $75 $35

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

This is the massive catalog of the Met’s Stieglitz collection of 580 photographs by other pictorialists, many of them reproduced. Includes Naef’s in-depth essay on the pictorial movement, detailed information about the photographers in the collection and their pieces, and an extensive bibliography. Still a major reference book. This copy signed by Naef. $75 $40

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

The first monograph on the photographer, providing a biography and analysis of his pictures. While Stoddard traveled to Europe and the American West, he was most accomplished photographing New York’s Adirondack Mountains, which he helped popularize . Working in the late-nineteenth and early-twentieth century, he turned his camera on the region’s tourists, lodges, lakes, and landscape. Stoddard (1844 -1917) was also a writer, cartographer, and outdoorsman. $50 $25 

  1. STRAND, Paul. Nancy Newhall, Time in New England, New York: Oxford University Press, 1950. Hardcover (white-stamped red cloth), 11 ¼ x 8 ¾ inches, 152 pages, halftone illustrations.

“Far more than a picture book, this is an autobiography of New England, made up of selections from the most vivid and intimate documents available, skillfully integrated with over a hundred of Paul Strand’s magnificent photographs. The text includes journals, letters, eyewitness account, trials, poems, and credos—from Joh Winthrop and Roger Williams to Thomas Wolfe and Robert Frost.” In important collaboration between historian Nancy Newhall and the photographer. $75 $35

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

This is French poet Claude Roy’s and Strand’s sensitive evocation of small-town and rural life in France at the middle of the twentieth century. It features photographs of people, architecture, and the landscape, richly rendered in gravure. Roy’s text sometimes reproduces his handwriting and becomes a playful graphic design element. Text in French. $500 $250 

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

This dense book features Linhart’s text and a rich selection of images, made between 1915 and 1954 and printed in high-quality gravure, by the Czech Republic’s most famous photographer. Features his landscapes, portraits, still lifes, cityscapes, and a few fold-out panoramas. The cloth and dustjacket sport Sudek’s name nicely designed in a block of modernist type. This title was actually a book-club item, not available in stores, and printed in the surprisingly large edition of thirty thousand copies. Nonetheless, it is not common in the West and remains the most preferred book on him. $500 $250

  1. SZARKOWSKI, John. The Face of Minnesota, Minneapolis: University of Minnesota Press, 1958. Hardcover (pictorial cloth),

10 ¼ x 7 ½ inches, 304 pages, 203 halftone illustrations (some in color), dustjacket. Signed.

This book was published on the occasion of the centennial of Minnesota statehood in 1958. Szarkowski had been the staff photographer at the Walker Art Center (Minneapolis) and was soon to become curator of photographs at New York’s Museum of Modern Art. He arranged his photographs and text about Minnesota’s people, places, and events, in four groups; the setting of the state’s story, settlement and life on the land, social institutions, and commerce. Not surprisingly, his photographic style is decidedly straightforward, the aesthetic he persistently championed at MOMA. Reportedly, the first edition consisted of ten thousand copies and the 1964 reprint was 4,000. Laid into this copy is the text of the 1956 memorandum of agreement between the author and the publisher. This copy boldly signed by Szarkowski. $75 $35

  1. SZARKOWSKI, John. The Photographer’s Eye, New York: Museum of Modern Art, 1966. Softcover, 9 x 8 ½ inches, 156 pages, screen-gravure illustrations.

Curator Szarkowski’s influential investigation of “what photographs look like, and why they look that way.” He provides a short introduction and five groups of photographs from the previous hundred years. “The Thing Itself” includes work by Maxime Du Camp and Julia Margaret Cameron; “The Detail” pictures by Eugene Atget and Walker Evans; “The Frame” work by Jacques Henri Lartigue and Elliott Erwitt; “Time” photographs by Eadweard Muybridge and Harold Edgerton; and “Vantage Point” pictures by Bill Brandt, Robert Frank, and Lee Friedlander, all of them in rich gravure. $40 $20

  1. TELBERG, Val. Anais Nin, House of Incest, Chicago: Swallow Press, 1961. Softcover, 8 x 5 ½ inches, 72 pages, 9 halftone illustrations.

French-born Anais Nin was heralded as a diarist and writer of erotic literature. House of Incest, initially published in 1936 as her first book of fiction, was told from the writer’s subconscious, as she tried to escape from a dream in which she was trapped. Telberg’s photomontages were well paired with the surrealistic text; they show female figures superimposed with architectural interiors or natural subjects such as water and clouds. It seems that Telberg’s imagery appeared with only the 1958 and 1961 Swallow Press printings of the book. Russian-born Vladimir Telberg-von-Teleheim (1910 -1995) was known for his multiple imagery, often making montaged, solarized, and kaleidoscopic photographs. $40 $20

  1. THOREK, Max. Creative Camera Art, Canton, Ohio: Fomo Publishing Co., 1937. Hardcover (three-dimensional black cloth, printed in white and maroon), 11 ¼ x 8 ¾ inches, 156 pages, halftone illustrations.

This is one of the most significant books on pictorialism between the World Wars. In it Thorek presents sound technical advice on everything from exposure to print finishing. He also freely expresses his strong opinions about photography and art, railing against purists and modernists. It includes examples of his figure studies, portraits, landscapes, and the flamboyant, confrontational nudes at which he excelled. Dr. Max Thorek (1880 -1960), a renowned Chicago surgeon, was a major American pictorialist during the 1930s and forties, extensively exhibiting heavily manipulated prints from paper negatives. Lacking the rare dustjacket. $100 $50

  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.

A cinematic series of pictures of women, softly focused and occasionally presented as 35-mm contact sheets. The subjects sometimes wear high fashion and inhabit spacious interiors. Deborah Turbeville (born 1938) worked for many years, starting in the 1960s, as a fashion photographer for such magazines as Vogue and Harper’s Bazaar. $60 $30

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

Complete run of fifteen numbers in nine issues. Self-described as “A semi-annual journal of literature, the arts and civil liberties.” Issues measure about

9 ¼ x 6 ¼ inches, and feature the name of the journal in facsimile of Alfred Stieglitz’s handwriting. This was an important periodical, to which Stieglitz frequently contributed images and text. Includes an original photograph by Todd Webb. The photographic contents of each issue are as follows:

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

III-IV. No photographic contents.

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

VII. Halftone by Ansel Adams, “Photograph.”

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

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

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

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

The full run: $500 $250

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

A complete run of 58 numbers in 56 issues. An important periodical of the time, usually focusing on a theme or single photographer. The contents are as follows:

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

Full run of 56 issues: $750 $375

  1. VANDERPANT, John. Charles C. Hill, John Vanderpant: Photographs, Ottawa: National Gallery of Canada, 1976. Softcover,

9 ½ x 8 ½ inches, 96 pages, 56 halftone illustrations.

This is the first monograph on Vanderpant, one of the few Canadian pictorialists to achieve international fame. It includes a remembrance by the son of a painter friend of the photographer’s and Hill’s biographical essay. Vanderpant’s pictures from the 1920s were largely soft-focus urban scenes, while in the thirties he added still lifes and took a more modernist approach. John Vanderpant (1884 -1939) was born in the Netherlands, moved to Canada in 1911, and from the mid-1920s was prominent in the Vancouver art scene, operating a studio and making creative photographs until his death. Bilingual text in French and English. $30 $15

  1. WATKINS, Carleton E. Peter E. Palmquist, Carleton E. Watkins: Photographer of the American West, Albuquerque: University of New Mexico Press, 1983. Hardcover (gold-stamped rust cloth), 9 ¼ x

12 ½ inches, 236 pages, halftone illustrations, dustjacket.

A comprehensive book on the master nineteenth-century landscape photographer. Published on the occasion of an exhibition organized by the Amon Carter Museum (Fort Worth, Texas), with a foreword by curator Martha A. Sandweiss. Covers all his major bodies of work, such as San Francisco, Yosemite Valley, and Oregon’s Columbia River. Details Watkins’s published work and collections. $100 $50

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

This publication, issued on the occasion of a show at the library, is the only one devoted exclusively to Watson-Schütze’s work. Block’s essay covers the photographer’s life and work, with a note on her evolving signature. The illustrations are all portraits of known Chicago figures, including her husband, educator John Dewey, and reformer Jane Adams. Watson-Schütze (1867-1935) ran a portrait studio in Philadelphia but relocated to Chicago in 1901 when she married. She was a founding member of the Photo-Secession group and had two of her images appear as photogravures in Camera Work. $30 $15

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

Exhibition catalog for a retrospective of Wegman’s photographs, drawings, and videos. Many of the pieces use his pet Weimaraner dog, Man Ray, the work for which he is best known. $40 $20

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

Delineates a new generation of photographers who worked largely for magazines and newspapers, with a foreword by foreign correspondent Gloria Emerson. “Neither strictly documentary or unconditionally accepted by the art world, the vision of these men and women expressed in their work is ‘on the line,’ between ‘story,’ or meaning, and the ‘look,’ or form.” Among the dozen photographers represented are Mary Ellen Mark, Susan Meiselas, Gilles Peress, and Alex Webb. $75 $35

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

Part of the International Center of Photography’s “Library of Photographers” series, it includes remembrances by playwright Arthur Miller and Weiner’s widow, plus running comments on the pictures by the photographer. Features his documentary work, made primarily during the 1950s, in America, Nova Scotia, Italy, Eastern Europe, and the Soviet Union. Dan Weiner (1919-1959), an early “concerned photographer,” was a member of the Photo League and contributed pictures to such magazines as Collier’s and Fortune. $30 $15

  1. WHITE, Clarence H. Irving Bacheller, Eben Holden, New York: Harper and Brothers, 1900. Hardcover (gold-stamped green cloth),

7 ¼ x 5 ¼ inches, 431 pages, one halftone illustration.

The frontispiece (and only illustration) is a reproduction of a portrait by White of the fictional subject Holden, seated and holding his hat. It is a highly manipulated image, with the subject’s name lettered in by hand. Many other editions of this title appeared around the same time (usually published by Lothrop Publishing), but only this “Pine Tree Edition” is known to include White’s illustration. Though White is uncredited, this portrait appears in a hand-bound copy of the book (with numerous photogravure illustrations) at the Museum of Modern Art, New York, with pictures known to be by him. A rarely seen White illustration. $50 $25

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

The frontispiece is a pleasant portrait by White of the author, rendered in rich gravure. White, who is credited on the tissue guard, portrayed Traubel in side lighting and soft-focus effects. Another little-known illustration by White. $75 $40

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

This is the first of two annuals published by White school alumni. Henry Hoyt Moore declares in his foreword that the school “has had no small influence in raising the standards of photography and in spreading the belief, by demonstration, that it is one of the arts. The school’s alumni have been active in preaching the gospel.” The reproductions include work by Anton Bruehl, Laura Gilpin, Ira W. Martin, Doris Ulmann, and Margaret Watkins, but, undoubtedly, the most important picture is Paul Outerbridge’s “Ide Collar.” $100 $50

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

The second and last annual of White school alumni, published the year of his death. Foreword by the association president, Stella F. Simon. All the reproduced pictures were included in a recent show of work by White students and alumni at the Art Center, New York. Among them were Antoinette B. Hervey, Bernhard S. Horne, and Joseph Petrocelli. $75 $35

  1. WHITE, Clarence H. Marianne Fulton, Bonnie Yochelson, and Kathleen A. Erwin, Pictorialism into Modernism: The Clarence H. White School of Photography, New York: Rizzoli, 1996. Hardcover (silver and blind-stamped black cloth), 11 ¾ x 9 ½ inches, 208 pages, halftone illustrations (some in color), dustjacket. Signed.

The definitive publication on the Clarence H. White School of Photography, which operated in New York from the 1910s to 1940s. Yochelson writes about White and his achievements, and Erwin addresses White’s teaching ideas and methods. Includes biographies of about fifty students of the school, among them Margaret Bourke-White, Dorothea Lange, and Paul Outerbridge, Jr. This copy signed by Yochelson. $75 $40

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

This oversize volume explores the Gateway district of downtown Minneapolis that underwent urban renewal in the 1960s. Martin writes about the history and demolition of the area and Silberman places Wilcox’s photographs in the tradition of urban documentary work. Wilcox’s images provide the most significant visual record of a 25-block area that contained many once regal nineteenth-century buildings before they were razed. Includes a map of the district and many blocks systematically illustrated. The inside covers both feature a hand-cut pop-up of the famed Metropolitan Building, the centerpiece of the destroyed structures. Robert Gene Wilcox (1925 -1970) was one of Minnesota’s leading photographers during the 1960s. This is his most important body of work, housed at the Minneapolis Institute of Arts. Printed in an edition of only 375. $100 $50

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

         This item comprises thirty color portraits by Williams of English and American authors, artists, and photographers, made mostly with a Rolleiflex in a straightforward manner. Opposite each tipped-in plate is a letterpress-printed paragraph describing the subject and the photographer’s interaction with him or her. Includes a preface by the critic/author Hugh Kenner. Among those pictured are Alvin Langdon Coburn, Allen Ginsberg, David Hockney, Claes Oldenburg, Ezra Pound, Aaron Siskind, and Minor White. Jonathan Williams (1929-2008) was a poet, writer, and photographer who published the work of avant-garde poets and other artists at his Jargon Society, in remote North Carolina. This book was issued simultaneously by Gnomon and London’s Coracle Press, in a total numbered edition of 1,800. $75 $40

  1. WINOGRAND, Garry. Public Relations, New York: Museum of Modern Art, 1977. Hardcover (gold and blind-stamped gray cloth),

8 ¾ x 11 ¾ inches, 112 pages, halftone illustrations, dustjacket.

Winogrand pursuing “the effect of the media on events,” funded with a Guggenheim fellowship. He frequented such public events as press conferences, art openings, demonstrations, and parties, to find subjects largely oblivious to his camera. With an introduction by fellow street photographer Tod Papageorge, who was the guest curator for a show of the same title at MOMA. Mint condition, in shrink wrap. $250 $125

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

The street photographer’s visual investigation of Fort Worth’s farm animal competition and rodeo for a few years during the mid-1970s. Often shot indoors with blaring flash, he shows the people and livestock interacting with each other, often in humorous ways. With an essay on the Southwestern Exposition and Fat Stock Show by Ron Tyler. $100 $50

  1. WOLFF, Paul. My Experiences in Color Photography, New York: Grayson Publishing Corp., 1948. Hardcover (silver-stamped green cloth), 10 ½ x 9 ¼ inches, 152 pages, 54 color screen-gravure illustrations, dustjacket.

This is Dr. Paul Wolff’s last book, an advanced course in color photography, revealing his techniques and his understanding of the new medium. His text addresses exposure, composition, lighting, equipment, and other pertinent topics. Features color images, rendered in vibrant gravure, of figures, architecture, the landscape, and still lifes, by Wolff, Alfred Tritschler and Rudolf Hermann. Jacob Deschin, photographic editor of the New York Times, adds supplementary notes. After studying medicine, Paul Wolff (1887-1951) ran a photographic agency in Frankfurt, Germany, and was an early promoter of both color photography and the miniature Leica camera. $35 $15



Catalog 10
September 2015