This catalog brings together two related categories of printed matter, some of it photographic and some not. Ephemera\u2014I love it, I love it, perhaps even more than books, as the stuff, my definition, is fleeting, small, and rare because most people did not save it. Pieces of ephemera often contain information stored nowhere else, like the dates of an exhibition or reproductions of little-known work. Artist\u2019s books, on the other hand, are usually more substantial, having been self-consciously made as freestanding works of art in their own right. However, there can be some cross over between the categories, and I sometimes had a little trouble deciding where to place an item. In 2005, I organized an exhibition of about 100 pieces of photographic ephemera at the Minneapolis Institute of Arts. It comprised primarily small pieces of printed paper, nicely matted and framed for the gallery walls. A few of the very items in that show appear in this catalog, along with its tabloid-style catalog (herein #86), a complimentary copy of which I am including with every order from this catalog.<\/p>\n
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1. ABNEY, William de Wiveleslie. Handwritten letter, 7 x 4 \u00bd inches,
\n4 panels, c. 1895.
\nOn his letterhead of Rathmore Lodge in London\u2019s fashionable South Kensington borough, the letter is dated February 18 and addressed to a Mrs. Clark. In it, Abney thanks her for her letter and discusses his books and travel plans to Ireland. Accompanied by Abney\u2019s 20-page article \u201cPhotography,\u201d extracted from the 1905 edition of The Encyclopedia Britannica. Captain Sir William Abney (1843-1920) invented printing-out paper and wrote over twenty books on photographic technique. In 1876, he published the book Thebes and its Five Greater Temples, with woodburytypes of Egypt, and he later served as president of London\u2019s Photographic Society. $50<\/p>\n
2. ADAMS, Ansel. The Ahwahnee, California: Yosemite National Park, 1951. Menu, 8 \u00bd x 5 \u00bd inches (folded), 4 panels, 1 halftone illustration.
\nMenu for breakfast on August 14, 1951, at the Ahwahnee Hotel in Yosemite National Park. It offered an impressive array of food, including juice, cereal, eggs, meat, pastry, toast, and steamed Alaska cod with parsley potatoes. Gracing the front cover is the image \u201cHalf Dome and Merced River\u201d by Adams, who frequented and boosted the park. Light edgewear. $25<\/p>\n
3. ADAMS, Ansel. Hills Brothers Coffee Can, 1969. Metal, 7 x 6 inches (diameter), with plastic lid.
\nIn 1969 Hills Brothers asked Adams for permission to reproduce one of his images on their coffee cans. This was one of Adams\u2019 last commercial jobs, and certainly the most amusing. It was issued with a paper label (few of which have survived) that wrapped around the three-pound can when it was on the grocery store shelves, where customers could purchase it for about $2.50. The art press humorously noticed the can, but few people seemed to have saved theirs, making this an uncommon Adams item. Check your garage and workbench for one being used for nails or spare parts. $250<\/p>\n
4. ARBUS, Diane. A Box of Ten Photographs ephemera.
\nA Box of Ten Photographs, Minneapolis Institute of Arts, 1973. Postcard announcement for a show of the museum\u2019s portfolio, bought shortly after Arbus\u2019 death in 1971 and one of the earliest to enter an institutional collection.
\nA Box of Ten Photographs, Minneapolis Institute of Arts, 1973. Brochure for the above exhibition, with a statement by curator Carroll T. Hartwell, who signed this copy.
\nA Box of Ten Photographs, Minneapolis Institute of Arts, 1973. Member\u2019s January calendar with information on the above show.
\nSet of 3: $25<\/p>\n
5. ARBUS, Diane. Delta, Gun\/Tonight, Bristol, England: Dishy Records, 1994. Record cover, with vinyl 45 r.p.m. record, 7 \u00bc x 7 \u00bc inches.
\nFeatures Arbus\u2019 haunting image of a boy holding a toy grenade in a park. Like the below item, an unauthorized use of one of her pictures. Near fine condition. $25<\/p>\n
6. ARBUS, Diane. Hellnation, Cheerleaders for Imperialism, San Francisco: Slap A Ham Records, 1999. Record cover, with vinyl LP and lyric sheet, 12 \u00bc x 12 \u00bc inches.
\nThe entire front of the record sleeve reproduces Arbus\u2019 1967 image \u201cPatriotic Young Man with a Flag, N.Y.C.\u201d 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 \u201ckings of the motherfuckin\u2019 thrash,\u201d 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<\/p>\n
7. AVALON BALLROOM. Post cards for dance concerts at the San Francisco ballroom, Family Dog Productions. Each measures about 5 x 6 \u00bd inches.
\nVictor Moscoso, Quicksilver Messenger Service, May 10-11, 1967 (FD #51).
\nRick Griffin, Charlatans, May 26-28, 1967 (FD #63).
\nWilliam Henry, Junior Wells, May17-19, 1968 (FD #119).
\nSan Andreas Fault, Country Joe & the Fish, July 23-25, 1968 (FD #129).
\nBob Schnepf, Pink Floyd, August 2-4, 1968 (FD #131).
\nGeorge Hunter, Bill Haley & the Comets, August 16-18, 1968 (FD #133).
\nWes Wilson, Buddy Miles Express, October 25-27, 1968 (FD #143).
\nWes Wilson, Byrds, November 1-3, 1968 (FD #144).
\nSan Andreas Fault, Mother Earth, November 8-10, 1968 (FD #145).
\nMost in near fine condition, a few with pin holes. Group of 9: $150<\/p>\n
8. AVEDON, Richard. Evidence: 1944-1994, Minneapolis Institute of Arts, 1994. Paper bag, 19 x 16 inches, unillustrated.
\nThis bag, with handles, was produced in conjunction with the presentation of the traveling exhibition of the same name. One side features the typography in blue on a white background, while the other side does the reverse. A few small creases. $25<\/p>\n
9. BEARD, Peter. Peter Beard: The Last Word from Paradise, New York: International Center of Photography, 1977. Single folded sheet, 58 x 42 inches.
\nThis large-scale piece accompanied a solo show that Beard presented at ICP. Printed on quality newsprint, one side features eight double-page spreads from Beard\u2019s diaries and a text by Nelson Doubleday (a pseudonym for Beard?). The flip side is an homage to Beard\u2019s great cause of the survival of African elephants; it presents large scale images of elephant carcasses and herds, all aerial shots. Laid out by the great graphic designer Marvin Israel, it is a rare early Peter Beard item. Mild stains to one corner. $950<\/p>\n
10. BEARD, Peter.
\nCarnets Africains: A Retrospective (1955 \u2013 Present), New York: The Time is Always Now,
\n1996. Brochure, 11 x 8 \u00bd inches, 4 panels, 1 halftone illustration. Text by Christian
\nCaujolle.
\nFifty Years of Portraits, New York: The Time is Always Now, c. 1999. Brochure, 10 x 8
\ninches, 4 panels, 3 color halftone illustrations. Probably produced at the time of the
\nArena Editions book of the same title.
\nPair of exhibition brochures: $15<\/p>\n
11. BIEDERMAN, Charles. Charles Biederman: 60 Years of American Modernism, Minneapolis: Weinstein Gallery, 2012. Metal sheet, 8 x 5 inches, one color halftone illustration.
\nThis is a clever announcement for an exhibition of sculpture and other art by Biederman at the Weinstien Gallery. Printed on a metal sheet, it suggests the weight and physicality of his De Stijl-like three-dimensional pieces. Biederman (1906-2004) was an abstract artist who settled in Minnsota in 1942 and coined the term \u201cStructurism\u201d for his pieces. Miniscule edge chipping to image, in original mailed envelope. $25<\/p>\n
12. BISHOP, Elvin. Laminated button, 3 \u00bd inch diameter, 1 halftone illustration.
\nThis is a button, with pin clasp on back, promoting a concert at Bill Graham\u2019s Winterland hall in San Francisco. The October 20-21, 1967, show included the bands, Sons of Champlin, Joy of Cooking, Copperhead, and the Elvin Bishop Group as headliners. Features a small circular image of Bishop and a black woman, presumably one of his singers. Near fine condition. $25<\/p>\n
13. BRUEHL, Anton. Lord Dunsany, A City of Wonder, New York: Linweave Limited Editions, 1932. Folder, 12 x 9 \u00bc inches, 1 screen-gravure illustration, loose sheet.
\nThis is the prospectus for the book, with an excerpt from the text and its one image. Bruehl provided a nighttime view of a skyscraper, dramatically lit and framed from below, and rendered in rich gravure. The laid in sheet discusses the quality Linweave paper, the author, and the photographer. It addresses Bruehl\u2019s Australian heritage and his immigrating to New York as an engineer. \u201cMr. Bruehl found a superabundance of good engineers, but a scarcity of good photographers. So, he abruptly switched professions and set about becoming the country\u2019s outstanding photographer\u2014a goal he has very nearly reached.\u201d Tiny creases to folder. $175<\/p>\n
14. BUDAPEST. Budapest, Hungary: Calendar for the Year 1939, Budapest: Municipal Information Office, 1938. Calendar (spiral bound), 9 \u00be x 7 \u00bc inches, unpaginated, halftone illustrations.
\nThis calendar features a page for each week of the year, with reproductions primarily of scenes in Budapest but also some taken in rural Hungary. Included are images of palaces, bridges, museums, fairs, churches, and individuals in traditional Hungarian dress. Includes a short text on the city of Buda and Pest, which is known for its baths and as the \u201cQueen of the Danube.\u201d Though the individual images are not credited, ten photographers are listed as contributors, among them Tibor Cs\u00f6rge\u00f6, Jen\u00f6 Dulovits, and Ern\u00f6 Vadas. Text in English. Light wear to covers and damp wrinkling to one edge. $50<\/p>\n
15. BUFFALO SPRINGFIELD. Bio of the Buffalo Springfield, New York: Atco Records, c. 1967. Six pages, 11 x 8 \u00bd inches.
\nComprises two pages on the group\u2019s history, with the remaining text given over to accounts of the five individual musicians. It begins, \u201cThe Buffalo Springfield was formed in California in the spring of 1966. Too poor to afford rehearsal space, they were practicing at the edge of a road in Los Angeles one day when a steam-roller came by. On its sides were colorful signs which read \u2018Buffalo Springfield.\u2019 The boys had found themselves a name.\u201d Of course, the two most famous members were Stephen Stills and Neil Young, whose backgrounds are given first. This is a vintage press release, with the first page on original ATCO letterhead. A few folds and tiny stains. $25<\/p>\n
16. BUNNELL, Peter C. Photography Invitational, Gainesville: University of Florida, c. 1960. Softcover, 5 x 8 \u00bd inches, 16 pages, 18 halftone illustrations. Signed.
\nExhibition organized by Van Deren Coke, of student work from six universities that had photography programs. Among those listed are Jerry Uelsmann and Jack Welpott from Indiana, Ted Hartwell from Minnesota, Peter Bunnell from Ohio, and John Pfahl from Syracuse. This is an early piece, before these individuals began their professional careers. Accompanied by a 2009 typed, signed letter from Bunnell (with envelope), in which he discusses the show. For many years, Bunnell (born 1937) taught the history of photography at Princeton University and was the curator of photographs at its Art Museum, until his retirement in 2002. Light rubbing to covers. $50<\/p>\n
17. BUNNELL, Peter C.
\nThe Human Environment: An Exhibition of 50 Photographs, State College: Pennsylvania State
\nUniversity, 1970. Softcover, 8 pages, 4 halftone illustrations. Catalog for exhibition,
\norganized by Bunnell, of work by Diane Arbus (who was still alive), Bruce Davidson,
\nJoel Meyerowitz, and Garry Winogrand. This copy signed by Bunnell.
\nNortheastern Regional Photography Exhibition, South Hadley, Massachusetts: Mount Holyoke
\nCollege, 1975. Softcover, 8 \u00bd x 5 \u00bd inches, 8 pages, unillustrated. Exhibition
\ncatalog of 81 photographs, selected by Bunnell. Among those known today are Elsa
\nDorfman, Jane Tuckerman, Joann Frank, David Goldes, Christopher James, and
\nJeffrey Silverthorne. This copy signed by Bunnell.
\nSociety for Photographic Education 1976 National Conference, Minneapolis College of Art and
\nDesign, 1976. Softcover, 8 \u00bd x 6 \u00bc inches, 8 pages, 1 halftone illustration.
\nConference program that included Douglas Davis as the keynote speaker and Harry
\nCallahan as the honored guest photographer. Others who spoke included Anne
\nTucker, Nathan Lyons, and Bunnell, then chairman of S.P.E.\u2019s board of directors.
\nThis copy signed by Bunnell.
\nGroup of 3 unusual, early items, all signed: $75<\/p>\n
18. CALDICOTT, Richard. Richard Caldicott: January 5 \u2013 February 16, 2002, New York: Ariel Meyerowitz Gallery, 2002. Plastic container, 5 x 5 x 2 inches, card, and press release, cardboard box.
\nThis is the announcement for a show of color photographs at the Meyerowitz Gallery, in which Caldicott transformed utilitarian objects, often Tupperware boxes and lids, into elegant, luminous work of art. This was the first solo exhibition in New York of work by Caldicott, a contemporary British artist born in 1962. In original shipping box. Near fine condition. $25<\/p>\n
19. CAPITAL CAMERA CLUB.
\nTenth Annual Exhibition, Washington, D.C.: Capital Camera Club, 1901. Softcover (string ties), 7 \u00bd x 5 \u00bd inches, unpaginated, 12 halftone illustrations. Catalog of nearly 275 photographs presented at the Corcoran Gallery of Art. Charles E. Fairman, a director of the club, is the most well-known of the exhibitors. Lists the club\u2019s officers and all its members, among them honorary member Frances Benjamin Johnston. Covers chipped, with a fold and light soiling.
\nEleventh Annual Exhibition, Washington, D.C.: Capital Camera Club, 1902. Softcover, 8 \u00bc x 5 inches, 40 pages, 12 halftone illustrations. Catalog for 200 photographs shown at the Corcoran Gallery of Art. Many of the reproductions are by women photographers and there is one of an old man with a cane by Will H. Towles, who went on to become a nationally prominent portrait photographer. Missing small pieces along bottom of front cover.
\nEighteenth Annual Exhibition, Washington, D.C.: Capital Camera Club, 1909. Softcover, 9 x 6 inches, 32 pages, 9 halftone illustrations. Catalog for 166 photographs, once again hung at the Corcoran. While most of the exhibitors were members of the club, a few out-of-town pictorialists contributed, such as Pittsburgh\u2019s O. C. Reiter. The reproductions feature mostly still lifes, portraits, and landscapes. The foreword stated that the Capital Camera Club \u201cstands as one of the two oldest art organizations in the District of Columbia, and as one of the foremost photographic societies in the county. Its members till the field of the beautiful for the sole reward that consciousness of work well done may bestow.\u201d Light edgewear to cover.
\nEarly camera club catalogs like these, which hold a bounty of information, are rare. Set of three: $250<\/p>\n
20. CHAPPELL, Walter.
\nMetaflora, Pyramid Editions, 1985. Accordion-style brochure, 16 panels, 13 continuous-tone illustrations. The prospectus for a series of printed tri-tone impressions, all glowing floral images. This copy inscribed by Chappell.
\nHuman Form, Pyramid Editions, 1985. Same as the above, except that the images are nude figure studies, both male and female, in outdoor settings. This copy signed by Chappell.
\nBiography, on Chappell\u2019s letterhead.
\nPricing schedule, on his letterhead.
\nBusiness card, with hand-written note on back.
\nGroup of 5 items, in original mailed envelope (post marked 1992): $35<\/p>\n
21. CHICAGO Press Photographers Association. First Annual Photo-Exhibit, Chicago: Morrison Hotel, 1942. Softcover, 8 \u00bd x 5 \u00be inches, 1 halftone.
\nExhibition catalog, with image of a photographer and his Speed-Graphic on the cover. Includes poem \u201cThe News Photographer\u201d by William R. Shields and list of officers, among them president Russell V. Hamm. Comprises primarily a listing of nearly 650 pictures with makers, titles, and technical information. Alphabetical listing of the exhibiting eighty photographers, ranging from Max Arthur to Freida Zylstra. Useful reference item. $50<\/p>\n
22. CLINTON, Bill. Impeachment.
\nThe following newspapers have front-page coverage of the proceedings in President Clinton\u2019s impeachment hearings and trial in the United States House of Representatives. Wide-ranging and in-depth coverage, with good geographical spread of papers. Primary research material for the political historian.
\nNew York Times. December 13, 20, 1988, January 7, 10, 15, 24, 31, February 7, 14, April
\n13, 1999.
\nRochester Democrat and Chronicle. January 7, 8, 9, 1999.
\nMinneapolis Star Tribune. December 20, 1998, February 13, 1999.
\nWausau Daily Herald (Wausau, Wisconsin). September 11, 12, 18, October 9, December
\n17, 18, 19, 20, 1998, February 13, 1999.
\nGroup of 24 issues: $50<\/p>\n
23. COKE, Van Deren.
\nPhotographs from the Coke Collection, Museum of Albuquerque, 1969. Softcover, 9 \u00bd x 8 \u00bc
\ninches, 16 pages, 16 halftone illustrations. Exhibition catalog, with introduction by
\nCoke, of 111 photographs from his personal collection. Among those with
\nreproductions are Man Ray, Frederick Sommer, Doris Ulmann, Francis Frith, Paul
\nStrand, W. Eugene Smith, Edward Weston, and Walker Evans.
\nBusiness card, San Francisco Museum of Modern Art, c. 1983, signed.
\nOriginal photograph, [lamp in tent], c. 1984, Cibachrome print, 8 x 4 inches, signed.
\nObituary, \u201cVan Deren Coke, 83, Dies; Curator and Photographer,\u201d New York Times, July
\n27, 2004.
\nVan Deren Coke (1921-2004) was most known as the curator of photographs at the San Francisco Museum of Modern Art and professor of photography at the University of New Mexico, Albuquerque.
\nGroup of 4: $75<\/p>\n
24. COLUMBIA UNIVERSITY in the City of New York: Photographic Studies, New York: Columbia University, 1920. Softcover, 10 \u00bc x 8 inches, 24 pages, 18 halftone illustrations.
\nThough Clarence White\u2019s work does not appear in this little picture book, he very likely was involved with its production. He taught photography at Columbia\u2019s Teacher\u2019s College beginning in 1907 and was acquainted with most or all of the photographers whose pictures are reproduced. Doris W. Jaeger (Ulmann) and Antoinette B. Hervey, who studied with White, provide nearly half of the images and there is work by six others. The photographs are all dark and moody, showing primarily buildings on Columbia\u2019s campus. With an excerpt from the school president\u2019s inaugural address in 1902, this piece was presumably used to show the beauty of the campus and persuade students to enroll. One corner bent throughout, cover with foxing and torn and wrinkled tipped-on reproduction. This is a rare and delicate item. $150<\/p>\n
25. CONTEMPORARY GRAPHICS Published by Universal Limited Art Editions, Minneapolis: Dayton\u2019s Gallery 12, 1968. Softcover, 8 \u00bd x 5 \u00bd inches, 32 pages, 15 halftone illustrations.
\nCatalog for a two-week exhibition of Pop Art, in the midst of this most important American art movement. It includes recent etchings and lithographs by such greats as Jim Dine, Jasper Johns, Robert Rauschenberg, Larry Rivers, and James Rosenquest. Published by one of the premiere artist\u2019s printing studio, U.L.A.E., most were for sale, undoubtedly at prices that would be highly enviable today (unfortunately, no price list present here). This also demonstrates how young Minneapolis was as an art town at the time\u2014Gallery 12 was in a department store (Dayton\u2019s), and one could buy art with a credit card over time. Those were the days. Near fine condition. $25<\/p>\n
26. COSINDAS, Marie.
\nPolaroid Color Photographs, 1966. Softcover, 11 \u00bc x 9 \u00bc inches, 12 pages, 10 color halftone illustrations. This brochure accompanied an exhibition of 85 photographs, all dating from 1965 and 1966, presented at New York\u2019s Museum of Modern Art, Boston\u2019s Museum of Fine Arts, and the Art Institute of Chicago. It includes statements by John Szarkowski, Hugh Edwards, and the director of the Boston museum, as well as a checklist and biography of the artist. Bostonian Marie Cosindas (born 1925) was one of the first photographers to extensively use Polaroid color film and is known for her portraits and still lifes. Covers lightly browned.
\nSaturday Review, September 24, 1966. Includes the article \u201cA Show of Color\u201d by Margaret R. Weiss, a review of the Cosindas exhibition that accompanied the above brochure, with all ten of the same color images, plus her \u201cMasks\u201d on the cover of the magazine. Tear and wrinkles to cover.
\nPair: $25<\/p>\n
27. COUNTRY JOE & the FISH. San Andreas Fault and Jerry Wainwright, Country Joe & the Fish, San Francisco: Family Dog Productions, 1968. Concert ticket, 3 \u00bd x 2 \u00bc inches, 1 halftone illustration. Plus postcard.
\nAn original ticket for the July 23, 24, 25, 1967, concert at San Francisco\u2019s Avalon Ballroom, featuring Country Joe and the opening bands Pacific Gas & Electric and Boogie (FD #129). The bulk of the image comprises a young nude woman in the lotus position with a rose in her lap, by San Francisco photographer Jerry Wainwright (1926-1997). Avalon Ballroom tickets are much rarer than those from Bill Graham\u2019s Fillmore Auditorium, because the Avalon printed them for relatively few shows. Accompanied by the matching postcard (6 \u00bd x 4 \u00bd inches), with Wainwright\u2019s personal wet stamp on back. Both near fine condition. Pair: $35<\/p>\n
28. DANE, Bill.
\nSixty (60) photographic postcards, 1975-1990. Most are gelatin silver prints, along with six color coupler prints. They measure about 4 \u00bd x 7 inches, and all were mailed. They depict Dane\u2019s wry, \u201csocial landscape\u201d outlook on everyday life, out on the street, in parks, malls, and bars. Among the locations he indicates are San Francisco, Las Vegas, Halifax (Canada), Rome, Cairo, Ghana, Bogota (Columbia), and Mexico City. With an order form for his 1992 book Bill Dane\u2019s History of the Universe and his Fraenkel Gallery business card. Group of 60: $5,500<\/p>\n
29. DONNELLEY, R. R., and SONS, Company. Pictures Plus, Chicago: Lakeside Press, Donnelley, c. 1940s. Softcover, 12 x 10 \u00bd inches, 16 pages, 15 screen-gravure illustrations.
\nThis is a handsome promotional piece demonstrating the rich images Donnelly printed by rotogravure and sheet-fed gravure. Among the photographers providing images are Torkel Korling, Peter Pollack, Jack Wright, and Ylla. The most dramatic one is by Fritz Henle, showing skyscrapers with a bare tree in the foreground; it appears bleed-printed on the inside covers in both positive and negative. Light edgewear. $35<\/p>\n
30. DRTIKOL, Franti\u0161ek. Franti\u0161ek Drtikol: 1883-1961, Prague: Museum of Decorative Arts, 2006. Folder, 16 \u00bd x 11 \u00be inches, 3 loose sheets, 3 illustrations.
\nThis oversize folio was published on the occasion of an exhibition at the museum of photographs by Drtikol, from the years 1901-1914. The high-quality reproductions are tipped-on to the sheets, and present a self-portrait, a nude, and a river scene. Near fine condition. $50<\/p>\n
31. EAKINS Press Foundation.
\nMessage from the Interior, New York: Eakins Press Foundation, 1993. Softcover, 7 \u00bd x 4 \u00bd inches, 48 pages, screen-gravure illustrations, dustjacket. This handsome booklet, with an introduction by founder Leslie George Katz, features illustrated entries on the 43 titles that the press had printed to date. Among them are Message from the Interior by Walker Evans, The American Monument by Lee Friedlander, novels, books of poems, and books on musicians and artists.
\nMessage from the Interior: Eakins Press Foundation: An Exhibition of Books, Portfolios & Related Works of Art, New York: Zabriskie Gallery, 1992. Softcover, 7 \u00bd x 4 \u00bd inches, 16 pages, 8 screen-gravure illustrations. Produced in the same format as the above, this item accompanied an exhibition of nearly sixty objects. Text by Virginia Zabriskie and Leslie Katz.
\nBoth in near fine condition. Pair: $35<\/p>\n
32. EASTMAN HOUSE.
\nBrochures for traveling exhibitions of photographs, circulated by the International Museum of Photography at George Eastman House, in the late 1970s. Each one measures 8 \u00be x 4 inches (folded), has 6 panels, and presents one halftone illustration on the cover. They include a description of the show, list of pictures (usually about 50), loan conditions, and order form. Instructive period items, with the loan fees often around $150 per month. There are eight group shows, on such topic as \u201cWest of the Rockies\u201d and \u201cPhoto\/ Graphics,\u201d plus ten one-person exhibitions. The latter include Harry Callahan, Robert Douisneau, Lewis Hine, Russell Lee, Eadweard Muybridge, Arnold Newman, W. Eugene Smith, and Willard Van Dyke. Group of 18: $100<\/p>\n
33. EGGLESTON, William.
\nBusiness card. Eggleston Works Loudspeaker Company: William Eggleston, with address and fax
\nand phone numbers.
\nSean Callahan, \u201cMOMA Lowers the Color Bar, New York Times, June 28, 1976.\u201d Review of
\nEggleston\u2019s show at New York\u2019s Museum of Modern Art,
\nRoberta Hellman & Marvin Hoshino, \u201cWhat Television Has Brought,\u201d Village Voice, July
\n5, 1976. Another review of the MOMA show.
\nMichael Edelson, \u201cMOMA Shows Her Colors,\u201d Camera 35, October 1976.\u201d Another
\nReview of the show at the Museum of Modern Art.
\nMax Kozloff, \u201cHow to Mystify Color Photography,\u201d Artforum, November 1976. One more
\nreview.
\nWilliam Eggleston: Color Photographs, 1966-1977, New York: Castelli Graphics, 1977.
\nExhibition announcement.
\nOwen Edwards, \u201cWilliam Eggleston\u2019s New Clothes,\u201d Village Voice, December 12, 1977.
\nReview of the above show at Castelli.
\nWilliam Eggleston, San Francisco: Fraenkel Gallery, 1986. Exhibition announcement.
\nTessa DeCarlo, \u201cRainbow\u2019s Beginning: How William Eggleston Made the Case for Color,\u201d
\nNew York Times, August 15, 2004. Review of a show of work Eggleston made at Los
\nAlamos.
\nNice group of 9 items. $100<\/p>\n
34. EVANS, Walker. \u201cCollins Company, Collinsville, Connecticut,\u201d Fortune, January 1946, pages 110-115 and 193-194, 1 halftone and 7 screen-gravure illustrations (some in color).
\nCovers a company in a small town near Hartford that specializes in making machetes for export to Latin America. Evans photographed the Collins Company\u2019s buildings, workers, and executives. Among the over dozen machetes displayed, in catalog fashion, are those used on coffee, rubber, sugar-cane, and banana plantations, in Mexico, Columbia, and other countries. Spine lightly wracked, with a few small creases to the back cover. Entire issue: $25<\/p>\n
35. EVANS, Walker. \u201cOne-Newspaper Town,\u201d Fortune, August 1947, pages 102-107 and 133-139, 11 screen-gravure illustrations.
\nThis article features Paducah, Kentucky, and its Sun Democrat. Evans provides portraits of the father\/son owners, but succeeds best at showing the town\u2019s downtown streets, with pedestrians and signage (one of his favorite subjects). Wracked spine, with the top and bottom bumped. Entire issue: $25<\/p>\n
36. EVANS, Walker. \u201cSummer North of Boston,\u201d Fortune, August 1949, pages 74-79, one color halftone and 5 screen-gravure illustrations.
\nEvans provides images of New England resort hotels in Maine, New Hampshire, and Massachusetts. Built in the late nineteenth and early twentieth century, his subjects are massive, sprawling, pretentious, and overwrought. Back cover rubbed, front cover with small tear and a 2-x-2 inch piece missing, previous owner\u2019s blind stamp internally. Entire issue: $25<\/p>\n
37. EVANS, Walker. Walker Evans: I, Washington, D.C.: Lunn Gallery\/ Graphics International Ltd., 1977. Softcover, 9 x 6 inches, 16 pages, 15 halftone illustrations.
\nThis is the prospectus for a posthumous portfolio of Evans photographs published by the Lunn Gallery. Two printers who had worked with Evans before his death made the prints, which had the Evans estate seal embossed on their mounts. Among the images, all illustrated, are those of the Brooklyn Bridge (1929), Berenice Abbott (1931), Cuba (1932), an Alabama church interior (1936), the New York subway (1938), and Robert Frank\u2019s stove (1971). Light rubbing to covers. $25<\/p>\n
38. FALLOWFIELD, Jonathan. Handbill, 8 \u00be x 5 \u00bd inches, 1890.
\nThis printed handbill announces Fallowfield\u2019s Central Photographic Store moving to a new location in London. The full text on the front reads: \u201cFallowfield\u2019s\/Central\/ Photographic Stores\/Charing Cross Road\/(Six Doors from Oxford Street)\/Will Open On\/1st July, 1890\/34 Years at Lower Marsh, Lambeth.\u201d The back features a wood engraving of the new, four-story building and a map with its location marked. This is a rare piece of ephemera, with nice period typography, in various fonts. Jonathan Fallowfield commenced his photographic chemical and material warehouse in 1856. He sold it in 1888 but the new owner kept the Fallowfield name, and it continued operating for another century, finally being consumed by Sangers Photographic Wholesale in 1987. Ephemera like this rarely survived. Near fine condition, with a faint fold to one corner. $75<\/p>\n
39. FASSBENDER, Adolf.
\nThis Certificate is Awarded to ______,\u201d blank certificate for completing Fassbender\u2019s course
\nin Artistic Portraiture, Theory and Technical Control Methods in Photography, n.d.
\nAdolf Fassbender\u2019s Comprehensive Course in Black and White Photography, course brochure,
\nCamera Club of New York, 1949.
\n6 Courses in Photography for Men and Women, class brochure, Brooklyn Young Men\u2019s
\nChristian Association, 1951.
\nAdolf \u201cPapa\u201d Fassbender, lecture brochure, Professional Photographers Association of New
\nJersey, October 2, 1960.
\nA Week with Adolf Fassbender, workshop brochure, Professional Photographers of America,
\nJuly 14-20, 1968.
\nThe Fassbender Collection of the Photographic Society of America, brochure, c. 1972.
\nPSA Journal, November 1966 (vol. 32). Softcover, 11 \u00bc x 8 \u00bc inches, 52 pages.
\nFassbender is the focus of this issue, with his image The Octogenarians (showing two
\nmen with pipes and canes conversing on a bench) on the cover. In 1966, he received
\nthe progress medal from the Photographic Society of America, and Glenn E.
\nMatthews contributes an article on him. Following it Fassbender writes a ten-page
\narticle titled \u201cWhy Bother?\u201d which begins, \u201cThe camera and the photographic process
\nconspire to produce falsehood. Control techniques can help us recapture the mood
\nor feeling experienced in picture taking, then to introduce artistic effects which may
\nbe purely emotional or personal.\u201d It features sixteen halftone illustrations by him
\nincluding his forceful image from the 1939 New York World\u2019s Fair Dynamic Symbol,
\nmade from four separate negatives.
\nA rare and rich group of items that feature details about Fassbender\u2019s many pursuits. The group of 7: $100<\/p>\n
40. FASSBENDER, Adolf. Eighteen holiday cards on real photographic paper.
\nThese cards picture largely the vernacular structures and rural folk of small European towns. Still, there are four American winter scenes, most of them showing trees under snow, including one titled Christmas in Manhattan (1947), made in Central Park with apartment buildings in the background. Some of them have printed greetings inside, the typography cleverly mimicking the shape of a Christmas tree. The images are toned black, brown, and blue, and were made from copy negatives, as Fassbender\u2019s signature and the picture title are visible below each image. The one exception is an original color print tipped into a stock card dated 1967. It shows an Austrian lakeside village below towering mountains and is hand-signed \u201cThe Fassbenders.\u201d An unusual offering, most in near fine condition. The set of eighteen: $350<\/p>\n
41. FILM.
\nPrograms for screenings at the Museum of Modern Art and Dryden Theatre of the George Eastman House.
\nA Short Survey of the Film in America: The German Influence, New York: Museum of Modern Art, 1939. Brochure, 9 \u00bc x 7 \u00bc inches, 4 panels, unillustrated. Covers \u201cHands\u201d by Stella Simon and Miklos Bandy (1928) and \u201cSunrise\u201d by R. W. Murnau (1927).
\nThe Film in Germany and in France. MOMA, same format as above. Features \u201cThe Cabinet of Dr. Caligari\u201d by Robert Wiene (1919) and four others.
\nPost-War American Films: Von Stroheim and Realism. MOMA, same format as above. Features \u201cGreed\u201d (1923-24).
\nThe Russian Film: New Beginnings\u2014Einstein and Vertov. MOMA, same format as above. Includes Kino-Pravda by Dziga Vertov (1922), \u201cPotemkin\u201d by Sergei Einstein (1925), and two others.
\nAmerica in the Twenties, Rochester: George Eastman House, 1971. Brochure, 11 x
\n8 \u00bd inches, 4 panels, 2 halftone illustrations. Describes 22 films.
\nEurope in the Twenties. GEH, same format as above. Covers 14 films, including \u201cDr. Mabue\u201d by Fritz Lang (1922) and \u201cThe Andalusian Dog\u201d by Salvador Dali and Luis Bunuel (1928).
\nGroup of 6: $35<\/p>\n
42. FRANK, Robert. Robert Frank: A Traveling Exhibition, Rochester: International Museum of Photography at George Eastman House, 1965. Brochure, 8 \u00be x 3 \u00be inches, 6 panels, 1 halftone illustration.
\nThis item offers an early traveling show of Frank\u2019s work, only six years after the U. S. publication of The Americans. It comprises 25 pictures from the project, among them \u201cParade\u2014Hoboken, New Jersey,\u201d which is illustrated on the front of the brochure. Includes excerpts from Jack Kerouac\u2019s text for the book, a list of the pictures, a request form, and terms. The rental fee was $125 per month. A little-known piece of Frank ephemera. Fine condition. $25<\/p>\n
43. FRANK, Robert. \u201cContemporary Photographers: Robert Frank,\u201d PSA Journal, January 1967, page 27, 2 halftone illustrations.
\nGiven the conservative nature of the Photographic Society of America (PSA), it\u2019s surprising that its magazine would cover Frank\u2019s subversive pictures of the United States. This single-page article mentions the above exhibition of his work being traveled by the Eastman House, and reproduces \u201cParade\u2014Hoboken, New Jersey\u201d and \u201cPolitical Rally\u2014Chicago.\u201d Light rubbing to the covers and rust at the staples. Entire issue: $25<\/p>\n
44. FRANK, Robert. Andrew Maniotes, Robert Frank: The Americans, Minneapolis: Andrew Maniotes, c. 2000. Broadside, 27 x 23 \u00be inches (folded to 9 x 4), 20 halftone illustrations. Signed.
\nManiotes produced this unusual and little-known item while attending the Minneapolis College of Art and Design. One side features primarily a portion of Frank\u2019s American flag image \u201cFourth of July\u2014Jay, New York.\u201d The other comprises nearly 20 images from The Americans, reproduced in varying sizes, portions of a map, and Jack Kerouac\u2019s entire text from the book. This piece was undoubtedly produced without the consent of Frank, adding to its appeal. This copy signed by Maniotes. Fine condition. $25<\/p>\n
45. FRANKLIN, Aretha. James D. Wilson, Aretha Franklin, 1968. Vintage contact sheet, 9 \u00bd x 7 \u00bc inches.
\nShows the Queen of Soul in what was probably her own living room, with awards and other black figures. Seven of the images are of Franklin alone, the best of which are her sitting on the floor surrounded with plaques and trophies. Includes two additional contact prints, also in 2 \u00bc-inch-square format pasted to the back, and one enlargement
\n(9 \u00bc x 12 inches) that is not vintage. \u201cJames D. Wilson\/Custom Photography\u201d wet stamp, with his Detroit address, also on the back. Pair: $25<\/p>\n
46. FRIEDLANDER, Lee and Jim Dine. Photographs and Etchings, London: Petersburg Press, 1969. Prospectus, 60 x 9 inches (folded to 6 x 9), 20 panels, 19 halftone illustrations. Signed by Dine.
\nThis is the prospectus for the portfolio of the same name, comprising sixteen sheets with original photographs by Friedlander and etchings by Dine. Each plate is illustrated here, along with the title page and two sheets of documentation, one with a photograph of the artists sitting on a bed. The pairing of photographs and etchings often seem random. This is a very rare item, promoting one of the more unusual portfolios of the time, with its mixture of media. Additionally, this copy is signed by Jim Dine. Light rubbing and one fold to front panel. $350<\/p>\n
47. FRIEDLANDER, Lee. Fourteen American Monuments, New York: Eakins Press Foundation, 1977. Softcover, 6 x 9 inches, 12 pages, 14 halftone illustrations.
\nThe selected photographs here all come from the much larger project and book The American Monument. The brief text describes Friedlander\u2019s interest in the subject, spanning over a decade. This little album was published on the occasion of a traveling exhibition organized by Boston\u2019s Institute of Contemporary Art. Near fine condition. $25<\/p>\n
48. FRIEDLANDER, Lee. \u201cMadonna: The Lee Friedlander Sessions,\u201d Playboy, September 1985, pages 118-125, 6 screen-gravure illustrations.
\nNude photographs of Madonna Louise Ciccone from 1979 and 1980, before she became a music superstar. Friedlander remembered his subject as confident, street-wise, and mentioning she was forming a band. He shows her casually lounging near a television, sitting on a window sill, and sometimes up close and formally posed, with plenty of underarm and pubic hair. None of these pictures appeared in Friedlander\u2019s subsequent book Nudes. Followed in the magazine by four additional nude photographs of Madonna by Martin H. Schreiber, from the same time period. A few light folds to cover. Entire issue: $35<\/p>\n
49. FRIENDS of PHOTOGRAPHY, Carmel, California, 1972. Folder, 10 \u00bd x
\n8 \u00be inches, 3 halftone illustrations, loose sheets.
\nThis is an early promotional piece for the Friends of Photography, an organization founded by Ansel Adams, Wynn Bullock, Brett Weston, and others to promote creative photography. The folder is an offprint of the first issue of Untitled, the group\u2019s quarterly, with two images by Edward Weston and one by Adams. Laid in is a list of nearly 300 photography books for sale, an order form, and a sheet on four original photographs available to members. The latter comprised prints by Ansel Adams ($150), Lewis Baltz ($100), Wynn Bullock ($125), and Edward Weston ($90, print by Cole). Light edgewear to folder. $25<\/p>\n
50. GEER, Richard. Autograph.
\nThe actor\u2019s signature on the business card of Michael Carey, an Arts-and-Crafts Movement dealer in Soho. Geer was among the many movie stars, like Barbara Streisand, who collected objects from the movement, helping to drive up prices in the 1980s. I obtained this autograph from him in Carey\u2019s shop on April 30, 1988. $25<\/p>\n
51. GOSSAGE, John. Here, Rochester, Minnesota: Rochester Art Center, 2010. Unbound (as issued), 22 \u00bc x 12 \u00bd inches, 80 newsprint pages. Signed.
\nThis \u201ccatalog\u201d accompanied an exhibition at the art center of photographs it commissioned Gossage to take in Rochester. After an introduction by curator Kris Douglas, come 72 large-scale, full-page halftones of typical street images by Gossage, showing yards, telephone poles, houses, and people, in both detail and from afar. Indicative of the inclusive nature of the project, the entire guts of this catalog was inserted into an issue of the city\u2019s daily paper, the Post-Bulletin (January 27, 2010), which is present here. Undoubtedly, the vast majority of these were recycled by baffled subscribers. The catalog was also issued separately in a regular and deluxe edition. This copy signed by Gossage. Near fine condition. $100<\/p>\n
52. GRATEFUL DEAD. Stanely Mouse, Grateful Dead\/Quicksilver Messenger Service, San Francisco: Family Dog Productions, 1967. Post card, 7 x 5 \u00bc inches, 1 color halftone illustration.
\nThis is an original postcard for the January 27-28, 1967, concert at the Avalon Ballroom in San Francisco (FD #45). It featured one of the most favored bills of the time\u2014the Grateful Dead (led by Jerry Garcia) and Quicksilver Messenger Service (with guitar impresario John Cipollina), commonly referred to as the \u201cQuick and the Dead.\u201d It sports one of Stanley Mouse\u2019s most recognizable designs, showing a woman with flowing hair, heavily inspired by the French artist Alphonse Mucha, printed in red, green, and metallic gold ink. This mailed card has on the back a typed address and some hand-written numerals in ink, with mild edgewear and a faint crease. $35<\/p>\n
53. GREEN, Jonathan. Illusions: Recent Prints on RC Paper, Boston: Carl Siembab Gallery, 1976. Sheet of photographic paper, 14 x 11 inches, four images.
\nThis intriguing piece is printed on actual resin-coated photographic paper. Announcing a show of Green\u2019s work at the Seimbab Gallery, the type and image (of cacti under overhead lattice work) are repeated four times, suggesting that such sheets were cut down and mailed out. Green (born 1939) is an American street photographer and author of books on twentieth-century photography. Near fine condition. $25<\/p>\n
54. GRIFFITHS, Philip Jones.
\nBiography, New York: Magnum Photos, Inc., c. 1988. Sheet, 11 x 8 \u00bd inches, unillustrated. Seven-paragraph biography of the photographer, on Magnum letterhead. Signed by Griffiths. Philip Jones Griffiths (1936-2008) is most known for his 1971 book Vietnam, Inc. $25<\/p>\n
55. HEATH, Dave.
\nBusiness card, undated, signed by Heath.
\nArs Moriendi: A Masque, Minneapolis Institute of Arts, 1994. Brochure for presentation by
\nHeath, 8 \u00bd x 5 \u00bd inches, 4 panels, 1 halftone illustration. Signed by Heath.
\nDave Heath: Vintage Photographs, Petaluma, California: Barry Singer Gallery, 1999.
\nBrochure, 10 \u00bd x 4 inches, 10 panels, 17 duotone illustrations. In envelope, hand-
\naddressed by Heath.
\nA Quartet of Photographs from \u201cA Dialogue With Solitude,\u201d Toronto: Lumiere Press, 2000.
\nFour note cards, each 6 x 4 inches with a duotone illustration. With cover card and
\nLumiere Press business card.
\nDave Heath: Korea, Toronto: Lumiere Press, 2004. Prospectus for limited-edition book,
\nwith order form, in mailed envelope.
\nGroup of 5: $50<\/p>\n
56. HINE, Lewis.
\nLewis Hine [1874-1940], New York: Witkin Gallery, 1970. Softcover, 11 x 8 \u00bd inches,
\n6 panels, 8 halftone illustrations. An early dealer\u2019s sales piece, for a show that also
\ntraveled to the 831 (Halsted) Gallery in Detroit and Focus Gallery in San Francisco.
\nEssay by Yale scholar Alan Trachtenberg.
\nLewis Hine: The W.P.S Project, The Worker and Machine, 1936-37, New York: Photofind
\n(Howard Greenberg) Gallery, 1989. Softcover, 9 \u00bd x 8 \u00bd inches, 8 pages, 7 halftone
\nillustrations. Essay by photo historian Judith Mara Gutman.
\nPair: $15<\/p>\n
57. HIRST, Damien. Theories, Models, Methods, Approaches, Assumptions, Results and Findings, New York, Gagosian Gallery, 2000. Ping-Pong ball (with printing), loose sheet, and box (1 \u00bd x 1 \u00bd x 1 \u00bd inches).
\nThis is the announcement for an exhibition at the Gagosian Gallery. Nestled into the box with the ball is a printed sheet (4 \u00bd x 4 \u00bd inches) with a diagram of the pathophysiology of death and a listing of centers certified by the American Association of Poison Control Centers. Near fine condition. $75<\/p>\n
58. HOSOE, Eikoh.
\nDear Oracle Member, Japan: Kiyosato Museum of Photographic Arts, 1988. Form letter,
\nsigned by Hosoe. In mailed envelope, with brochure.
\nDear Oracle Member, Japan: Kiyosato Museum of Photographic Arts, 1988. Form letter,
\nsigned by Hosoe. Different from the above.
\nSeason\u2019s Greetings and Best Wishes for the New Year, Japan: Kiyosato Museum of Photographic
\nArts, 1988. Holiday card, signed by the staff of the museum, including Hosoe, the
\ndirector. In mailed envelope.
\nLetter, February 17, 1999. Typed and signed letter from Hosoe, about postcards of his
\nimages, on his letterhead.
\nEikoh Hosoe: The Awakenings Portfolio, New York: Aperture, 2001. Prospectus for the
\nportfolio of five photogravures.
\nEikoh Hosoe: Telling Stories, New York: Howard Greenberg Gallery, 2001. Exhibition
\nAnnouncement, in mailed envelope. Card and envelope signed by Hosoe.
\nPostcards. Six (6) cards with Hosoe images, all signed by him.
\nBusiness cards. Three (3) different cards for Hosoe, one signed.
\nGroup of 15 items, most signed. $150<\/p>\n
59. INDIANA, Robert. Decade, New York: Multiples, 1971. Brochure, 5 \u00bd x
\n4 \u00bd inches, 13 panels, 10 color halftone illustrations. Signed.
\nThis is the prospectus for a portfolio of ten serigraphs (screen-prints) published by Multiples. Indiana created the original images between 1960 and 1969, which include \u201cThe Figure 5,\u201d \u201cMississippi,\u201d and \u201cBlack and White Love.\u201d Pop artist Robert Indiana (born 1928) is widely known for his \u201cLOVE\u201d design. This copy signed by Indiana. One corner wrinkled and tiny whole throughout. $35<\/p>\n
60. JACHNA, Joseph D. Southern Illinois University at Carbondale Exhibition Schedule, c.1970. Card, 8 \u00bd x 5 inches, with mounted gelatin silver print, 2 x
\n3 \u00bc inches.
\nUnusual, little item with an original photograph attached. It is Jachna\u2019s 1970 \u201cChicago,\u201d which show his shadow and that of an unidentifiable object, shot with a fish-eye lens to create distortion. The schedule of seven photography shows includes a faculty show and one by Jachna himself. Near fine condition. $100<\/p>\n
61. JACKSON, William Henry.
\nFritiof Fryxell, William H. Jackson, Photographer, Artist, Explorer, Washington, D.C.: Museum
\nof U.S. Department of the Interior, 1940. Softcover, 8 x 6 inches, 22 pages, 2
\nhalftone illustrations. Exhibition catalog with text that originally appeared in the
\nAmerican Annual of Photography 1939.
\nR. L. Duffus, \u201cHe Photographed the West When It Was New,\u201d New Times Book Review,
\nAugust 4, 1940 (on original newsprint). Book review of Jackson\u2019s new
\nautobiography, Time Exposure.
\n\u201cW. H. Jackson Dies; Photographer, 99,\u201d New York Times, July 1, 1942 (on original
\nnewsprint). With a portrait of him, and the subtitle, \u201cNoted for Pictures He Took of
\nYellowstone Park Region and American Frontier\/Fought in the Civil War\/Artist,
\nWriter and Explorer Was Active Until Injured in Fall at Home on Friday.\u201d
\nGroup of three nice vintage items, from the last years of Jackson\u2019s life. $25<\/p>\n
62. KARSH, Yousuf. Portraits of Greatness, Thomas Nelson & Sons, 1960. Folder, 13 x 10 \u00be inches, with loose sheet, 1 sheet-fed gravure illustration.
\nThis piece announced \u201cthe year\u2019s most memorable book,\u201d Karsh\u2019s Portraits of Greatness. It discusses the pictures, the text, and the book as a whole. The list of approximately one hundred subjects includes such figures as Jean Cocteau, Walt Disney, Dwight Eisenhower, Queen Elizabeth II, Georgia O\u2019Keeffe, and Frank Lloyd Wright. The loose sheet here bears Karsh\u2019s bold portrait of Sir Winston Churchill, in rich photogravure. Light browning to folder, in original envelope. $25<\/p>\n
63. KRIMS, Les. The Incredible Case of the Stack O\u2019Wheats Murders, Buffalo: Les Krims, 1972. Press sheet, 23 x 29 inches, 20 duotone illustrations. Signed.
\nThis is an uncut press sheet for the portfolio. It includes the ten images in the box plus additional ones from both the Deerslayers and Little People folios, demonstrating that all three of the boxes were printed at the same time. Krims appreciated the collective look of this sheet, so he signed, dated, and numbered it 72\/200. $100<\/p>\n
64. KRIMS, Les. The Deerslayers, Buffalo: Les Krims, 1972. Press sheet, 23 x 29 inches, 20 duotone illustrations. Signed.
\nAnother uncut press sheet, this one solely devoted to the deer hunters. Krims signed, dated, and numbered this one 51\/200. Obviously rarer than the finished folio. $100<\/p>\n
65. KRIMS, Les. Original photograph. \u201cHappy Easter Christians!\u201d 1978. Polaroid SX-70, 4 \u00bc x 3 \u00bd inches, in folder.
\nIn 1978, Krims spoke at the annual convention of the Photographic Society for Education (S. P. E.), the national organization of photography teachers, where he apparently made this item available. The color print shows a crowded still life of toys and figurines, most prominently plastic pigs and piglets. On the back is a wet stamp with the title, Krims\u2019 name, and \u201cS. P. E. 1978\/Polaroid SX-70 Print.\u201d It is tipped into a folder
\n(8 \u00bd x 11 inches) with a black-and-white reproduction of a robot near a window and \u201cSPE\/78\u201d in the lower left. By nature, a unique photograph, though Krims undoubtedly produced many more, of probably related subjects. Image sent upon request. $1,000
\n66. LAKESIDE Press Galleries. An Exhibition of Modern American Photography, Chicago: R. R. Donnelley and Sons, 1942. Folder, 11 x 8 \u00bd inches, four panels, 3 screen-gravure illustrations.
\nInteresting, richly printed notice for exhibition of over 200 photographs, both black and white and color by the \u201cleading amateur and professional photographers of the country.\u201d While there is no checklist, the rich reproductions include a crowded beach scene by Torkel Korling and Edward Weston\u2019s dramatic picture of Ansel Adams\u2019 Yosemite darkroom building after a heavy snowfall (on the cover). Near fine condition. $25<\/p>\n
67. LEVINTHAL, David. Small Wonder: Worlds in a Box, Washington, D.C.: Smithsonian Institution, 1996. Box, 6 x 8 \u00bd x 2 \u00be inches, inserts and plastic toy figure.
\nThis is not the common exhibition catalog, but rather the proposal sent to museums by the Smithsonian\u2019s traveling exhibition service. The yellow box, with a black elastic band includes four sheets describing the project, a reply card, and, most appropriately, a small plastic toy of a Native American. The show comprised large-scale color vignettes in which soldiers, Indians, charioteers, and circus performers came to life. An unusual, three-dimensional item. Near fine condition. $125<\/p>\n
68. LUMIERE PRESS.
\nMichael Torosian\u2019s Lumiere Press, in Toronto, Canada, has been publishing fine books on individual master photographers for many years. They usually feature letterpress-printed text pages, tipped-in copy prints, and are produced in limited, numbered editions.
\nAurora, 1987. Prospectus for book of photographic portraiture by Torosian.
\nToronto Suite, 1989. Prospectus for book of portraits by Torosian and historical commentary by Dennis Reid. With tipped-in reproduction and order form.
\nStanding Order, 1990. Two different forms for standing orders and signed letter from Torosian, in mailed envelope.
\nLumiere Press, 1992. Softcover, 8 \u00bd x 5 \u00be inches, 16 pages, halftone illustration. Catalog of 13 books and portfolios. Along with price list, order form, and postcard on the Homage series, in mailed envelope.
\nGroup of 4: $25<\/p>\n
69. LYON, Danny. Born to Lose: Fifteen Pictures of the Texas Department of Corrections, Huntsville, Texas: Danny Lyon, 1968. Folded sheet and 7 loose plates, 9 x 10 inches, 9 halftone illustrations. With portion of Department of Corrections envelope with Lyon\u2019s name and return address, written in his hand (thus, signed).
\nThis is an extremely rare and little-known item that relates to Lyon\u2019s 1971 book Conversations with the Dead. It comprises biographical text about three inmates who appear in one of the images. Two of the pictures did not make it into the book, adding to our understanding of this early important project by Lyon. It is hard to imagine the Texas prison system today allowing a photographer to have the kind of access that Lyon apparently did. Adding to the item\u2019s interest is the fact that three inmates (named on the title sheet) actually performed the layout and lithographic printing of the piece. Lyon begins his \u201cNote of Thanks\u201d in Conversations by stating that \u201cthe original version of this work appeared as a small unfinished portfolio printed in the print shop of the Walls and entitled Born to Lose.\u201d Indeed, only eight sheets were printed, rather than the projected fifteen. In a phone conversation with me (May 23, 2012), Lyon indicated that about twenty copies were printed, that he had to smuggle them out of the prison, that the folder with seven sheets is complete (as offered here), and that he has only one copy (in poor condition). This one is in near fine condition, except for light bending to two corners and the spine of the folded sheet. $950<\/p>\n
70. LYON, Danny. Original photograph.
\nGabe, Rebecca, Noah & Raphe, c. 2000. Gelatin silver print, 4 x 9 \u00bd inches. This picture seems to be of a collage of three prints, showing Lyon\u2019s children in the back seat of a car. It was mailed out as a holiday greeting, as the back has the inscription \u201cBest for the New Year\/the Lyons.\u201d In original envelop that is postmarked 2000 and has \u201cDanny & Nancy\u201d handwritten over the return address. $250<\/p>\n
71. MAPPLETHORPE, Robert. Postcard. New York: Artists\u2019 Postcards, 1978. Card, 6 x 4 inches, halftone illustration. Signed.
\nThis is a hand-written card to Santa Barbara curator Fred R. Parker, responding to a request. Mapplethorpe indicates that he will be sending a copy of his only exhibition catalog to date (from the Chrysler Museum, listed below), mentions a few magazines in which his images have appeared and two galleries where his photographs are available. The Mapplethorpe image is Torso, a detail of Arnold Schwarzenegger\u2019s body, not showing his face. Postmarked November 24, 1978. A rare piece of Mapplethorpe ephemera. $125<\/p>\n
72. MAPPLETHORPE, Robert. Robert Mapplethorpe: Photographs, Norfolk, Virginia: Chrysler Museum, 1978. Softcover, 11 x 8 \u00bd inches, 16 pages, 13 halftone illustrations.
\nThis was the first exhibition catalog of Mapplethorpe\u2019s work. It comprised about thirty-five items, virtually all portraits he made between 1975 and 1977. Among those reproduced are Patti Smith, Arnold Schwarzenegger, and David Hockney and Henry Geldzahler (together). Text by museum director Mario Amaya. Light rubbing and wear to covers. $35<\/p>\n
73. MARRIAGE CERTIFICATE Catalogue. Crider & Brother, Illustrated Catalogue of Photograph Marriage Certificates, York, Pennsylvania, c. 1879. Softcover, 5 \u00be x 3 \u00be inches, 20 pages, line illustrations.
\nThis pocket-size catalog offers, among other things, marriage certificates with openings for original photographs of the bride and groom to be slipped in. The firm of Crider & Brother hit upon the idea of these products in 1865 and obtained a copyright for them. Tiny edgewear. $150<\/p>\n
74. MARSHALL, Albert E. The First Complete Auction of Photographica in America, New York: Swann Galleries, 1978. Softcover, 8 \u00be x 6 inches, 40 pages.
\nThis is a reprint of the catalog for the so-called \u201cMarshall Sale,\u201d auctioned at Swann on February 14, 1952. It was titled \u201cPhotography: A Panoramic History of the Art of Photography as Applied to Book Illustration, From its Inception Up to the Date. The Important Collection of the Late Albert E. Marshall of Providence, R.I.\u201d It comprised 372 lots, here with prices realized and an introduction by David Margolis. Naturally, the winning bids are a fraction of what they would be today. Examples are: Daguerre\u2019s History and Practice of Photogenic Drawing for $25, Talbot\u2019s Pencil of Nature (18 of 24 plates) for $200, Frith\u2019s Egypt and Palestine (with 76 albumen prints) for $11, and four portraits by Julia Margaret Cameron for $42.50. The most expensive item was a near complete set of plates from Muybridge\u2019s Animal Locomotion (716 of 781), which fetched $250. Catalog reprinted in an edition of 750 copies. Spine lightly darkened. $25<\/p>\n
75. METZNER, Sheila. Sheila Metzner, New York: International Center of Photography, 1991. Sheet, 38 x 48 inches (folded to 9 \u00bd x 12 in.), 6 color halftone illustrations.
\nThis item, printed on heavy stock, served as both the poster and catalog for a retrospective of Metzner\u2019s work at I.C.P. One side sports her name and a large reproduction of a metal ball, while the other contains numerous elements. There is a quotation by Leonardo da Vinci, an artist\u2019s statement, the artist\u2019s chronology, an essay by guest curator Anne Hoy, and the remaining reproductions. Near fine condition. $25<\/p>\n
76. MOSCOW\u2019S MASTER PLAN for Sovietizing America, Detroit: Lutheran Research Society, 1948. Hardcover (black-stamped red cloth), 11 x 8 \u00bc inches, 100 pages, 28 halftone illustrations. With ephemera.
\nA fascinating, shrill, racist, and anti-Semitic tract published during the Red Scare. Comprises chapters on such topics as \u201cCivil Rights in the Justice Department\u201d and the United Nation\u2019s Human Relations Commission.\u201d With an extensive appendix with reproductions of newspaper ads, flyers, and other documents. Laid into this copy is the small pamphlet \u201cYou Can Trust the Communists.\u201d Minor edgewear to cloth, with the internal softcover book separated at the spine. $25<\/p>\n
77. NATIVE AMERICAN.
\nCrafts, Tahlequah, Oklahoma: Sequoyah Orphan Training School, 1934. Hardcover (cross-stitched fabric over boards, with yarn ties), 11 \u00be x 9 inches, 36 pages, 11 gelatin silver prints. This is undoubtedly a unique album, showing Cherokee women and their wares. The title page is hand-lettered and dated June 1, 1934. The five sections cover beading, cross-stitching, pottery, weaving, and sewing. Each begins with a type-written description, followed by snapshots (3 \u00bd x 5 \u00bd inches) that are held in place by black photo corners. The young women stand outside the school, proudly holding up examples of their crafts. Commences with an introduction that states, \u201cThe craft classes have done good work for the first year. We are eagerly looking forward to the time when we can take up leather and silver (piercing and etching) work with the vocational boys.\u201d Faint stains to cover and minor wear to edges of pages.
\nReport of Home Economics Department, Salem, Oregon: Chemawa Indian School, 1936. Hardcover (cross-stitched fabric over boards, with ties), 11 \u00bd x 9 inches, 76 pages, 33 gelatin silver prints. Another unique album presenting female Native American students learning various house-making skills. They include sewing, knitting, crocheting, braiding, laundering, gardening, cooking, canning, hygiene, and nursery school and child care. The text is type-written and the snapshots (measuring 3 \u00bd x 5 \u00bd and 5 x 7 inches) are inserted into corner slots. The most intriguing images depict a woman in a chicken coop with chicks, the nursery with children and wooden toys, and tables of homemade food for events. The album concludes with a group of photographs of the girls\u2019 dormitory, showing students lining up for mail and meals, playing tennis, and reading in the living room. Some pages disbound and mildly edgeworn.
\nThese albums, probably made by a student or teacher common to both schools, are extremely unusual and very instructive on Native American school life during the 1930s. Images sent on request. Pair: $750<\/p>\n
78. NERUDA, Pablo. Pablo Neruda, 1904-1973, Austin, Texas: Cold Mountain Press, 1973. Folder, 5 \u00bc x 7 inches, halftone illustration, 11 loose cards. Signed.
\nNeruda was a Chilean poet and politician. This grouping apparently pays homage to him, with poems by Ryan Petty, William Stafford, Stephen Leggett, Ted Kooser, Michael Hogan, Joseph Bruchac, James Tipton, and John Haines. Seven of them are signed, with two duplicates. Folder lightly rubbed. $50<\/p>\n
79. NEWMAN, Arnold. 10 Great Photographers, New York: Harry N. Abrams, 1972. Folder, 7 \u00bc x 7 inches, 13 loose sheets, 30 halftone illustrations. Signed.
\nThis unusual packet represents an early effort at promoting the collecting of fine photographic prints. It offers three original, signed and editioned prints by the following ten photographers: Wynn Bullock, Eliot Elisofon, Ernst Haas, Philippe Halsman, Ken Heyman, Arnold Newman, Gordon Parks, Marc Riboud, Arnold Siskind, and Howard Sochuerk. They were uniformly priced at $150 each, or $175 framed. Among the most recognizable images are Halsman\u2019s portrait of Albert Einstein and Newman\u2019s of Picasso. This copy signed by Newman. Light rubbing and bends to covers. $50<\/p>\n
80. NEWMAN, Arnold.
\nMemorial card. National Arts Club, March 3, 2007.
\nEnvelope. Unused, with the Arnold Newman Studios, Inc. address printed on it.
\nBusiness card. English on one side and Japanese on the other. Newman\u2019s fax number
\nwritten on, in his hand.
\nObituary. \u201cArnold Newman, Photographer Who Captured Essence of Subjects, Dies at
\n88,\u201d by Andy Grundberg. New York Times, June 7, 2006, on original newsprint.
\nHoliday card. Folded card with reproduction of image of Igor Stravinsky sitting at piano.
\nHandwritten and signed by Newman: \u201cDear Christian: Our very best wishes for the
\nNew Year. Health, Happiness and Peace. And many thanks for all the time you
\nspent with us both at the Institute and showing us around.\u201d In envelope postmarked
\nDecember 24, 1990.
\nThe group of five: $100<\/p>\n
81. NEWSPAPER NATIONAL SNAPSHOT AWARDS. 1936 Newspaper National Snapshot Awards, Minneapolis Tribune, 1936. Softcover, 9 x 6 inches, 24 pages, 12 screen-gravure illustrations.
\nCatalog for a national competition sponsored by 93 newspapers for the best snapshots of the year by amateurs, its first year. It lists 372 local prizewinners that were hung in the National Salon in the Hall of Explorers at the National Geographic Society (Washington, D.C.). Among the jurors was Mrs. Calvin Coolidge and aviator Amelia Earhart. The grand prize, of $1,500, was awarded to Nowell Ward, of Chicago, for his photograph \u201cThe Dreamer,\u201d which pictures a boy reading a book with an image of pirates dueling in the background (reproduced on the cover). Laid in is a copy of a 1937 article by Ward titled, \u201cHow the Fifteen-Hundred Dollar Picture was Made.\u201d Covers browned and wrinkled at two corners. $35<\/p>\n
82. NEWSPAPER NATIONAL SNAPSHOT AWARDS. 21st Annual Newspaper National Snapshot Awards, Washington, D.C.: National Geographic Society, 1959. Softcover, 9 x 6 inches, 20 pages, 24 halftone illustrations (some in color).
\nCatalog of 419 local winners, judged by individuals from National Geographic, The Saturday Evening Post, Associated Press, United Press International, and Eastman Kodak. The grand prize winners were dominated by women: Lillie E. Kriss, Betty Pollock, Ruth Oliver, Giorgina Reid, and Jacob L. Warner. Human interest drove these competitions\u2014the categories were Babies and Children, Activities\u2014Teenagers and\/or Adults, Scenics and Table Tops, Animals and Pets, and Color. Rubbing to covers. $25<\/p>\n
83. PARKER, Fred R. Attitudes: Photography in the 1970s, Santa Barbara Museum of Art, 1979.
\nThis is a group of eighteen (18) photographs used for reproduction an exhibition catalog (see #205 for full description). Most of them appear to be copy prints, but a few are sharp enough to have been made from the original negative by the photographer. Almost all are mounted on regular white typing paper, 8 \u00bd x 11 inches or smaller. These were acquired directly from curator Fred R. Parker.
\nThe photographers represented are: John Brumfeld (pair of prints), Robert D\u2019Allessandro, Anne Dorfman, Chris Enos (pair of prints), Jack Fulton (7 prints), Phillip Galgiani, John Gossage, Anthony Hernandez, E. Kronengold (apparently signed by him), Wayne Lazorik (pair of prints), Duane Michels (14 prints), Charles Stainbeck (4 prints), Lew Thomas, William Wegman, Lew Wells (4 prints and copy negative), Terry Wild, Larry Williams (pair of prints), and Gary Winogrand.
\nGroup of 18: $500<\/p>\n
84. PARR, Martin. \u201cFrozen Face of Minnesota,\u201d Minneapolis Star Tribune, February 26, 2012. Sheet, 22 x 12 inches, 4 pages, 12 color halftone illustrations.
\nIn 2012 the renowned English photographer Martin Parr visited Minnesota, in preparation for an exhibition at the Minneapolis Institute of Arts. He \u201cspent a January weekend documenting our relationship with something that we slip, skate, ski and fish on, but seldom think about seriously: Minnesota ice. Famed for his witty trenchant views of modern life, Parr snapped more than 1,200 images\u201d and presents a dozen of them in this special supplement to the daily Minneapolis newspaper. The images picture hockey, skiing, curling, and ice fishing. Includes text by fellow Magnum photographer Alec Soth, along with a portrait by him of Parr. A little-known piece of Parr ephemera. $10<\/p>\n
85. PERESS, Gilles.
\nNan Richardson, It is What it is: A Double Diary of the Twin Cities 1985, St. Paul, Minnesota: First Banks, 1986. Softcover, 6 panels, 9 x 11 \u00bc inches, 14 halftone illustrations. This large brochure accompanied an exhibition that featured photographs Peress made in Minneapolis and St. Paul, on commission from the First Banks. They are primarily street scenes of human activity. A little-known item by a major Magnum photographer.
\nJo Thomas, \u201cThe Last Days of Castro\u2019s Cuba,\u201d New York Times Magazine, March 14, 1993. Entire issue with six color reproductions (including the cover) by Peress illustrating the article.
\nGeorge Packer, \u201cLetter from Baghdad: War After the War,\u201d New Yorker, November 24, 2003. Entire issue with five reproductions by Peress illustrating the article.
\nGroup of 3: $50<\/p>\n
86. PETERSON, Christian A. Fabulous Photographic Ephemera, Minneapolis Institute of Arts, 2005. Softcover, 17 x 11 \u00bd inches, 16 pages, unillustrated.
\nThis exhibition catalog includes an introduction and an annotated checklist of about one hundred pieces of photographic ephemera. They are listed chronologically, beginning with the business card of daguerreotypist Jeremiah Gurney (c. 1840) and ending with a Tusker beer bottle sporting Peter Beard\u2019s signature and drop of blood (2004, brewed in Kenya, where Beard has a farm). Printed in tabloid size on newsprint, copies of this item are taking on a nice brown patina. Near fine condition. Free with every order (priceless).<\/p>\n
87. PHOTO AMERICAS 2000, Portland, Oregon, 2000. Playing cards, box (with adhesive label), 3 \u00bd x 2 \u00bd x \u00be inches, 54 cards, 54 halftone illustrations (some in color).
\nThis is a full set of playing cards with two jokers. Each one features an image by a photographer and the name of the gallery where his or her work was shown during the annual festival \u201cPhoto Americas.\u201d Among those represented are Phil Borges, Terry Toedtemeier, Simon Norfolk, Larry Schwarm, Donna Ferrato, and Christopher Rauschenberg. Near fine condition. $25<\/p>\n
88. PHOTO BOOKS.
\nBooks of Photographs, New York: Caldecot Chubb, c. 1980. Brochure, 9 x 4 inches, 6
\npanels, unillustrated. Describes books and portfolios, both with original
\nphotographs, published by Chubb. Includes work by William Eggleston, William
\nChristenberry, and others. Nicely designed item, letterpress printed.
\nPhotographs from the Collection of the Gilman Paper Company, New York: White Oak Press,
\n1985. Brochure, 11 \u00bd x 8 \u00be inches, 6 panels, 1 halftone illustration. Prospectus for
\nthe limited-edition book by Pierre Apraxine. With order form and envelope.
\nA Special Offering from the Limited Editions Club, New York: Howard Greenberg Gallery,
\n2001. Folder, 10 x 7 inches, with three loose sheets. Includes a signed letter from
\nGreenberg, order form, and descriptions of 16 books and portfolios by Berenice
\nAbbott, Cartier-Bresson, Robert Mapplethorpe, and Aaron Siskind.
\nPoetic Images: Literary Illustrations from the Richard and Ronay Menschel Library, Rochester:
\nGeorge Eastman House, 2003. Softcover, 8 \u00bc x 5 \u00bd inches, 22 pages, 11 halftone
\nillustrations. Catalog for an exhibition of photographically illustrated books, by Talbot, Cameron, Coburn, Frith, and others.
\nPrague\/New York: Rare Books, Prague: Antikvari\u00e1t, c. 2004. Softcover, 8 \u00bc x 8 \u00bc inches, 16
\npages, color halftone illustrations. Dealer\u2019s catalog for significant photobooks by
\nCzech photographers, such as Josef Sudek, Franti\u0161ek Drtikol, and Jan Saudek.
\nArt of the Photobook, New York: Swann Galleries, 2006. Softcover, 5 x 7 inches, 40 pages,
\nhalftone illustrations (some in color). Presents the covers and an internal page spread
\nof fourteen photobooks, selected from the hundreds that the auction house has
\noffered. Among them are works by Doris Ulmann, Franti\u0161ek Drtikol, Hans Bellmer,
\nDaido Moriyama, and Man Ray.
\nPhoto Libris, New York: Howard Greenberg Gallery, 2006. Brochure, 8 x 5 \u00bc inches, 8
\npanels, 8 color halftone illustrations. Documents an exhibition of important
\nphotography books by eight individuals, including Bruce Davidson, Dave Heath,
\nEikoh Hosoe, William Klein, Gilles Peress, and Edward Steichen.
\nGroup of 7: $50<\/p>\n
89. PHOTOGRAPHIC SALON Stickers.
\nCamera clubs usually printed little gummed labels (measuring about 3 x 4 inches) for their exhibitions and annual salons, which were either attached to the backs of the accepted photographs or sent loose to the exhibitor. They feature typography and photographic or hand-rendered images, and are colorful examples of period design.
\nCENTRAL U.S.A. Undated. One (1) sticker.
\nCHICAGO. Undated, 1946, 1947, 1947, 1948, 1948, 1949. Seven (7) stickers.
\nCINCINNATI. 1945. One (1) sticker.
\nCLEVELAND. 1951. One (1) sticker.
\nDENVER. 1960. One (1) sticker.
\nDES MOINES, Iowa. 1950 (printed on real photographic paper). One (1) sticker.
\nDETROIT. 1957, 1959, 1960. Three (3) stickers.
\nFRESNO, California. 1957. One (1) sticker.
\nGREAT FALLS, Montana. 1948, 1950. Two (2) stickers.
\nILLINOIS STATE FAIR. 1948. One (1) sticker.
\nJAMAICA, New York. 1961. One (1) sticker.
\nLIGHT and SHADOW. 1961. One (1) sticker.
\nLOUISVILLE. 1951. One (1) sticker.
\nMEMPHIS. 1947, 1948. Two (2) stickers.
\nNEWARK. 1961. One (1) sticker.
\nPHOTOGRAPHIC SOCIETY of AMERICA. 1957. One (1) sticker.
\nROCHESTER. 1959. One (1) sticker.
\nSACRAMENTO. 1946, 1948. Two (2) stickers.
\nSAINT LOUIS. Undated, 1945, 1946, 1947, 1947, 1948. Six (6) stickers.
\nSALT LAKE CITY. 1959. One (1) sticker.
\nTRAIL, British Columbia, Canada. 1947. One (1) sticker.
\nWILMINGTON, Delaware. 1960. One (1) sticker.
\nZAGREB, Yugoslavia. 1955. One (1) sticker.
\nNice, varied group of 39 stickers: $100<\/p>\n
90. PRESIDENTIAL ELECTION.
\nThe following newspapers have front-page articles on the aftermath of the U.S. presidential election in 2000, between Al Gore and George Bush. Covers the recount in Florida and U.S. Supreme Court case. Wide-ranging and in-depth coverage, with good geographical spread of papers. Primary research material for the political historian.
\nMilwaukee Journal Sentinel. November 24, December 3.
\nMinneapolis Star Tribune. November 8, 30, December 3, 5, 6, 7, 8, 9, 10, 11, 13, 14.
\nNew York Times. November 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 19, 20, 21, 22, 24,
\n26, 27, 28, 29, 30, December 1, 3, 4, 7, 8, 10, 11, 12, 13, 14.
\nWausau Daily Herald (Wausau, Wis.). November 5, 6, 7, 8, 9, 10, 11, 12, 15, 19, 20, 21,
\n22, 23, 24, 25, 26, 27, 28, 29, 30, Dec. 1, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 17.
\nGroup of 83 issues: $150<\/p>\n
91. QUALE, Dan. The Quale Quarterly, Bridgeport, Connecticut, 1990\u20131993. Softcovers, 11 x 8 \u00bd inches, 16-20 pages each, halftone illustrations.
\nA complete run of the periodical dubbed \u201cA Watchful Eye on the Vice Presidency,\u201d during his tenure under George H. W. Bush. Not surprisingly, it was not supportive of the mistake-prone vice president, and included articles, quotations, photographs, political cartoons, and advertisements for related paraphernalia. An unusual and illuminating publication. Full set of 12 issues: $50<\/p>\n
92. QUICKSILVER MESSENGER SERVICE. Business card, c. 1966, 2 \u00bd x
\n3 \u00bd inches, 2 halftone illustrations.
\nThe business card for one of the Bay Area\u2019s most beloved psychedelic bands during the late 1960s. While Quicksilver never gained the national reputation of its colleagues the Grateful Dead and Jefferson Airplane, its first two albums were highly accomplished. The band featured lead guitarist John Cipollina, whose fluid and intense playing helped define its distinct sound. This card has an image of the original five members (before Dino Valenti quit) and their manager\u2019s contact information. Both sides are the same and \u201cQuicksilver\u201d appears in silver metallic ink, appropriately. An extremely rare and desirable item. Light browning to edges. $100<\/p>\n
93. The REAL BIG PICTURE, Queens Museum, 1986. Folder, with loose sheet, 40 x 30 inches (folded to 10 x 10 in.), 28 halftone illustrations.
\nThe catalog for an exhibition of large photographically-based pictures by fifty artists. Among those with reproductions are Jan Dibbets, Nan Goldin, Tina Barney, Lewis Baltz, Bruce Nauman, and Richard Prince. One side of the sheet is a poster, with a Chuck Close self-portrait, and the other features more reproductions, the checklist, and an essay by guest curator Marvin Heiferman. Light wear to folder. $25<\/p>\n
94. RODCHENKO, Alexander. Chess Table, Amsterdam: Thoth Publishing House, 1989. Box with paper model, 8 \u00bd x 8 \u00bd inches.
\nThis amusing item is a 1:7 scale model of the chess table and board that Rodchenko designed for the 1925 Great International Exhibition for Applied and Industrial Arts, in Paris. It was part of a Workers\u2019 Clubroom, and represented the first time that the work of the Russian avant-garde was shown in Western Europe. The unopened box also includes a booklet about Rodchenko\u2019s furniture designs. Mint, in shrink wrap. $75<\/p>\n
95. RODCHENKO, Alexander. The Family: \u201cThe Rodchenko Family Darkroom,\u201d New York: Sander Gallery, 1993. Softcover, 11 \u00bd x 5 \u00be inches, 32 pages, 35 halftone illustrations.
\nThis catalog accompanied an exhibition of work by four generations of the Rodchenko family, dating from the 1920s to 1992 and including the following genres: experimental photography, photomontage, photographic portraits, photograms, and photo-poetry. In addition to the patriarch, the contributors were Varvara Stepanova, Nikolai Lavrentiev, Alexander Lavrentiev, Irina Presnetsova, and Ekaterina Larentieva. The catalog has a scrapbook-like appearance, as it uses typewriter type and fourteen of the illustrations are color electrostatic copies that are tipped in. Issued in a numbered edition of only 125 copies (this one 44\/125). Fine condition. $75<\/p>\n
96. ROTHSTEIN, Arthur. Trench, Magnet\/Turn it on its Head\/Mutiny\/187, San Francisco: Allied Recordings, c. 1990s. 45 r.p.m. vinyl record, in sleeve, 7 x 7 inches, 2 halftone and 1 line illustrations.
\nThe front of the picture sleeve reproduces Rothstein\u2019s most famous image, from a 1936 Oklahoma dust storm. Like other punk bands, Trench undoubtedly used this image without permission, embracing the movement\u2019s interest in appropriating anything it could. Light folds to sleeve. $10<\/p>\n
97. SALGADO, Sebasti\u00e3o. New York Times Magazine.
\nEach issue features a cover image and photographic essay by Salgado. Graphically strong pictures, well printed by rotogravure.
\n\u201cThe Kuwaiti Inferno\u201d (burning oil fields), June 9, 1991, 8 pages, 8 screen-gravure
\nillustrations.
\n\u201cThe Killer in the Next Tent: The Surreal Horror of the Rwanda Refugees,\u201d June 5, 1994,
\n10 pages, 8 screen-gravure illustrations.
\n\u201cWar Without End: Twenty Years After the Fall of Saigon, Thousands of Vietnamese are
\nStill Trying to Find a Home,\u201d July 30, 1995, 10 pages, 9 screen-gravure illustrations.
\n\u201cOn Earth as it is in Heaven: What Sebasti\u00e3o Salgado Sees in Places Untouched by
\nHumanity,\u201d June 12, 2011, 8 pages, 5 screen-gravure illustrations.
\nGroup of 4: $35<\/p>\n
98. SAN FRANCISCO Psychedelic Posters. \u201cHigh Societies: Psychedelic Rock Posters of Haight-Ashbury, San Diego Museum of Art, 2002. Box, 12 \u00bc x 9 \u00bd x
\n1 \u00bd inches, with affixed label and various contents.
\nThis is a rather elaborate exhibition proposal that the San Diego Museum of Art sent to prospective venues. It includes a signed cover letter from the director, fact sheet, proposal, addendum sheet, press release, and copies of press coverage of the show in San Diego, along with two tickets, a brochure, invitation, and card, also for the original showing. Also included is a copy of the exhibition catalog (11 \u00bd x 8 inches, 90 pages), with essays by D. Scott Atkinson, Sally Tomlinson, and Walter Medeiros. Rounding out the package is a VCR tape showing the installation and a CD audio tour of the show, narrated by Jefferson Airplane singer Grace Slick. Undoubtedly produced in a small number and not available to the public. Light rubbing and a few bumped corners. $250<\/p>\n
99. SAWADA, Tomoko.
\nHoliday card, 2008, 4 x 8 inches, 1 color halftone illustration, signed, in mailed envelope.
\nThe image shows 15 standing figures, looking like contestants in a beauty contest, but
\nclose examination reveals that all the faces are Sawada\u2019s own.
\nExhibition announcement, \u201cFunny Fotos,\u201d New York; Zabriskie Gallery, 2009, 9 x 4
\ninches, halftone illustration, signed.
\nExhibition announcement, \u201cMirrors,\u201d New York: Zabriskie Gallery, 2010, 4 x 9 inches,
\n1 color halftone illustration, signed, in mailed envelope.
\nHoliday card, 2011, 6 x 4 inches, 1 color halftone illustration, signed, in mailed envelope
\nfrom Japan.
\nTomoko Sawada (born 1977) is a Japanese contemporary feminist photographer, who has presented solo shows in New York, Vienna, and Osaka, Japan. Group of 4, all singed in silver ink: $25<\/p>\n
100. SCAGGS, Boz. Earl Leaf, Boz Scaggs, c. 1968. Original, vintage gelatin silver print, 7 \u00bd x 6 \u00be inches.
\nThis picture was probably taken around the time that musician Scaggs was in the Steve Miller Band in San Francisco. He is pictured playing a Gibson guitar and singing into a microphone, at an unidentified venue, with two horn players standing behind him. Earl Leaf (1905-1980), nicknamed \u201cLoose Leaf,\u201d was a photojournalist and celebrity photographer, who worked freelance and for magazines, shooting mostly movie stars and musicians. He is best known for his candid pictures of Marilyn Monroe during the 1950s. Tiny tear to edge (outside of image area), with inscriptions and Leaf\u2019s wet stamp, verso. Image sent upon request. $150<\/p>\n
101. SCHAD, Christian. Schadographien, Munich: Galleria del Levante, 1973. Softcover, 8 \u00bc x 8 \u00bc inches, 12 pages, 6 halftone illustrations.
\nExhibition catalog, with a statement by the artist on his working methods, essay by Daniela Palazzoli, and bibliography. Schad (1894-1982) was a German painter associated with the Dada and New Objectivity movements. In 1918, he began making camera-less photographs, which he called \u201cSchadograms.\u201d Text in Italian and German. One corner lightly bent. $25<\/p>\n
102. SCHORE, Stephen.
\nPortfolio prospectus for Twelve Photographs, 1977. Two-page letter from the publications
\noffice of the Metropolitan Museum of Art, reply card and envelope, in original
\nmailed envelope, postmarked November 2, 1977.
\nOffprint from the July 1977 issue of the Swiss magazine Camera. Softcover (stapled), 10 \u00be
\nx 8 \u00bd inches, 8 color halftones, all of which appeared in Uncommon Places.
\nAccompanied by unique 2011 e-mail text from Shore indicating that the images also
\nappeared in a catalog for a solo show at the Kunsthalle, D\u00fcsseldorf, Germany.
\nStephen Shore Photographs, Sarasota, Florida: Ringling Museum of Art, 1981. Softcover, 8 \u00bd
\nx 11 inches, 20 pages, 7 color halftone illustrations. Exhibition catalog featuring an
\nimage on the cover of a baseball player in a batting cage and an interview with Shore.
\nA nice group of three unusual Shore items. $100<\/p>\n
103. SLICK, Grace. Earl Leaf, Grace Slick, c. 1968. Original, vintage gelatin silver print, 9 \u00bc x 7 \u00bd inches.
\nThis is a casual picture of the lead singer of San Francisco\u2019s Jefferson Airplane. She is seen holding up two fingers, including the middle one, implying a variation on the \u201cfuck you\u201d gesture, in an outdoor setting. In the background are Fender amplifiers, suggesting a concert setting. Earl Leaf (1905-1980), nicknamed \u201cLoose Leaf,\u201d was a photojournalist and celebrity photographer, who worked freelance and for magazines, shooting mostly movie stars and musicians. He is best known for his candid pictures of Marilyn Monroe during the 1950s. Light dings and retouching, with inscriptions on the back, including Leaf\u2019s wet stamp. $150<\/p>\n
104. SMITH, W. Eugene. Minamata, \u201cDeath-Flow from a Pipe,\u201d Life, June 2, 1972.
\nEntire issue, with the eight-page article \u201cDeath Flow from a Pipe,\u201d written and photographed by Smith and his wife, Aileen. Tells the story of mercury pollution ravaging the Japanese village of Minamata and ends with the double-page spread of the now famous image of Tomoko in her bath. This article appeared three years before the full book treatment of the subject. $25<\/p>\n
105. SOCIETY for PHOTOGRAPHIC EDUCATION. Seven laminated buttons, 1974-1979.
\nThe Society for Photographic Education (S.P.E.) is a national organization of college-level photography professors and other interested individuals, which holds an annual convention. Participants apparently received these buttons upon registration and proudly wore them during and after the events. Among those included here is the 1976 one, with a picture of Harry Callahan\u2019s wife, Eleanor, and the 1978 one, with a portrait of photographic historian Beaumont Newhall, who was probably the featured speaker that year. Near fine condition. Group of seven: $35<\/p>\n
106. SOMMER, Frederick. Frederick Sommer, New York: Kevin Begos, Jr., 1992. Folder, 11 \u00bd x 13 \u00bc inches, 1 screen-gravure illustration.
\nThis is the prospectus for an artist\u2019s book with eight photogravures of new work, made from the negative and printed on handmade papers. It would comprise a numbered edition of 150 copies. This prospectus has one of the gravures tipped-in, with a loose sheet describing the book. An unusual piece of Sommer ephemera. Near fine condition. $75<\/p>\n
107. SWEDLUND, Charles. Guess the Date and Time Number Two Will Arrive, 1974. Gelatin silver print, 8 x 3 \u00bc inches.
\nBefore the birth of his second child, Swedlund asked friends and colleagues to guess the date and time of the kid\u2019s arrival. This item, printed on photographic paper, shows the silhouette of Swedlund\u2019s wife standing. During the 1970s and 1980s, Swedlund taught at Southern Illinois University and became known for his photographs of nudes in the landscape. $175.<\/p>\n
108. SZARKOWSKI, John. Knife\/Fork\/Spoon, Minneapolis: Walker Art Center, 1951. Softcover, 11 x 8 \u00bd inches, 66 pages, halftone illustrations.
\nThis exhibition catalog tells the \u201cstory of our primary eating implements and the development of their form.\u201d Szarkowski was the Walker\u2019s staff photographer at this time and provided photographs of the objects, in a straightforward cataloging style. An early and little-known Szarkowksi item. Chipping along spine. $25<\/p>\n
109. TALBOT, William Henry Fox. The Pencil of Nature. Prospectuses for two facsimile editions, signed by the publishers.
\nHans P. Kraus, Jr., New York, 1989. Folder, six panels, 11 \u00be x 9 \u00bc inches, 1 halftone illustration. This one celebrated the 150th anniversary of photography. Features a reproduction of \u201cThe Open Door,\u201d tipped in, and with order form and letter laid in, the latter signed by Kraus. Published in an edition of 250 numbered copies, at $800. Fine condition.
\nMonmouth Calotype, Bath, England, 2003. Folder, five loose pages, 11 \u00be x 5 \u00bd inches, 8 halftone illustrations. This reprint features 24 gold-toned, tipped-in salt paper prints with letterpress text. Published in an edition of 50 copies at $7,250. Laid in is a letter from Michael Gray, the publisher and director of the Talbot Museum, signed by him. Fine condition.
\nThe pair: $25<\/p>\n
110. TALBOT, William Henry Fox. 1989 Anniversary Facsimile of H. Fox Talbot\u2019s \u201cPencil of Nature,\u201d New York: Hans P. Krause, Jr., 1993. Calendar (spiral bound), 14 \u00bc x 11 inches, 14 pages, 12 tri-tone illustrations.
\nThis calendar commemorated the 150th year of photographic book publication and the tenth anniversary of Kraus as a private dealer in fine photographs. Each month reproduces a plate from Talbot\u2019s book The Pencil of Nature, such as the famous \u201cOpen Door.\u201d The images were printed in high-quality 300-line lithography and pasted on to each page of the calendar. Elegantly designed and limited to 750 copies. Near fine condition. $35<\/p>\n
111. UBU Gallery.
\nOver the last twenty years New York\u2019s Ubu Gallery has issued innovative announcements for their exhibitions, usually on Modern artists. They sometimes took the form of three-dimensional objects, some were designated \u201cEdition Ubu #__,\u201d and a few required partial destruction in order to read (all here intact). Most here are in their original mailers. This is a wide-ranging archive of art and photography ephemera. Photographs sent upon request.
\nThe Box: From Duchamp to Horn, 1994. Empty box, 3 \u00bd x 3 \u00bd x 1 \u00bc inches.
\nYoko Ono: Drawings from Franklin Summer and Blood Objects from Family Album, 1995. Card
\nand plastic bag with manila tag and key dipped in red ink.
\nHans Bellmer: Photographs & Drawings, 1995. Card with doll arm affixed.
\nExposition Internationale du Surr\u00e9alisme, Galerie Beaux-Arts, Paris, 1938; An Homage, 1995.
\nCard with cut-out and sheet.
\nGeorge Maciunas: More Than Fluxus, 1996. Sheet of transfer lettering, \u201cFluxtype.\u201d
\nPierre Molinier: Fetish Performance Photographs, Collages, Photomontages, 1996. Card wrapped
\nwith black nylon stocking.
\nThe Subverted Object, 1996. Card.
\nGary Brotmeyer: \u201cThanks for the Fish!\u201d 1997. Card with attached fabric flower, plastic fish,
\nand folded-up piece of paper inserted.
\nSol Lewitt: Works of the 60s and 70s, 1997. Crumpled sheet of paper stamped \u201cArt Object,\u201d
\nin box, 3 x 3 x 3 inches.
\nGustav Klutsis: Soviet Propaganda Photomontage, 1997. Brochure.
\nAnn Mandelbaum, 1997. Card with cutout.
\nOne Line Drawing, 1997. Long, folded card.
\nThe \u201860s in the Seventies, 1998. Paper bag with handle.
\nAleksandr Rodchenko, Konstruktor, 1998. Card with round pin.
\nRumanian Avant-Garde: 1916-1947, 1998. Brochure.
\nJindrich Heisler: A Crystal in the Night: Surrealist Photographs Mad in Nazi-Occupied Prague,
\n1943\/1944, 1998. Brochure.
\nRichard Tipping: Perversions, Subversions and Verse, 1998. Small-scale metal car license plate.
\nCharles Henri: Printed Matter, 1929-1969, 1999. Poster.
\nHans Bellmer: Photographs & Drawings from the 1930s, 1999. Folder with 7 cards, with tie.
\nErwin Blumenfeld: Collages, 1916-1934, 1999. Brochure.
\nJacque Villegl\u00e9: 50 Years of D\u00e9collage, 1999. Intact card, which needs to be ripped to read.
\nFranti\u0161ek Vobecky: Photomontages, 1935-1938, 2000. Brochure.
\nVik Muniz: Photographs & Personal Articles, 2000. Newspaper clipping with post-it note that
\nsays \u201cI saved this for you.\u201d
\nL\u00e1szl\u00f3 Moholy-Nagy: Photograms, Photographs, Prints, Drawings, Collages, Ephemera, 2000.
\nDie-cut plastic sheet.
\nYoko Ono: \u201cThe Four Seasons\u201d & Film Stills, 2000. Red, translucent sheet.
\nSnapshots: The Extraordinary Ordinary, 2000. Storefront image, on real photographic paper.
\nDestruction\/Creation, 2000. Card with intact scratch-off panel and penny.
\nWendingen: Dutch Design, 1918-1932, 2001. Card.
\nTh\u00e9odore Brauner: Solarfixes and The Masks, 2001. Card.
\nEugene Atget: Documenting \u201cThe Zone,\u201d 2001. Poster.
\nVito Acconci: Performance Documentation & Photoworks, 1969-1973, 2001. Card.
\nWols: Vintage Photographs from the 1930s, 2001. Brochure for Alfred Otto Wolfgang Schulze.
\nJulian Beck: Paintings & Drawings, 1944-1958, 2001. Folder with cutout and card.
\nBehind the Surrealist Curtain: Sex, Sensuality and Silence, 2002. Card with patterned paper.
\nLeft vs. Right: Expressionist Propaganda Posters of the Early Weimar Era, 2002. Thick card.
\nBauhaus\/New Bauhaus: Photography & Collage, 2003. Card.
\nVictor Brauner, 2003. Brochure.
\nKurt Schwitters: Collages, Paintings, Objects, Ephemera, 2003. Sealed envelope.
\nAvant-Gardes: Selections from the Merrill C. Berman Collection, 2004. Envelope with card and
\n22 small cutouts of works in the show.
\nWeegee\u2019s Story: A Collection of 222 of Weegee\u2019s Finest Vintage Photographs, 2004. Poster on
\nnewsprint, in original plastic bag, unopened.
\nUnica Z\u00fcrn: Drawings from the 1960s, 2005. Brochure.
\nAspects of Russian Art, 1915-1935: From the Merrill C. Berman Collection, 2005. Brochure.
\nFranz Roh: Photography & Collages from the 1930s, 2006. Negative film strip.
\nStanislaw Ignacy Witkiewicz: Drawings from the 1930s, 2006. Brochure.
\nHans Bellmer: Petites Anatomies, Petites Images, 2006. Brochure.
\nMetamorphosis Victorianus: Modern Collage, Victorian Engravings & Nostalgia, 2009. Cut card.
\nImpressive collection of 46 items: $250<\/p>\n
112. UELSMANN, Jerry.
\nJerry N. Uelsmann, New York: Museum of Modern Art, 1967. Brochure, 9 \u00bc x 4 inches, 6
\npanels, 6 halftone illustrations. Promotes a show of 38 photographs that M.O.M.A.
\ntraveled, organized by John Szarkowski. This copy signed by Uelsmann.
\nJerry Uelsmann: A Traveling Exhibition, Rochester: George Eastman House, 1970. Brochure, 8 \u00be x 3 \u00be inches, 6 panels, 1 halftone illustration. Show of 29 framed
\nphotographs, available for $150\/month. With a statement by William E. Parker.
\nLetter, December 18, 1981. Typed and signed by Uelsmann. Grants permission for the
\nreproduction of one of his photographs. Uelsmann\u2019s letterhead has an elaborate
\nillustration of angles with a camera and a mirror, alligators (he lived in Florida), and
\nhis name, which takes up the full bottom half of the sheet.
\nLetter, May 30, 1985. Typed and signed by Uelsmann. Compliments the curator on the
\nphotography shows at the Minneapolis Institute of Arts, and discusses work that
\nmight fit into an upcoming exhibition there. Accompanied by the mailed envelope,
\nalso featuring his letterhead design and with ten 2-cent stamps. Nice mail art.
\nGroup of 5: $50<\/p>\n
113. U.S.S.R. Exhibition, New York, 1959. Softcover, 8 \u00bc x 6 \u00bd inches, 16 pages, screen-gravure illustrations (some in color).
\nA very interesting booklet for an exposition in New York during the Cold War. Its text begins by claiming that the show \u201cgives the visitor an introduction to the tempestuous advance of the Soviet Union, in many fields of the manifold life of the Soviet people.\u201d It features a floor plan of the two-story exhibition and a few pages on the following sections: Industry & Agriculture, Science & Technology, Radio & Electronics, Peaceful Uses of Atomic Energy, Optics, Transportation, Public Education, Public Health, Sports, Construction, Culture, and Well-Being of the People. A great period piece, with a cover showing the third Soviet artificial Earth satellite and bold graphics. $25<\/p>\n
114. VISUAL STUDIES WORKSHOP. Print Sale Catalog, Rochester: Visual Studies Workshop, c. 1978. Softcover, 8 \u00bc x 5 \u00bc inches, 24 pages, 70 halftone illustrations.
\nComprises a selection from the Workshop\u2019s inventory of photographs and prints available for sale, with a note from director Nathan Lyons. It is fully illustrated with work by such contemporary workers as the following, at now remarkably low prices: Cornell Capa ($75), Linda Connor ($40), Judy Dater ($60), Lee Friedlander ($60), Mario Giacomell ($75), Robert Heinecken ($75), Russell Lee ($75), Ray Metzker ($60), Art Sinsabaugh ($100), and Aaron Siskind ($100). Near fine condition. $25<\/p>\n
115. WARHOL, Andy. Sheet of 20 Andy Warhol 37-cent postage stamps, United States Postal Service, 2001. Sheet, 7 \u00bc x 10 inches, 21 color halftone illustrations.
\nThe full, unused sheet of stamps, with a quotation from him: \u201cIf you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There\u2019s nothing behind it.\u201d The face value is $7.40, but presumably you won\u2019t actually use these stamps. Fine condition. $25<\/p>\n
116. WESTON, Edward. Enjoy Your Museum: Photography, Pasadena: Esto Publishing Co., 1934. Softcover, 6 \u00bc x 4 \u00bc inches, 16 pages, 1 halftone illustration.
\nA short piece written by Weston on the early years of photography, the straight approach, how he works, and \u201cphotography as expression.\u201d Part of a series on various artistic media published by Esto. This copy has the thick gray outside covers, within which are the white paper covers with an illustration. First and last page creased, original price cancelled, and with faint stain to cover. $100<\/p>\n
117. WESTON, Edward.
\nEdward Weston: A Portfolio, New York: Witkin Gallery, 1971. Brochure, 8 \u00be x 5 \u00be inches,
\n6 panels, 10 halftone illustrations. Prospectus for a posthumous portfolio (printed by
\nson, Cole) of ten key images, among them a shell, a nude, a sand dune (in color), and
\nthe famous \u201cPepper No. 30.\u201d It was initially offered for $600. This copy with an
\norder form and envelope addressed to the gallery. Covers lightly rubbed and creased.
\nEdward Weston: Desnudos, Carmel, California: Edward Weston Studio, 1972. Brochure, 11
\nx 8 \u00bd inches, 4 panels, 12 halftone illustrations. Prospectus for another posthumous
\nportfolio (printed again by son, Cole) of eleven of Weston\u2019s greatest nude
\nphotographs. They include both studio and outdoor images and such familiar
\nsubjects as Tina Modotti and Charis Wilson. Printed in a limited, numbered edition
\nof 100 copies, and priced at $800. This copy with an order form and envelope
\naddressed to the Weston studio. Light creases to covers.
\nA rare pair: $75<\/p>\n
118. WHITE, CLARENCE H., School.
\nThis is a rare and informative archive of over two dozen items for those interested in photographic education and the accomplishments of pictorialist Clarence H. White (1871-1925). The school operated in Maine during the summer and in New York from 1914 to 1942, at four successive locations.
\nSeguinland School of Photography, c. 1913. Folded sheet, 10 \u00bd x 15 inches (open), 3 halftone illustrations. This is a very early notice for the White summer school before he officially attached his name to it. It touts him as a lecturer on art in photography at Columbia\u2019s Teachers College and at the Brooklyn Institute of Arts and Sciences. Seguinland was a rustic spot on a Maine island, close to where Boston pictorialist
\nF. Holland Day summered, and, indeed, he was offered up as the session\u2019s special critic. The reproductions are soft-focus landscapes, likely by White. Stained.
\nClarence H. White School of Photography, Eighth Summer Session, 1917. Softcover, 8 \u00bc x 5 \u00be inches, 12 pages, 5 halftone illustrations. Includes text on the session, instruction, term, excursions, exhibitions, fees, and board. Features a diagram of the modest two-story clapboard school building in Canaan, Connecticut, reproductions of student work and one of White giving a class critique. Stained.
\nBulletin of the Alumni of the Clarence H. White School, 1920. Softcover, 9 x 6 inches, 8 pages, 1 halftone illustration. This December 1920 issue was the \u201cHouse Warming Number,\u201d celebrating the opening of the school\u2019s new quarters on West 144th Street. The cover shows the ivy-covered brownstone fa\u00e7ade and the inside includes a detailed floor plan, with studios, darkroom, printings rooms, class room, and exhibition and lecture hall. This issue apparently signaled the beginning of both the alumni organization and its bulletin. More than a page is devoted to alumni activities, such as those of Laura Gilpin, Sophie Lauffer, Clara Sipprell, and others.
\nCamera Pictures, New York: Alumni Association of the Clarence H. White School of Photography, 1924. Softcover, 11 x 8 \u00bc 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 \u201chas 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\u2019s alumni have been active in preaching the gospel.\u201d 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\u2019s \u201cIde Collar.\u201d
\nCamera Pictures, 1925. Softcover, 11 x 8 \u00bc inches, 36 pages, 20 halftone illustrations. This is the second and last of only two such annuals published by the Alumni Association of the Clarence H. White School of Photography. It includes a foreword by association president Stella F. Simon and reproductions by Bernhard S. Horne, Joseph Petrocelli, Antoinette B. Hervey, and others.
\nSummer School of Photography: Summer Session, c. 1926. Sheet, 9 \u00bc x 12 inches, 1 halftone illustration. The flyer promotes the school\u2019s sixteenth summer session, held at Woodstock, New York. Robert Waida and Alfred Cohn were the two instructors and the session was \u201cintended to give the student advantage of practical instruction and a pleasant summer outing.\u201d
\nClarence H. White School of Photography, c. 1930. Card, 3 \u00bd x 2 \u00bc inches. This is a blank student registration card. Dominating the design is the school\u2019s camera-on-tripod logo, under which there are blanks for the student\u2019s name and dates of matriculation.
\nApplication for Admission to the Clarence H. White School of Photography, c. 1930. Sheet, 8 \u00bd x 11 inches, unillustrated. Blank for prospective students to fill out, asking for their high school, general work and photographic experience, references, address, age, etc.
\nExhibition of Photographs by Students of the Clarence H. White School of Photography, 1932. Card, 4 x 5 inches, unillustrated. Simple announcement for the opening on Friday evening, May 20th.
\nClarence H. White School of Photography, 1933. Softcover, 9 \u00bc x 6 \u00bc inches, 12 pages, 5 halftone illustrations. This school catalog covers classes offered at the day, night and summer schools. Among them are those on fundamentals, art appreciation, and professional work. The reproductions are tipped in and feature a modernist still life by Anton Bruehl on the cover.
\nClarence H. White School of Photography, c. 1935. Softcover, 9 \u00bc x 6 inches, 20 pages, 8 halftone illustrations. Comprises statements by White and Edward Steichen, descriptions of the building, curriculum, and fees. Among those now on the board of advisers are M. F. Agha (Cond\u00e9 Nast art director), Steichen, Ralph Steiner, and painter Max Weber. The cover image by William Houck, an ascending view of a staircase, also appeared in the April 1935 issue of the Commercial Photographer.
\nClarence H. White School of Photography, c. 1935. Folded sheet, 9 x 6 inches, unillustrated. Flyer for one of school\u2019s winter and summer sessions. The eight classes include vocational training, photographic design and appreciation, color photography, and others topics.
\nClarence H. White School of Photography, c. 1936. Softcover, 9 \u00bd x 7 \u00bd inches, 28 pages, 20 halftone illustrations. The school\u2019s increasingly modernist catalog of courses, with the following statement opposite the title page: \u201cA professional institution training men and women for the vocation of photography as a practical art indispensable to modern commerce and industry and as a fine art with an established technique.\u201d Many of the images now bleed off the page, including the cover picture by Robert Funke (no known relation to the Czech modernist Jaromir Funke).
\nExhibition of Photographs, 1936. Card, 4 x 9 \u00bc inches, unillustrated. Simple announcement for the opening of a show of work by White school students, on May 15.
\nClarence H. White School of Photography, 1939. Folded sheet with inserts, 12 x 8 \u00be inches, 2 halftone illustrations. This folder, which pictures on the cover the fa\u00e7ade of the school\u2019s new facility on West 74th Street, was a fundraising tool. It shows the architect- designed plans for its basement and five floors and solicits contributors, who will have their money paid back with interest. Laid in is a sheet that lists about twenty five sponsors (mostly individuals, but including U. S. Camera and Willoughby Camera Stores) and asks \u201cIs Your Name Among the Sponsors?\u201d Also includes two copies of a subscriber\u2019s blank sheet written in legalese.
\nClarence H. White School of Photography, 1940. Folded sheet, 9 \u00bd x 7 \u00bd inches,
\n1 halftone illustration. Flyer of classes at the school\u2019s new, and last location, on West 74th Street. Covers ten classes in the day and night schools of the 1940-41 winter session.
\nClarence H. White School of Photography, 1940. Card, 4 \u00bc x 7 inches, unillustrated. Invitation to opening reception for a show of work by the class of 1940, on the evening of Saturday, May 18.
\nClarence H. White School of Photography, 1940. Card, 3 \u00be x 7 \u00bc inches, unillustrated. Invitation to an informal house warming and alumni reunion at the school\u2019s new home on West 74th Street. Among the five guests of honor were Ansel Adams, Alfred Stieglitz, and Max Weber (a co-founder of the school).
\nDay and Evening Courses, c. 1940. Card, 5 \u00be x 3 \u00be inches, 1 illustration. This is an actual photographic print (the photographer uncredited), largely comprising an image of a workman on a spherical building, undoubtedly the Hemisphere at the current New York World\u2019s Fair. The reversed-out typography, simply indicates that the courses were in color, commercial, motion picture, and photo-journalism.
\nApplication for Admission to the Clarence H. White School of Photography, c. 1940. Sheet, 8 \u00bd x 11 inches, unillustrated. Blank for prospective students to fill out, asking for their high school, general work and photographic experience, references, address, age, etc.
\nClarence H. White School of Photography: Catalogue of Courses, 1940-1941. Softcover,
\n9 \u00bc x 7 \u00bc inches, 44 pages, 19 halftone illustrations. The first catalog for the school in its new five-story building on West 74th Street, detailed floor plans of which are included. Features descriptions of over twenty different classes, in all manner of creative and applied photography, including color and reportage. The cover sports the school\u2019s symbol\u2014an abstract camera on tripod\u2014multiple times. Inside, images are contributed by Anton Bruehl, Wynn Richards, and Karl F. Struss (in the form of a 1912 soft-focus portrait of White).
\nClarence H. White School of Photography, 1941. Softcover, 9 \u00bc x 7 \u00bc inches, 32 pages, 20 halftone illustrations. Despite the previous year\u2019s move to new facilities, this is the course catalog for the last season the White school operated, 1941-1942. It lists the board of advisors (Ansel Adams, Edward Steichen, and others), faculty members (Eliot Elisofon and others), and the administrators (including Clarence H. White, 2nd). The catalog touts the school\u2019s physical facilities, philosophy, and describes over twenty specific classes being offered. Most of the illustrations are by former students.
\nThe Work of the Class of 1941. Card, 7 \u00bc x 5 \u00bd inches, unillustrated. Notice for opening of an exhibition at the school that ran from late May to mid-July, with hours and the school\u2019s camera-on-tripod logo.
\nSummary of Courses, 1941-1941. Folded sheet, 9 \u00bc x 4 inches, unillustrated. Pamphlet describing over twenty courses offered during the Winter day and evening school and summer session. Also lists the school\u2019s advisors (including Ansel Adams and Edward Steichen), faculty (among them Clarence H. White, 2nd), and administrators (including White\u2019s widow, who was director emeritus).
\nClarence H. White School of Photography, 1941. Sheet, 10 \u00bd x 7 \u00bd inches, unillustrated. Lists the seven courses offered during the 1941 summer session. Among them were those on basic, advanced, color photography, appreciation of photographs, and elements of reportage.
\nBulletin of the Clarence H. White School Alumni Association, July 1941 (vol. 1, no. 2). Sheet folded to 9 \u00bc x 8 inches, unillustrated. Reports on talks given to the association by Beaumont Newhall, Roy Stryker, and others. Also includes school news, info on alum, new courses, and other information.
\nBulletin of the Clarence H. White School Alumni Association, November 1941 (vol. 2,
\nno. 1). Sheet, 9 \u00bc x 8 inches, unillustrated. Covers a talk by Barbara Morgan, and alum news, such as who has enlisted in the U.S. Army.
\nGroup of 27 items: $1,500<\/p>\n
119. WHITE, Minor. Minor White: 9 July 1908 \u2013 24 June 1976, Millerton, New York: Aperture, 1976. Folder, 11 x 9 inches, 4 panels, 1 screen-gravure illustration.
\nMemorial item for White, who was the founding editor of Aperture magazine, overseeing it until a year before his death. Includes a four-sentence poem by Saint Catherine of Siena and a portrait of White by Robert Haiko. Near fine condition. $25<\/p>\n
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120. ATTRIBUTS de COMMERCE, Rochester: Visual Studies Workshop, 1980. Softcover, 8 \u00bc x 7 inches, 48 pages, halftone illustrations.
\nThis was a group project by eight Visual Studies Workshop students, whose signatures appear on the title page. They are: Andrew Allen, Pat Byrne, Philip Lange, Scott McCarney, Natalie, Toni Noah, Linn Underhill, and Alan Winer. The imagery comprises collaged, largely abstract pictures, in low contrast and bleeding off the pages. Covers lightly rubbed. $35<\/p>\n
121. AVEDON, Richard. The Little Wisdoms of Richard Avedon, Minneapolis, 1970. Softcover, 7 x 5 \u00bd inches, 48 pages, 1 halftone illustration.
\nThis extremely rare item was produced at the time of the major 1970 one-person Avedon exhibition at the Minneapolis Institute of Arts. It was a joke piece, compiled by Marvin Israel, Avedon\u2019s designer, and Doon Arbus, who attended the opening along with her mother. It contains one short quip per page by Avedon, as remembered by friends, such as Arbus, Israel, and Hiro Wakabayayshi. Among the sayings recorded are, \u201cMy success depends more on the pictures I didn\u2019t take than the ones I did,\u201d and \u201cScratch the surface and, if you\u2019re really lucky, you will find more surface.\u201d The copyright page includes the following information: \u201cFirst Printing, July 1, 1970 [the day the Minneapolis show opened], \u201cVery limited edition,\u201d and Catalog Number: 4-U.\u201d This is the only copy I have ever seen (after living in Minneapolis for over thirty years)\u2014essential for the serious Avedon collector. Unfortunately, it\u2019s not in great shape: bends throughout and covers browned, marked, and chipped. $350<\/p>\n
122. BALDESSARI, John. Close-Cropped Tales, Buffalo: CEPA Gallery, 1981. Softcover, 9 x 7 inches, unpaginated, halftone illustrations.
\nAn artist\u2019s book that accompanied simultaneous exhibitions at CEPA and the Albright-Knox Art Gallery, both in Buffalo, New York. Comprises six sequences of photographic images, from \u201cA Three-Sided Tale\u201d to \u201cAn Eight-Sided Tale.\u201d Each one features images that Baldessari apparently found in the popular press and then cut into shapes. Among the subjects are crime, animals, and transportation. Light scuffs to title page, small wear to top of spine, and folds to first four pages. $125<\/p>\n
123. BART, Harriet. Harriet Bart, Minneapolis: Harriet Bart, c. 2005. Softcover (spiral bound), 6 x 6 \u00bd inches, unpaginated, halftone illustrations (some in color). Signed, with ephemera.
\nDocuments Bart\u2019s art as commissions, installations, objects, and books. Includes a selected list of about two dozen private and public collections that include her work. Bart (born 1941) is based in Minnesota and is internationally known. This copy signed by her, with her business card laid in. Light bends to front cover corners. $15<\/p>\n
124. BEASLEY, Doug. Japan: A Nisei\u2019s First Encounter, St. Paul, Minnesota: Vision Quest, 2000. Softcover, 6 \u00bd x 8 \u00bd inches, unpaginated, 32 duotone illustrations. Signed.
\nComprises a selection of photographs that Minnesota-based Beasley made on his first trip to the homeland of his mother. They are straight-forward images of Japanese shrines, architecture, landscape, and people. Beasley wrote in the introduction that \u201cupon arriving in Tokyo, I felt I had returned to a place I had never been; the sights, sounds and smells were unique, exotic and new, yet comfortable and oddly familiar.\u201d The book features glassine endpapers and a seemingly hand-bound binding of string piercing the pages and wrapping around the spine. This copy signed by Beasley. Near fine condition. $25<\/p>\n
125. BEARD, Peter. Diary, Japan: Libro Port Publishing, 1993. Hardcover (black-stamped white paper over boards), 12 x 9 \u00bc inches, unpaginated, color halftone illustrations, dustjacket and belly band, with ephemera. Signed.
\nThe 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\u2019s chronology, in Japanese. The copyright page states, \u201cCatalogue for show \u2018Diary,\u2019 From a Dead Man\u2019s Wallet: Confessions of a Bookmaker.\u201d Laid into this copy are a few pieces of ephemera from the publisher. Most importantly, this copy is customized by Beard: reproductions pasted in, red and black-inked handprint and inscription, plus partial footprint on inside back flap. Near fine condition. $1,000<\/p>\n
126. BEARD, Peter. Diary, Japan: Libro Port Publishing, 1993.
\nAnother copy, without the customization. Near fine condition. $500<\/p>\n
127. BELL, Larry, and Guy De Cointet. Animated Discourse, Venice, California: Sure Co., 1975. Hardcover, 5 x 15 inches, 145 pages, halftone illustrations. Signed.
\nThis is a spectacular conceptual artist\u2019s book, representing a collaboration between two California artists who were known for their paintings, sculpture, and other non-photographic work. Each page features a grid of photographic reproductions of people running through Bell\u2019s Venice studio. Inserted in the rear is a folded sheet measuring 1 x 59 inches that reproduces 29 images and serves as the key to \u201creading\u201d the pages. Each image stands for a letter of the alphabet, a space, and punctuation. The cover sports metallic silver cloth and the book is signed by both Bell and De Cointet. Gus Foster, the publisher, informed me that only about 100 copies of this book were finished; though he had sheets for one thousand copies printed, the binder lost most of them. Near fine condition, with a crease on the last page. $1,000<\/p>\n
128. BENGE, Harvey. You Are Here, Cologne, Germany: Schaden: 2006. Hardcover (printed paper over boards), 8 \u00be x 6 \u00bc inches, unpaginated, color halftone illustrations.
\nStreet scenes in Tokyo, mostly of people and shop windows, all presented as bleed images in an apparent random order. The title is derived from an image of a subway map with red light indicating where the viewer is located. No text, except for copyright page information, with indicates that the book was limited to 250 signed and numbered copies, although I don\u2019t find a signature or number in this one. Benge (born in New Zealand in 1944) has worked since 1975 as an advertising photographer and for the last twenty years also as a \u201ccamera artist.\u201d Near fine condition. $35<\/p>\n
129. BLOCH, Ricardo. Terremoto, St. Paul, Minnesota: Ricardo Bloch, 1993. Hardcover (paper covered boards), 8 \u00bc x 9 \u00bc inches, 56 pages, halftone illustrations. Signed.
\nThis, Bloch\u2019s second artist\u2019s book, comprises straightforward photographs of the aftermath of a major earthquake that struck Mexico City on September 19, 1985. Most of the pictures are people-less, but the text is heart-wrenchingly personal, written in the voice of a child or adult not fluent in English. One page begins with the text, \u201cThe groun trembelt an shook an bildings sweyd like Alamo trees and walls fell over an floors caved in.\u201d Bloch was born in Mexico City in 1946, took a Ph.D. in biophysics from Harvard University, and has worked as an artist in Minnesota and Paris. Terremoto, issued without a dustjacket, was printed in an edition of 400 copies; this one is numbered and signed by Bloch. Fine condition. $50<\/p>\n
130. BREUER, Marco. Tremors, Ephemera, New York: Roth Horowitz, 2000. Hardcover (cream cloth and paper over boards), 10 x 8 inches, 32 pages, 10 color halftone illustrations, dustjacket. With signed ephemera.
\nPresents new work from the series \u201cTremors\u201d and \u201cEphemera,\u201d in which Breuer makes camera-less photographs by exposing light-sensitive paper to scraping, burning, sanding, and other physical acts. Printed in an edition of 1,000 copies, with an essay by James Elkins. Laid into this copy is an exhibition announcement for related work at the Minneapolis Institute of Arts, signed and dated by Breuer. Near fine condition, except for two tiny tears at the spine of the dustjacket. $75<\/p>\n
131. BRODOVITCH, Alexey. Ballet, New York: J. J. Augustin, 1945. Hardcover, 9 x 11 \u00bc inches, 144 pages, halftone illustrations, dustjacket.
\nThis is Brodovitch\u2019s groundbreaking and influential book of photographs of various dance companies performing. The impressionistic images, some gritty, some soft, bleed off the pages and into one another on two-page spreads. A delicate book, due to the absence of a spine board and its thin dustjacket, which is often missing from the spine (not the case here). Brodovitch (American, born Russia, 1894-1971), was a photographer and graphic designer, revered for his work at Harper\u2019s Bazaar from 1938 to 1958. Dustjacket lightly soiled and edgeworn, missing the inside flaps and small pieces at spine. $5,000<\/p>\n
132. BUCKLAND, David. The Agri-Economy, Minneapolis: First Banks, 1989. Folder with accordion-style brochure and 36-page softcover booklet, 8 \u00bd x 11 \u00bd inches, halftone illustrations (some in color). Signed.
\nThis package accompanied a traveling show of ten large-scale color portraits made by Buckland on commission from the First Bank System\u2019s division of visual arts. The images address the changing face of agribusiness in the Midwest, and include portraits of corporate officers, government figures, and farmers who are Caucasian, Hmong, and Native American. The booklet contains text by the bank\u2019s visual arts staff, museum curator Carroll T. Hartwell, and Buckland. There is also technical information and statements by all ten of the subjects. This copy signed and dated in year of publication by Buckland. Near fine condition. $35<\/p>\n
133. BURKE, Bill. I Want to Take Picture, Atlanta: Nexus Press, 1987. Hardcover (laminated paper over boards), 15 \u00bc x 11 \u00bd inches, unpaginated, duotone and color halftone illustrations. With signed ephemera.
\nBurke\u2019s influential artist\u2019s book, based on his travels in Southeast Asia. He presents documentary pictures of such subjects as Bangkok sex clubs and Khmer Rouge soldiers, sometimes collaged with colorful ephemera like beer bottle labels. He provides captions and running texts on events such as suffering a broken neck in a serious car accident, all handwritten to give the book the feeling of a diary (in the vein of Peter Beard). Included in both Roth and Parr\/Badger. Laid into this copy is a brochure for a 1987 show of the same title and an exhibition announcement for an unrelated exhibition, signed by Burke. Near fine condition. $650<\/p>\n
134. BURKE, Bill. Mine Fields, Atlanta: Nexus Press, 1992. Hardcover (laminated paper over boards), 11 \u00bc x 8 \u00be inches, 120 pages, duotone and color halftone illustrations. With signed ephemera.
\nThis fitting follow-up to I Want to Take Picture is, once again, an autobiographical account of time spent in Southeast Asia. There are straight-forward portraits of citizens and soldiers, interspersed with colorful collaged pages of maps, currency, and other printed items. Includes the loose booklet that is primarily journal pages. Laid into this copy is Burke\u2019s business card, signed by him. Near fine condition. $100<\/p>\n
135. BYRNE , David. Strange Ritual: Words and Pictures, San Francisco: Chronicle Books, 1995. Hardcover (gold-stamped black leatherette), 10 \u00bc x 7 \u00be inches, unpaginated, color halftone illustrations, belly band. Signed.
\nThis is a conceptual bookwork, made up primarily of Byrne\u2019s mundane color photographs of American and Mexican pop culture items. Among the pictures of plastic Jesus babies and graffiti, he intersperses text on topics such as \u201cPower Tools and Piss\u201d and \u201cBizarro World.\u201d Since most of the photographs are two-page spreads and bleed off the page, captions are relegated to the rear of the book. This copy inscribed by Byrne. Fine condition. $100<\/p>\n
136. CELENDER, Don. Museum Piece, New York: O.K. Harris Gallery, 1975. Softcover, 11 x 8 \u00bd inches, 138 pages, halftone illustrations.
\nThis is perhaps Celender\u2019s most revered artist\u2019s book. In 1975, he wrote to about seventy-five museums worldwide, asking them for photographs of their loading docks. This book reproduces the written responses and images. Most twentieth-century museums provided pictures of well-designed docks, while older ones showed the front door or other unusual portal, as the structure was not constructed as a museum. Occasionally no photographs were provided, as the institution considered it a security risk to do so. Celender (1931-2005) was a book and installation artist who taught art history at Macalester College in St. Paul, Minnesota, for forty years. Covers lightly rubbed and spine lightly browned. $100<\/p>\n
137. CHAPPELL, Walter. Logue and Glyphs: 1943-1949, New Orleans: Glyph Press, 1951. Hardcover (batik cloth), 12 \u00bd x 9 \u00bd inches, 48 pages, unillustrated. With signed ephemera.
\nThis early Chappell item, made when he was only twenty-six years old, comprises poems by him. According to a 1992 handwritten letter from Chappell, the book \u201cwas printed at night in a print shop on Royal Street, French Quarter, New Orleans, where I worked for a period during the two years I lived there after the war, while mostly painting, before my serious turn to photography in 1954.\u201d Printed in an edition of only 50 copies; WorldCat locates a single copy, at the University of Notre Dame Library. An extremely rare Chappell piece (including the letter), for the completist. Stains and light wear to covers, which are separating from the text body. $1,000<\/p>\n
138. CHARLESWORTH, Sarah. April 21, 1978, Riverside: California Museum of Photography, 1984. Softcover, 9 \u00be x 8 \u00bd inches, 32 pages, 30 halftone illustrations.
\nThis issue of the CMP Bulletin is an artist\u2019s book addressing public photographic imagery. It features a picture of Aldo Moro, the kidnapped prime minister of Italy, supposedly taken on April 21, 1978, to prove that he was still alive. Its authenticity was widely questioned and Charlesworth brings together its reproduction in over two dozen newspapers worldwide, including the New York Times. Near fine condition, missing part of the extra wrap-around mailer. $25<\/p>\n
139. CLARK, Larry. Tulsa, New York: Larry Clark, 1981. Hardcover (silver-stamped black cloth), 12 \u00bc x 9 \u00bc inches, 64 pages, 50 halftone illustrations, dustjacket. Signed, with ephemera.
\nClark\u2019s first book, a searing personal document of drug culture in Oklahoma around 1970. The photographer states, \u201cI was born in Tulsa, Oklahoma in 1943. When I was sixteen I started shooting amphetamine. I shot with my friends every day for three years and then left town, but I\u2019ve been back through the years. Once the needle goes in it never comes out.\u201d He presents sex, gun violence, and, most shockingly, a very pregnant woman shooting up, in an image beautified by glowing natural light. Some of the portraits are accompanied by the simple caption \u201cDead.\u201d This is the second edition of the 1971 one and the first hardcover. Clark self-published it, printing 3,000 copies and signing all of them. Laid into this copy is an order form for the book. Near fine condition, with miniscule edgewear to dustjacket. $750<\/p>\n
140. CLARK, Larry. Larry Clark 1992, New York: Thea Westreich, and Gisela Capitain, K\u00f6ln, 1992. Softcover, 10 \u00be x 8 \u00bc inches, 336 pages, halftone illustrations.
\nA thick book, without text and featuring bleed halftones of primarily adolescent boys, with guns, nooses, and in various stages of undress. Though designated in an edition of one thousand copies, about half of them were inadvertently destroyed. Mint condition, in shrink wrap. $750<\/p>\n
141. CLARK, Larry. Punk Picasso, New York: AKA Editions, 2003. Softcover, 11 x 8 \u00bd inches, 496 pages, halftone illustrations (some in color), in original cardboard sleeve. Signed.
\nThis two-inch thick tome continues Clark\u2019s 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\u2019s title was coined by David Denby, who referred to Clark as a \u201cpunk Picasso\u201d in a review of the photographer\u2019s 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<\/p>\n
142. De LORY, Peter. The Wild and the Innocent, Riverside: California Museum of Photography, 1987. Softcover, 9 \u00be x 8 \u00bd inches, 48 pages, color halftone illustrations. Signed.
\nThis artist\u2019s 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, \u201cAll in all, Franky and Joey switch places, and lady friends too. In the end, they become more like each other\u2019s\u2019 extremes, one more wild, one more innocent.\u201d Also published as an issue of the CMP Bulletin, it includes a song by Terry Allen. De Lory\u2019s color photographic illustrations are fabricated set ups with 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. This copy signed by de Lory in the year of publication. Fine condition. $35<\/p>\n
143. DINE, Jim, and Guillaume Apollinaire. The Poet Assassinated, New York: Holt, Rinehart and Winston, 1968. Hardcover (printed white cloth), 10 \u00bc x
\n8 \u00bc inches, 128 pages, halftone illustrations.
\nApollinaire (1880-1918) was a prominent French writer who coined the term \u201csurrealism.\u201d His 1947 story is illustrated with drawings and photographic collages by Dine. Light rubbing and marks to cloth, in protective glassine, lacking dustjacket. $50<\/p>\n
144. DINE, Jim, and Ron Padgett. The Adventures of Mr. and Mrs. Jim and Ron, London: Cape Goliard Press, 1970. Hardcover (white-stamped black cloth),
\n11 \u00bc x 8 \u00bc inches, unpaginated, halftone illustrations, dustjacket.
\nFeatures a collaborative text between Dine and Padgett (born 1942), an American writer who was part of the New York School. The opening text states, \u201cThe germ of an idea wiggled in my mind. I transferred it to an incubation cell, applying heat and light, and sat back and waited for it to hatch.\u201d Dine\u2019s enigmatic illustrations include drawings of everyday objects like a cup, boot, and hat, plus reproductions of vernacular photographs by him, housed between distinctive pink endpapers. Near fine condition. $125<\/p>\n
145. DUTTON, A. A. A. A. Dutton\u2019s Compendium or Relevant But Unreported Twentieth Century Phenomena, Phoenix, Arizona: Dutton\/Buse, 1977. Softcover, 9 x 12 inches, 152 pages, halftone illustrations.
\nComprises rather outlandish images of female nudes collaged with nature and architectural elements, sometimes with repetitive imagery. Most are accompanied by prose or poetry that is equally surreal or subjective. The cover image, \u201cA Group of Boobpersays Watching the Photographer,\u201d shows about 100 large female breasts stacked up like fruit at the grocery store. Allen A. Dutton (born 1922) founded and ran the photography department at Phoenix College during the 1960s and seventies, and published four books of his photographs. Covers worn and small stains to bottom of early pages. $35<\/p>\n
146. ELDON, Dan. The Journey is the Destination: The Journals of Dan Eldon, San Francisco: Chronicle, 1997. Hardcover (printed paper over boards), 10 \u00be x 8 \u00bc inches, unpaginated, halftone illustrations (some in color).
\n\u201cThis is no ordinary diary; it is an astonishing collage of photographs, drawings, words, maps, clippings, paints, scraps, shards, and trash that reveals Eldon\u2019s strange and vivid life. They hold up a pure mirror to both the sickness of the modern world and the fragile happiness of the human condition and ultimately, reveal the accidental beauty that only a young artist can truly capture.\u201d Definitely shows the influence of Peter Beard. Eldon (1970-1993) was raised in Nairobi, Kenya (Beard territory), traveled through four continents, and worked as a photojournalist for Reuters. He met his untimely death at only twenty-two years, stoned by a mob in Somali. Near fine condition. $35<\/p>\n
147. FRANK, Robert. The Lines of My Hand, Tokyo: Yugensha\/Kazuhiko Motomura, 1972. Hardcover (white-stamped black cloth), 13 \u00be x 10 \u00bc inches, 120 pages, halftone illustrations, slipcase and pamphlet.
\nThe deluxe first edition of this important book, issued without a dustjacket in a slipcase with a mounted reproduction (one of two: here \u201cPlatte River, Tennessee\u201d). It is Frank\u2019s \u201cautobiography,\u201d beginning with images of deceased friends and his son and daughter. Then, he arranges pictures from his known bodies of work in rough chronological order; they commence in his native Switzerland, move through Peru, Paris, London, Spain, and include a number of images made in the mid-1950s that do not show up in The Americans. After his 1958 bus pictures, which represented, at the time, his last photography project, Frank includes stills from his first four films, his new focus. Deeply aware of the book as a retrospective project and involved in its layout and sequencing, he begins and ends it with references to the publisher, mentioning Mr. Motomura\u2019s first visit and reproducing a later note to him. Limited edition of 1,000. Includes the 30-page pamphlet with the Japanese translation. Near fine condition, with the slipcase covering separating a little on the inside. $4,500<\/p>\n
148. FRANK, Robert. The Lines of My Hand, New York: Lustrum Press, 1972. Softcover, 12 x 9 inches, unpaginated, halftone illustrations.
\nFirst published in a deluxe Japanese edition the same year (see above entry), this is the first American edition, presented in a more down-to-earth fashion by Ralph Gibson\u2019s Lustrum Press. It is smaller in page size and has fewer and some different images. The cover features a drawing of a hand by Frank\u2019s wife, June Leaf, inspired by a photograph he made in Paris of a mystic\u2019s sign (reproduced in the book). He still provides minimal text, but adds a paragraph stating, \u201cI have come home and I\u2019m looking through the window. I am looking back into a world now gone forever.\u201d Many of the photographs are now grouped in more distinct categories of place and time. Miniscule edgewear and minor marks on back cover. $250<\/p>\n
149. FRANK, Robert. The Lines of My Hand, New York: Pantheon Books, 1989. Hardcover (printed paper over boards), 12 \u00be x 10 inches, unpaginated, halftone illustrations (some in color), printed glassine dustjacket.
\nThis is the second American edition, despite the copyright page declaring it the first (see above). Slightly bigger in size and now in hardcover, it also includes added material by Frank. The last quarter of the book comprises work created since the original 1972 publication. Much of it comprises multi-image pieces made in Nova Scotia of still lifes, landscapes, and portraits, with hand-scrawled lettering. A gatefold features four color stills from Frank\u2019s 1983-84 video \u201cHome Improvements.\u201d Mint condition in shrink wrap, with original Distributed Art Publishers label affixed. $250<\/p>\n
150. FRIEDLANDER, Lee, and Jim Dine. Work from the Same House: Photographs and Etchings, London: Trigram Press, 1969. Softcover, 9 \u00be x 10 inches, 48 pages, 33 halftone illustrations.
\nAn 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 \u201cPhotographs and Etchings.\u201d The reasons for the pairings are sometimes formal but usually difficult to discern and certainly personal on the artists\u2019 part. Friedlander\u2019s social landscape photographs work well with Dine\u2019s Pop Art imagery of simple objects such as a pair of scissors, a chair, an onion, and hands. From the library of former Princeton curator Peter C. Bunnell, with his modest stamp on the front free-end paper. One back corner lightly wrinkled but unusually crisp covers, though they are still lightly rubbed, as is almost always the case. $250<\/p>\n
151. GAARD, Frank.
\nArchive of issues of Artpolice, related magazines, one book, and ephemera. Since the 1960s, Gaard (born 1944) has forged a deeply personal and idiosyncratic style in his paintings and drawings, often resembling cartoon imagery. He taught for many years at the Minneapolis College of Art and Design, published an important artist\u2019s zine, and in 2012 presented a one-man exhibition of his work at the Walker Art Center (Minneapolis). Artpolice includes the work of other artists, most notably Stuart Mead. Note that some of the items include explicit sexual content, and a handful of them are signed by Gaard. This is an impressive group of items, with the run of Artpolice missing only about a half dozen issues. Complete, detailed inventory sent upon request.
\nArtpolice
\n1974, 3 issues
\n1975, 2 issues
\n1976, 1 issue
\n1977, 3 issues
\n1978, 4 issues
\n1979, 4 issues
\n1980, 5 issues
\n1981, 4 issues
\n1982, 4 issues
\n1983, 4 issues
\n1984, 3 issues
\n1985, 3 issues
\n1986, 3 issues
\n1987, 3 issues
\n1988, 3 issues
\n1989, 3 issues
\n1990, 3 issues
\n1991, 3 issues
\n1992, 2 issues
\n1993, 3 issues
\n1994, 1 issue
\nRelated magazines
\nMan Bag, 3 issues, 1994, 1995, 1996
\nLosing Faith, 2 issues, 1986, 1987
\nSub-Art, 1 issue, 1979
\nArt Moves, 1 issue, 1982
\nBook
\nMen Beg, Marscillc, France: Le Dernier Cri, 2011. Softcover, 8 \u00bc x 6 inches,
\nunpaginated. In original shipping envelope, hand-addressed by Gaard.
\nEphemera
\nArtpolice Comics, undated, single sheet, miniature reprint of the first issue and three
\nother drawings.
\nArtpolice envelope, undated, hand-addressed by Gaard.
\nLetter , 1979, hand-written from Gaard asking for payment of Artpolice subscription,
\nin mailed envelope.
\nExhibition announcement, New York: Medium West Gallery, 1985.
\nA Conversation with Frank Gaard, Minneapolis Institute of Arts, 1999, softcover, 36
\npages, signed by Gaard.
\nOne-page magazine article on Frank\u2019s artist wife, Pam, 2001, signed by her.
\nWalker Art Center Members\u2019 Magazine, 2012, cover article on Gaard\u2019s solo show
\nthere.
\nExhibition announcement for Pam Gaard, Minneapolis: Susan Hensel Gallery, 2013.
\nBrochure for show of Gaard, Pam Gaard, and 2 others, Minneapolis: Instinct Art
\nGallery, 2014.
\nPostcard for above show, signed by Frank and Pam.
\nCollection: $7,500<\/p>\n
152. GALGIANI, Philip. 15 Titles: Fifteen Offset Images, San Francisco: Philip Galgiani, 1979. Folder, 11 \u00bd x 8 \u00be inches, with 15 loose sheets and envelope.
\nThis set comprises sheets with four images of still lifes that Galgiani set up and photographed. Simple objects, such as light bulbs and hats are slightly rearranged in each image with words from everyday phrases like, \u201cOut of the blue.\u201d Conceptual and sometimes mystifying, these offset images are \u201cfirst generation positives,\u201d not reproductions of photographs. Galgiani (born 1951) earned two art degrees from the San Francisco Art Institute, produced books and photographs, and now sells European art books in New York. Tiny edgewear and corner folds to folder and original printed envelope. $75<\/p>\n
153. GATEWOOD, Charles. Spider Webb, X, New York: R. Mutt Fine Art Publishers, 1977. Softcover, 8 x 8 inches, 52 pages, halftone illustrations. Signed, with ephemera.
\nThis artist\u2019s book concerns Spider Webb\u2019s tattooing his one-thousandth \u201cX\u201d on a man\u2019s leg, comprised of 1,000 tiny X\u2019s. Gatewood photographed the operation at various stages and included portraits of those involved: Webb, Gatewood, Marco Vassi, and the unidentified man receiving the tattoo. Taped in is a small piece of blotter paper with human blood. Printed in an edition of 1,000 (naturally), individually numbered and signed by the three artists. In addition, this copy inscribed by Gatewood. Laid into this copy is an announcement for Spider Webb\u2019s 1982 book Tattooed Women. Covers lightly browned and rubbed. $250<\/p>\n
154. GELLERT, Vance. Carlvision, Portland, Oregon: Blue Sky Gallery, 1987. Softcover (plastic spiral binding), 8 x 10 \u00bd inches, 54 pages, color halftone illustrations. Signed.
\nThese pictures, often with vibrant colors, document Gellert\u2019s first few years with his son, Carl, after becoming a househusband with a camera. Carl, usually naked, interacts with his father, television, raw meat, toys, broken glass, and other everyday objects. He even appears in Gellert\u2019s darkroom, in a playful image that shows him simultaneously under an enlarger and in a developing tray (an original print of this image is also available; please inquire). Gellert (American, born 1944) is a Minneapolis-based photographer who ran such non-profit spaces as Parts Photographic Arts and the Minnesota Center for Photography, during the 1980s and 1990s. This copy signed by Gellert. Near fine condition. $35<\/p>\n
155. GIBSON, Ralph. Days at Sea, 1974. Softcover, 12 x 8 \u00bd inches, 72 pages, duotone illustrations. With signed ephemera.
\nThe last of the books in Gibson\u2019s ground-breaking \u201cBlack Trilogy,\u201d named for the predominance of darkness on the covers and in the images. The pictures are variously grainy, formalistic, erotic, and, by intent, do not provide an obvious narrative. The cover features his suggestive photograph of a woman caressing her buttocks with a feather of variegated tones. Laid into this copy is a prospectus for a portfolio of original prints of the same name, signed by Gibson. $100<\/p>\n
156. GOSSAGE, John. Stadt des Schwarz\/Eighteen Photograph of Berlin, Washington, D.C.: Loosestrife Editions, 1987. Hardcover (gray-stamped black cloth), 18 \u00bc x 13 \u00bd inches, 24 pages, 18 duotone illustrations, glassine dustjacket, original photograph on cover. Signed, with ephemera.
\nThis is Gossage\u2019s nocturnal ode to Berlin, translated as \u201cCity of Black.\u201d The extremely dark and mysterious images, made 1982-1986, are printed large on the oversize pages and interleaved with glassine pages. Curator Jane Livingston provides an introduction and there are three legends based on the collection of Jacob and Wilhelm Grimm. Printed in a signed and numbered edition of 500. An original gelatin silver print is tipped onto the front cover. Laid into this copy is an announcement for a 1987 exhibition of the work at Castelli Graphics, New York. Near fine condition, in glassine dustjacket that is lightly rubbed and with a few creases. $1,500<\/p>\n
157. GROSSMAN, Sid, and Millard Lampell. Journey to the Cape, New York: Grove Press, 1959. Softcover, 10 x 7 \u00bd inches, unpaginated, halftone illustrations (2 in color), dustjacket.
\nThis is a poetic look at the human condition, in many parts of the world, at the middle of the twentieth century. Among the locales in which individuals interact are New York, Coney Island, Oklahoma, Panama, and Guatemala. Grossman (1915-1955) photographed in the Dust Bowl during the Great Depression and was a member of the Photo League, where he taught classes. Tiny edgewear and rubbing to covers and original glassine jacket. $35<\/p>\n
158. HALSMAN, Philipp, and Salvador Dali. Dali\u2019s Mustache: A Photographic Interview, New York: Simon and Schuster, 1954. Hardcover (paper over boards), 7 x 5 \u00bd inches, 126 pages, screen-gravure illustrations.
\nThis little, well-printed item is an uproarious collaboration between the Surrealist artist Dali and Halsman, proclaiming on the back cover, \u201cWarning! This Book is Preposterous.\u201d The two use Dali\u2019s famous facial hair in various shapes and functions\u2014as a brush, mobile, and fishing pole, and in combination with flowers, Swiss cheese, and other objects. Dali provides an introduction, the photographer an afterword, and the publisher technical notes. Front hinge separating, with cover edgewear. $50<\/p>\n
159. HAMILTON, Richard. Polaroid Portraits Vol. 1, Stuttgart, Germany: Hansj\u00f6rg Mayer, 1972. Hardcover (white cloth), 6 \u00bd x 5 inches, unpaginated, 32 halftone illustrations (some in color).
\nA little book of casual portraits of the English artist Richard Hamilton made by other artists. Among those tripping the shutter were Claes Oldenberg, Francis Bacon, Andy Warhol, Jasper Johns, Joseph Beuys, Man Ray, Henri Cartier-Bresson, and Christo. Pages thumbed, covers lightly soiled, and a \u00bc-inch hole piercing the entire book (perhaps for being secured at an exhibition). $35<\/p>\n
160. HEINECKEN, Robert. A Case Study in Finding an Appropriate TV Newswoman (A CBS Docudrama in Words and Pictures), Los Angeles: Robert Heinecken, 1986. Softcover, 11 \u00bc x 9 inches, 16 pages, color halftone illustrations. With ephemera.
\nThis entertaining artist\u2019s booklet was inspired by CBS\u2019s hunt for a female news anchor in 1984. Heinecken provides a running commentary on the search and combination images of different newscasters, taken off a television screen. Among the pairs he superimposed were Diane Sawyer and Tom Brokaw, Connie Chung and Bill Kurtis, and Meredith Vieira and Steve Baskerville. Haunting results that presaged the composite work of Nancy Burson. Laid in is an announcement for the book. Light rubbing to covers. $50<\/p>\n
161. HEINECKEN, Robert. Studiesnineteenseventy, Tucson, Arizona: Nazraeli Press, 2002. Hardcover (printed paper over boards), 7 \u00bc x 5 \u00be inches, 16 pages, 12 halftone illustrations and one original photograph. Signed by Heinecken.
\nHeinecken 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\u2019 \u201cOne Picture Book\u201d series, all issued without dustjackets. The original tipped-in gelatin silver print is signed and dated 2002 by Heinecken, and numbered 32\/500. Fine condition. $250<\/p>\n
162. HOSOE, Eikoh. Man and Woman, Tokyo: Camerart, 1961. Hardcover (paper over boards), 9 \u00bd x 7 \u00bd inches, unpaginated, screen-gravure illustrations, slipcase. With signed ephemera.
\nThis intimate book was Hosoe\u2019s first, published when he was only twenty-eight. It is graphically strong and richly printed in gravure, the pictures usually bleeding off the pages. The nude figures are frequently presented close up and somewhat abstracted. Text in Japanese. Lacking the English-translation booklet and rare bellyband. However, laid into this copy is a 1998 form letter signed by Hosoe. Eikoh Hosoe (born 1933) is known for his figurative work and remains today Japan\u2019s most recognized creative photographer. Near fine condition, in original slipcase with minimal wear. $1,500<\/p>\n
163. HOSOE, Eikoh. Killed by Roses, Tokyo: Shueisha, 1963. Hardcover (printed cloth), 16 \u00be x 11 inches, unpaginated, screen-gravure illustrations, acetate jacket and cardboard box. Signed.
\nThis is one of Hosoe\u2019s most elaborate books, over-sized, richly printed, and featuring some gatefolds. His collaborator was the author Yukio Michima, who is the subject of most of the pictures, rendered surrealistically and with strong graphic impact. Issued in an edition of 1,500 numbered copies (this one 586), signed by both Michima and Hosoe. Near fine condition, in worn (as usual) box. $4,000<\/p>\n
164. HOSOE, Eikoh. Embrace, Tokyo: Shashin Hyoronsha Publishing, 1971. Hardcover (silver-stamped black cloth), 14 \u00bc x 10 \u00bd inches, unpaginated, screen-gravure illustrations, dustjacket, slipcase, and bellyband. With signed ephemera.
\nSimilar in subject matter and treatment to Man and Woman, but much larger in scale and more consistently abstract in its imagery. Arms, legs, breasts, and other body parts graze, caress, and embrace one another., in a tour-de-force of human fleshiness. Laid into this copy is a 1988 form letter signed by Hosoe. Near fine condition, in original slipcase that is lightly rubbed. $2,000<\/p>\n
165. HOSOE, Eikoh. BA\u2022RA\u2022KEI: Ordeal by Roses, New York: Aperture, 1985. Hardcover (silver-stamped purple cloth), 14 \u00bd x 10 1\/2 inches, unpaginated, halftone illustrations, dustjacket with belly band. With signed ephemera.
\nInitially issued in Japan in 1971, this is the first Western edition of Hosoe\u2019s photographic essay on the renowned Japanese writer Yukio Mishima. The high-contrast pictures, grouped into five sections, reveal the subject\u2019s inner and outer worlds, in a highly surrealistic fashion. Includes a preface by Mishima, afterword by Mark Holborn, and notes by the photographer. Laid into this copy is a postcard reproducing one of the images in the book signed by Hosoe and a 1998 form letter also signed by him. Cloth slightly sunned, bellyband mildly scratched and wrinkled. $250<\/p>\n
166. HOSOE, Eikoh. Kamaitachi, New York: Aperture, 2005. Hardcover (printed cloth), 15 x 12 \u00bc inches, unpaginated, 34 tri-tone illustrations, glassine dustjacket, box.
\nAnother oversize and deluxe publication illustrated by Hosoe. This one was a collaboration with the dancer Tatsumi Hijikata, who performed a series of \u201chappenings\u201d in the Japanese countryside, invoking the aura of the Kamaitachi, legendary Japanese tricksters. The book features 34 gatefold bleed images, hidden by dense blue pages. Issued in a signed, numbered edition of 500 in Japan and 500 in the U.S., in a Pop-Art-designed clamshell box. Mint condition, in original plastic bag. $750<\/p>\n
167. HOSOE, Eikoh. Deadly Ashes, Tokyo: Mado-Sha Publishing, 2007. Softcover, 11 \u00be x 9 inches, 120 pages, duotone illustrations, dustjacket, and bellyband. With signed ephemera.
\nThis is Hosoe\u2019s haunting tribute to the dead of Pompeii, Auschwitz, Nagasaki, and Hiroshima. At each site he variously photographed bones, memorials, nothingness, and other reminders of the tragedies of the natural and man-made disasters. With an introduction by professor Robert Jay Lifton and text by the photographer. Laid into this copy is a 1998 form letter signed by Hosoe. Near fine condition. $100
\n168. JOSEPHSON, Ken. The Bread Book, Chicago: Kenneth Josephson, 1973. Softcover, 5 \u00be x 7 \u00bd inches, 20 pages, 20 duotone illustrations.
\nThis is a conceptual artist\u2019s book, straightforward and humorous. Josephson simply took a loaf of homemade bread, sliced it up, and then photographed both sides of each piece. He then arranged the images in correct order, creating the illusion of a dissected article of food. Tiny chipping. $125<\/p>\n
169. KLEIN, William. Mister Freedom, Paris: S.N.I.L., 1970. Hardcover (printed paper over boards), 12 \u00bc x 9 \u00be inches, unpaginated, halftone illustrations (some in color). Signed.
\nComprises stills from Klein\u2019s 1969 film of the same title. This copy inscribed and signed by Klein. Near fine condition. $350<\/p>\n
170. KRIMS, Les. The Incredible Case of the Stack O\u2019Wheats Murders, Buffalo: Les Krims, 1972. Box (paper over boards with printed label), 10 loose plates, 5 x
\n5 \u00be inches each, 2 printed sheets. Signed.
\nSmall folio of staged crime scenes that Krims created, with nude female victims usually in indoor domestic settings. He used Hershey\u2019s Chocolate Syrup to simulate blood, as its viscosity and color (in black and white) was a good match. Some of the images are grizzly, with the victims seemingly stabbed, bound, or gagged. In every case the murderer left behind a stack of pancakes, as his mysterious calling card. Perhaps the most memorable image appears on the cover of the box, showing a body on a bathroom floor, her underwear soaking in the sink, and the word \u201cwheats\u201d spelled out in \u201cblood\u201d next to her. Text by Eastman House curator Robert Sobieszek. Inserted sheet signed by Krims. The best of three limited-edition boxes he issued in 1972 (see other entries below). Normal minor wear to corners of box. $250<\/p>\n
171. KRIMS, Les. The Deerslayers, Buffalo: Les Krims, 1972. Box (paper over boards with printed label), 23 loose plates, 5 x 5 \u00be inches each, printed sheet. Signed.
\nSmall folio of images Krims made of successful deer hunters with their prey secured to their cars. The images, some shot at night, are high contrast and brown toned. Text by Alex Sweetman on a folded sheet, also with Krims\u2019 signature. One of three limited-edition boxes he issued in 1972 (see other entries here). Normal minor wear to corners of box. $250<\/p>\n
172. KRIMS, Les. The Little People of America 1971, Buffalo: Les Krims, 1972. Box (paper over boards with printed label), 24 loose plates, 5 x 5 \u00be inches each, printed sheet. Signed.
\nSmall folio of images Krims made of midgets and dwarfs, collectively known as \u201clittle people.\u201d He shows them doing everyday activities such as swimming, ironing, and dancing, presented in high contrast and brown tones. Text by New York critic A. D. Coleman, on a folded sheet, with Krims\u2019 signature. One of three limited-edition boxes he issued in 1972 (see other entries above). Normal minor wear to corners of box. $250<\/p>\n
173. KRIMS, Les. Fictcrptokrimsographs, Buffalo: Humpy Press, 1975. Softcover, 6 \u00bd x 6 inches, 90 pages, 40 color halftone illustrations.
\nComprises reproductions of recent Polaroid SX-70s, mostly of nude young women. Krims included props such as pencils, brooms, and food, and hand manipulated the prints as they were developing, in order to heighten the surreal quality of the images. The cover and endpapers feature a repeat pattern of a man with a penis for a nose. Fellow photographer Hollis Frampton provided the introduction. Near fine condition. $150<\/p>\n
174. LABROT, Syl. Pleasure Beach, New York: Eclipse, 1976. Hardcover (blind-stamped gray and maroon cloth), 11 x 16 \u00bc inches, unpaginated, halftone illustrations (most in color).
\nThis luscious, oversize book features rich color images, often collaged, that were created on press. It is divided into three sections: \u201cThe Invention of Color Photography,\u201d with straightforward urban details; \u201cPleasure Beach,\u201d focused largely on an amusement park and female nudes; and \u201cThe Archeological Way,\u201d which combines tourists and ancient Egypt. Indeed a pleasurable book to hold and visually regard. Labrot (1929-1977) also had his work included in the 1960 book Under the Sun, with Nathan Lyons and Walter Chappell. Near fine condition. $350<\/p>\n
175. LEO, Vince. Timetable Project: Mao Prints Kept, Over Objections, Minneapolis: First Bank, 1989. Softcover (spiral bound), 15 x 9 \u00be inches, 38 pages, halftone illustrations. Signed.
\nThis oversize item juxtaposes various chronologies, including the history of the First Bank System, the relationship of the bank with the People\u2019s Republic of China, the lives and careers of Andy Warhol and Chairman Mao, and changes in U.S. foreign policy toward China. First Bank owned and displayed some Mao portraits by Warhol in two branches, and the ensuing controversy is covered. Photographer Vince Leo (born 1949) is a professor at the Minneapolis College of Art and Design, where he teaches photographic history and theory. This copy signed and dated by Leo. Near fine condition, in original mailing envelope. $100<\/p>\n
176. LEO, Vince. Timetable Project: National Association of Artists\u2019 Organizations, Minneapolis: Vine Leo, 1990. Softcover, 10 \u00bc x 8 inches, unpaginated, unillustrated. Signed.
\nThis is an extensive chronology of events from 1905 to 1990. The entries include confluences between labor, government, art, artists, censorship, war, and race. $25<\/p>\n
177. LIGHT BOUND: A Love Affair Between Books and Light, Chicago: Sarah Ranchouse Publishing, 2004. Softcover, 6 \u00be x 4 \u00be inches, unpaginated, 14 halftone illustrations.
\nThis title was inspired by the exhibition \u201cLight Bound: Photographers Regard the Book,\u201d presented at the Minneapolis Institute of Arts. It features reproductions of work by the seven artists in the show: Sally Alatalo, Peter Beard, James Henkel, Doug Keyes, Abe Morell, Alison Rossiter, and JoAnn Verburg. Includes essays on photographs and books by curator Christian A. Peterson and professor Simon Anderson. This was the fourth in publisher Alatalo\u2019s Sarah Ranchouse \u201cromances.\u201d Fine condition. $25<\/p>\n
178. LYON, Danny. I Like to Eat Right on the Dirt: A Child\u2019s Journey Back in Space and Time, Clintondale, New York: Bleak Beauty Books, 1989. Softcover (spiral bound), 11 x 15 \u00bc inches, unpaginated, duotone illustrations. Signed.
\nThis is a large, family-album style book, with handwritten commentary on the pictures by Lyon\u2019s two sons, Raphe and Noah. The pictures are largely snapshots from their youth, plus historic studio portraits of their ancestors in pre-war Germany and Czarist Russia. The first page features an eight-line poem that begins, \u201cI like to eat right on the dirt, and let the food fall on my shirt, and wipe my hands upon my pants, and feed the little crumbs to ants.\u201d This copy signed by Lyon. Tiny edgewear, in opened shrink wrap. $100<\/p>\n
179. LYONS, Nathan. Notations in Passing, Cambridge: Massachusetts Institute of Technology, 1974. Hardcover (black-stamped silver cloth), 8 \u00bc x 9 inches, 124 pages, 96 halftone illustrations, dustjacket. Signed.
\nLyons\u2019 contribution to the social landscape aesthetic. \u201cSnapshots\u2014a series of images\u2014cool\u2014haunting\u2014a modern iconography\u2014a compendium of images by one of the most significant teachers of visual arts\u2014a careful exploration in perception\u2014a series with its own continuity and time relationships\u2014commonplace juxtapositions\u2014sequences\u2014notations in passing.\u201d This copy signed by Lyons. Near fine condition. $50<\/p>\n
180. MAGRITTE, Rene. Rene Magritte: Peintures et Gouaches, Antwerp, Netherlands: Ronny Van de Velde, 1994. Hardcover (printed paper over boards), 10 x 13 \u00be inches, unpaginated, halftone illustrations (some in color).
\nThis is an elaborate production, published posthumously without Magritte\u2019s input, but sporting the look of an artist\u2019s scrapbook. Most of the illustrations are tipped-in, along with one that is stapled in and one that is held in place by corners. They include: reproductions of snapshots of the artist with friends; color reproductions of many of his paintings; reproductions of documents like an exhibition proposal and a hand-written letter; and advertisements for bedroom slippers. With an essay by David Sylvester, bilingual in Dutch and French. Near fine condition. $125<\/p>\n
181. MANDEL, Mike. Myself: Timed Exposures, Los Angeles: Mike Mandel, 1971. Softcover, 5 \u00bd x 8 \u00bd inches, 36 pages, 34 halftone illustrations.
\nAs the title suggests, self-portraits of Mandel, made by placing his 35mm camera on a tripod and setting the self-timer. He frequently includes others he encountered, such as a line of policemen (as seen on the cover), made when he would \u201csteal from the house out into the insane world of everyday people, in hope of recording a bit of real fantasy.\u201d Near fine condition. $75<\/p>\n
182. MANDEL, Mike. Seven Never Before Published Portraits of Edward Weston, Los Angeles: Mike Mandel, 1974. Softcover, 8 \u00bc x 5 \u00bd inches, 20 pages, 7 halftone illustrations (some in color).
\nThe seven photographs are not by the famous Edward Weston, but, rather, portraits of other men with the same name. Each filled out a questionnaire that gave their date of birth, occupation, hobbies, signature, and other information. An entertaining artist\u2019s book. Covers lightly rubbed and bent. $150<\/p>\n
183. MANDEL, Mike, and Larry Sultan. How to Read Music in One Evening, Santa Cruz: Clatworthy Colorvues, 1974. Softcover, 8 \u00bc x 11 inches, unpaginated, halftone illustrations.
\nA selection of images apparently found in magazines, often grouped in sets of two or three to a page. Among them is a woman wearing a knitted nose cap paired with gloved hands holding burning charcoal. You explain it to me. Near fine condition. $250<\/p>\n
184. MANDEL, Mike. The Baseball-Photographer Trading Cards, Los Angeles: Mike Mandel, 1975. Box (with label), complete with 36 unopened packs of ten cards each (3 \u00bd x 2 \u00bd inches) and gum. Signed.
\nUndoubtedly Mandel\u2019s most wide-ranging and uproarious project, these cards lampoon the newfound fame of artistic photographers during the 1970s. Each features a casual portrait of the shooter (or occasional curator), with \u201cstatistics\u201d on the back, such as height, weight, favorite photographer, and favorite camera. Mandel photographed a total of 134 individuals, including himself. It is unknown how many boxes he issued, but this one is signed and dated 1992 (the year I bought it directly from Mandel). There was only one printing of the cards. Near fine condition. $5,000<\/p>\n
185. MARDEN, Brice. Suicide Notes, Lausanne, Switzerland: Editions des Massons, 1974. Softcover, 11 \u00bd x 7 \u00be inches, unpaginated, 70 line illustrations.
\nThis book comprises high-contrast line drawings, abstract and contained in small rectangles on each page. The cover suggests that this is a autobiographical work, as it presents the artist\u2019s name, address, and phone number, hand written, along with the question \u201cI don\u2019t know what my suicide means!?\u201d Marden (born 1938) is a minimalist artist, working in various media, including monochrome paintings during the 1960s and seventies. Spine browned and tear to top of spine. $75<\/p>\n
186. MARTON, Michael. Dark Light, New York: Lustrum Press, 1973. Softcover, 12 x 9 inches, 52 pages, 48 screen-gravure illustrations.
\nA grouping of personal images of figures and objects, very much in the style of Ralph Gibson, the publisher of the book. They are somewhat soft and formalist, and do not suggest an obvious narrative. The only text reads, \u201cIt needed in the first instance a bright light to expose and a dark light to expose.\u201d Near fine condition. $50<\/p>\n
187. MEROM, Peter, and Haim Guri. The Root, Israel: Davar, 1963. Hardcover (gray-stamped cream cloth), 11 \u00bc x 9 inches, unpaginated, 24 screen-gravure illustrations, dustjacket.
\nThis is a collaboration between photographer Merom and poet Guri, Israelis who produced at least one other book together. Here a personified gnarled root wanders over a barren landscape and goes airborne after seeing a bird fly overhead. It is a rather haunting tale, presented with rich gravure images. Text in Hebrew. Light edgewear to bottom of cloth and dustjacket. $50<\/p>\n
188. MERTIN, Roger. Plastic Love Dream, Davis: University of California, Memorial Union Art Gallery, 1969. Box (plastic with adhesive label), 4 x 4 \u00bd x 1 \u00bc inches, 7 inserts. Signed.
\nThis is an unusual exhibition \u201ccatalog\u201d created by curator Fred R. Parker, who was partial to such productions (see two entries under his name). \u201cPlastic Love Dream\u201d was Mertin\u2019s earliest successful body of work, depicting female nudes outdoors, with mirrors, and under plastic. The inserts include halftone illustrations, biographical information, text from an interview, and an essay by Eastman House curator Robert Sobieszek. This and a few other interesting catalogs by Parker are pictured in the 2006 book The Collectible Moment (Norton Simon Museum, p. 43). This copy bears the signatures of both Mertin and Parker (not called for in the edition). Near fine condition. $750<\/p>\n
189. MICHALS, Duane. Sequences, Garden City, New York: Doubleday, 1970. Softcover, 8 \u00bc x 8 inches, unpaginated, halftone illustrations.
\nA compendium of fifteen of Michals\u2019 accomplished sequences. Among them are \u201cThe Human Condition,\u201d \u201cThe Spirit Leaves the Body,\u201d \u201cThe Fallen Angel,\u201d \u201cThe Young Girl\u2019s Dream,\u201d and \u201cParadise Regained,\u201d which shows a room being filled with plants as the man and woman shed their clothes (presented on the book\u2019s cover). Tiny edgewear. $125<\/p>\n
190. MICHELS, Duane. The Journey of the Spirit after Death, New York: Winter House, 1971. Softcover, 8 \u00bd x 8 \u00bd inches, unpaginated, 27 halftone illustrations. Signed.
\nThis sequence presents a man dying in a fall and various phases of his spirit\u2019s subsequent journey. It is consumed by a white light, visits living humans, and, finally, reappears as a baby in a crib. This copy signed by Michals. Edgewear and creases to back cover. $100<\/p>\n
191. MICHELS, Duane. Things Are Queer, Cologne, Germany: Fotogalerie Wilde, 1972. Softcover, 8 \u00bd x 8 \u00bd inches, 24 pages, 9 halftone illustrations. Signed.
\nOne of Micaels\u2019 most well-known sequences, which plays on scale and perception. What appears to be real bathroom fixtures, turn out to be miniatures, then an image in a book, then a framed picture, which turns out to be in the original bathroom, taking the viewer full circle. This copy signed by Michals. Near fine condition. $75<\/p>\n
192. MICHALS, Duane. Chance Meeting, Cologne, Germany: Fotogalerie Wilde, 1973. Softcover, 8 \u00bd x 8 \u00bd inches, 16 pages, 6 halftone illustrations. Signed.
\nIn this six-part sequence two men walk by each other in an alley. They both seem to recognize the other man only after passing, and, at different times, turn around for a second look. This copy signed by Michals. Near fine condition. $75<\/p>\n
193. MICHALS, Duane. Real Dreams: Photo Stories by Duane Michals, Danbury, New Hampshire: Addison House, 1976. Hardcover (blue-stamped tan cloth),
\n11 \u00be x 7 \u00be inches, 148 pages, halftone illustrations, dustjacket. Signed.
\nPerhaps the photographer\u2019s most important book, unusual in hard and in such good condition. This copy signed by Michals. Near fine condition, with one short tear to dustjacket. $350<\/p>\n
194. MICHALS, Duane. Homage to Cavafy, New York: Addison House, 1978. Softcover, 8 \u00bc x 6 inches, 48 pages, 11 halftone illustrations, glassine dustjacket. Signed.
\nThis homage comprises ten short poems by the Greek writer Constantive Cavafy, who was working in the late nineteenth and early twentieth century, paired with images by Michals. The photographer introduces the book by stating that Cavafy \u201cwas a man of great feeling and even greater courage. His poetry was his life. And because he was a man who loved other men, he demonstrated his courage by making public these private passions.\u201d The photographs generally show pairs of men in domestic rooms, and end with a self-portrait with his camera and a younger man. This copy signed by Michals. Near fine condition in darkened dustjacket (as is normal). $125<\/p>\n
195. MICHALS, Duane. A Visit with Magritte, Providence, Rhode Island: Matrix, 1981. Softcover, 8 x 8 \u00bc inches, unpaginated, halftone illustrations (some in color), dustjacket.
\nA series of photographs that Michals when he visited the painter Ren\u00e9 Magritte in Brussels in 1965. They show the artist, sometimes in his signature bowler hat, and objects and paintings in his house. Tiny wear to dustjacket. $50<\/p>\n
196. MICHALS, Duane. Sleep and Dream, New York: Lustrum Press, 1984. Softcover, 8 \u00bc x 6 inches, 64 pages, halftone illustrations. Signed.
\nComprises various poems and photographs by Michals that deal with sleeping and dreaming, as the title suggests. His staged images usually depict figures and are sometimes double exposures. Among the specific poems are \u201cAwakeland,\u201d \u201cEarth Dreams,\u201d and \u201cThe Sandman.\u201d This copy inscribed by Michals. Light edgewear. $50<\/p>\n
197. MICHALS, Duane.
\nUpside Down, Inside Out and Backwards: Fairy Tunes for Children, New York: Sidney Janis Gallery, 1989. Softcover, 6 \u00bd x 5 \u00bd inches, 18 pages, halftone illustrations. Light creases along spine.
\nPoetry and Tales, New York: Sidney Janis Gallery, 1991. Softcover, 6 \u00bd x 5 \u00bd inches, 18 pages, halftone illustrations. Light creases along spine.
\nParis Stories and Other Follies, New York: Sidney Janis Gallery, 1992. Softcover, 6 \u00bd x 5 \u00bd inches, 18 pages, halftone illustrations. Light creases along spine.
\nSet of three: $75<\/p>\n
198. MICHALS, Duane. Upside Down, Inside Out and Backwards, Sonny Boy Book, 1993. Softcover, 8 \u00bd x 5 \u00bd inches, 80 pages, halftone illustrations, glassine dustjacket.
\nThis is a mashup of stories and poems, handwritten and typeset, and illustrations that are both hand-rendered and photographic. It is fanciful, goofy, and humorous; the title pages declares that the book might also be called, \u201cDownside Up, Outside In and Frontwards.\u201d Mint condition, in opened shrink wrap. $35<\/p>\n
199. MOFFATT, Tracey. Laudanum, Ostfildern, Germany: Hatje Cantz, 1999. Hardcover (paper over boards), 7 \u00be x 10 inches, 80 pages, halftone illustrations (some in color). Signed.
\nA short series of pictures that suggest the use of opium (thus the title) and captivity in a domestic environment. Moffatt\u2019s images, almost exclusively of women, are melodramatic, softly focused, and replete with Victorian-era interiors and clothing. The book, which was issued without a dustjacket, includes essays by Stephan Berg, Bridgette Reinhardt, and Alexander Tolnay, in German and English. Tracey Moffatt (born 1960) is an Australian artist who works primarily in photography and video. This copy inscribed, \u201cMs. Moffatt\/New York\/2002.\u201d Near fine condition. $35
\n200. MOON, Sarah. Still, Minneapolis: Weinstein Gallery, 2000. Folded cardboard cover, 7 x 9 \u00be inches, unpaginated, 32 halftone illustrations, in original cardboard slipcase and black paper wrapper. Signed by Moon.
\nMoon\u2019s moody images are primarily of dolls and figures, softly focused, closely cropped, and darkly printed. Includes her explanation of the title of the book and additional text by artist Ilona Suschitzky. Sarah Moon (born 1940) is a French fashion and commercial photographer. Produced without a dustjacket, in a numbered, signed edition of 200 copies. Fine condition. $275<\/p>\n
201. MORINAGA, Jun. River, Its Shadow of Shadows, Tokyo: Yugensha, 1978. Hardcover (white-stamped brown cloth), 12 x 10 \u00be inches, unpaginated, halftone illustrations.
\nApparently Morinaga\u2019s only book, it is a tour-de-force of design. His images, made in the 1960s, are gritty impressions of polluted water, as if produced by a demonic Minor White. They are printed in high-contrast tones and often presented as gatefolds. Morinaga (born 1937) assisted W. Eugene Smith when the great photojournalist was in Japan working on his \u201cMinamata\u201d project, and Smith contributes some text to this book. Issued by the same concern that published two important Japanese books by Robert Frank. Fine condition, in original slipcase (printed paper over boards) and plain cardboard shipping container. $950<\/p>\n
202. The 1993 Jerome Book Arts Exhibition, Minneapolis: Minnesota Center for Book Arts, 1993. Softcover, 7 \u00bd x 8 \u00bd inches, 12 pages, 4 halftone illustrations.
\nA catalog that accompanied a show of books by the four recipients of Jerome Foundation grants in 1993. They were Julie Baugnet, Ricardo Bloch, Joyce Lyon, and, jointly, Robert Silberman and Judith A. Martin. Includes an essay on the books by Nancy Princenthal and biographical information on the artists. Light damp wrinkling to one corner. $10<\/p>\n
203. OHARA, Ken. One, Tucson, Arizona: Nazraeli Press, 2005. Hardcover (paper over boards), 7 \u00bd x 5 \u00be inches, 16 pages, 10 halftone illustrations and one original photograph. Signed by Ohara.
\nThese images are a tiny representation of the more than five hundred that comprised Ohara\u2019s innovative 1970 book of the same title. They show people\u2019s faces tightly cropped to just outside of the eyes and mouth. This title is part of Nazraeli Press\u2019 \u201cOne Picture Book\u201d 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 an edition of 500, and this one is numbered 489. The tipped-in original print is signed on the back by Ohara. Fine condition. $125<\/p>\n
204. PARKER, Fred R. Attitudes: Photography in the 1970\u2019s, Santa Barbara Museum of Art, 1979. Softcover (plastic spiral binding), 11 \u00bc x 9 \u00bc inches, unpaginated, halftone illustrations, sheet of 20 color slides and pieces of original art. Signed.
\nThis is an elaborate catalog for a large show at the Santa Barbara Museum of Art\u2014something of a West Coast answer to John Szarkowski\u2019s \u201cMirrors and Windows\u201d book and exhibition at New York\u2019s Museum of Modern Art, of the previous year. It is something of a group artist\u2019s and curator\u2019s book. Features a high-quality reproduction by Don Worth on heavy stock with a blindstamp facsimile of his signature and a color reproduction of a piece by Karen Truax that is signed and titled by her. 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 (different in each copy) extracted from a popular magazine 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 are numbered and signed by Parker. The fragile covers are lightly bent around the edges. $650<\/p>\n
205. PARKER, Fred R. Sequence Photography, Santa Barbara Museum of Art, 1980. Box, 10 x 10 x 2 \u00bd inches, with loose contents. Signed.
\nAnother innovative \u201ccatalog\u201d for a show organized by curator Parker. The exhibition was presented in four parts, and there are four corresponding inserts that line the inside of the box and show the layout of the gallery walls. Also included are an unbound (as issued) set of reproductions, a stapled catalog, signed by Parker and numbered 351\/500, a news release and a set of 18 slides in a small box (by the likes of Barbara Crane, Suda House, and Eve Sonneman). Unique to this copy is a typed 1980 letter from Parker, mentioning family matters and this show. Near fine condition. $350<\/p>\n
206. PARR, Martin. From Our House to Your House, Stockport, England: Dewi Lewis, 2002. Hardcover (soft-padded printed paper), 7 x 7 inches, unpaginated, halftone illustrations (some in color). Signed.
\nLike other Parr publications, this one exhibits his sense of humor. It comprises actual-size reproductions of family holiday greetings cards of photographs of families, adults and children, or sometimes just the little ones. Occasional inscriptions appear, usually the names of those pictured. Most seem to date from the latter half of the twentieth century. Pure camp. This copy signed by Parr on the title page. Near fine condition. $35<\/p>\n
207. PETRBOK, Jiri. Alexandr S. Puskin, Tajne Zapisk z let 1836-1837, Prague: Concordia, c. 1980. Seven loose color halftone plates, 8 \u00bd x 6 inches.
\nThis seems to be illustrations for author Puskin\u2019s \u201cSecret Journal\u201d of 1836 and 1837. It comprises seven pictures of female genitalia, each with a hairdo superimposed upon it. The black-and-white vulvas are rendered in low contrast and with mori\u00e9 patterns, while the hair imagery appears sharp and in color. Notably, each plate has a woman\u2019s name written in it, such as Eva and Jana, suggesting both personalization and\/or conquest. Jiri Petrbok (Czech, born 1962) studied at Prague\u2019s Academy of Fine Arts and is known for his images of the human form. This is a curious, little object of erotica. Light folding to a few corners. $150<\/p>\n
208. PHIBBS, Harry C. Hodge Podge, Chicago: Harry C. Phibbs, 1952. Hardcover (maroon cloth and paper over boards with mounted label), 12 \u00bc x
\n9 \u00bc inches, 32 pages, 28 halftone illustrations.
\nIssued without a dustjacket, this is one of the last volumes of the same title that Phibbs self-published almost yearly beginning in about 1939. It comprises a selection of his salon images, mostly figure studies and landscapes. Reproduced one to a page, Phibbs writes about each of them. Harry C. Phibbs (1885 – ?) was a member of the Chicago Camera Club and exhibited in pictorial salons during the 1920s and thirties. Light wear, one corner bumped, small stains on back, label chipped. $25<\/p>\n
209. PHOTO MEDIA: Elements and Technics of Photography Experienced as an Artistic Medium, New York: Museum of Contemporary Crafts, 1971. Box, 5 x 7 \u00be x 1 inches, with loose items.
\nThis is the innovative \u201ccatalog\u201d for an early show trumpeting alternative photographic processes, organized by Ray Pierotti, the museum\u2019s assistant director. It includes a checklist of 66 objects, a collapsible paper slide viewer, an envelope with three sheets of photographic paper, a folded sheet titled \u201cPhoto Media Camera Kit,\u201d and a color film strip with images by Linda Connor, Kenneth Josephson, Barbara Kasten, and five others. There are three pieces of original art: a cyanotype by Al Lunt, a gum-bichromate print by Judith Steinhauser (signed and dated), and a wood block with an image affixed by photo emulsion by Oscar Bailey (with his stamp and thumb print). The cardboard box has a mailing label, metered postage sticker, and light edgewear. $375<\/p>\n
210. PICHLER, Michalis. Twentysix Gasoline Stations, New York: Printed Matter, 2009. Softcover, 7 x 5 \u00bd inches, 17 color halftone illustrations, dustjacket.
\nAn obvious homage to Ed Ruscha\u2019s artist\u2019s book of the same title. Curiously, this one features only 16 stations, with Pichler indicating that he discarded \u201ceccentric\u201d ones. He presents Total brand gas stations exclusively, all of them in Germany, and most looking nearly identical. Near fine condition. $35<\/p>\n
211. PLANTUREUX, Serge. Ni\u00e9pce, Daguerre or Talbot?: The Quest of Joseph Hamel to Find the Real Inventor of Photography, Venti, Italy: Accademia dei Venti, 2004. Hardcover (printed paper over boards), 5 \u00be x 5 \u00bc inches, 48 pages, 21 halftone illustrations.
\nThis is the story of the quest of a Russian spy to figure out who was the first person to actually make photographic images, utilizing a collection of fragile documents in St. Petersburg. Fact or fiction? Near fine condition. $25<\/p>\n
212. RESNICK, Marcia. Landscape, Marcia Resnick, 1975. Softcover, 8 \u00bc x 11 inches, 64 pages, 30 halftone illustrations (some in color).
\nA self-published artist\u2019s book, whose only text quotes Michel Tournier: \u201cIf beautiful landscapes could be eaten they would be photographed much less.\u201d Most of the intentionally bland, Ruscha-like, images picture an expanse of sky over a thin strip of horizon. Occasionally, however, other subject matter fills in, though the images remain formally the same. Near fine condition. $75<\/p>\n
213. RESNICK, Marcia. Re-Visions, Toronto: Coach House Press, 1978. Softcover, 8 \u00bd x 11 inches, 104 pages, halftone illustrations.
\nAnother Resnick artist\u2019s book, this one concerning adolescent girl culture. The staged images generally depict faceless female figures with props such as food, toys, clothing, and books. Each is accompanied by a sentence or two of text addressing the subject\u2019s dilemma, like \u201cShe secretly lusted for her television idols.\u201d Tiny chipping to covers. $125<\/p>\n
214. RUSCHA, Ed. Edward Ruscha (Ed-werd Rew-shay) Young Artist, Minneapolis Institute of Arts, 1972. Hardcover (printed paper over boards), 4 \u00bd x 3 \u00be inches, 436 pages, halftone illustrations. Business card of the curator (signed) and artist laid in; book signed by Ruscha.
\nThis little publication, issued without a dustjacket, accompanied an exhibition at the museum of Ruscha\u2019s prints, drawings, and books, his first major retrospective. Co-designed by museum curator Edward A. Foster and Ruscha, it mimics the format of the Big Little children\u2019s books of the mid-twentieth century. Like them, it consists entirely of newsprint pages and has a thick spine. It reproduces images of the artist, works of art, lists of words chosen by Ruscha, and a checklist. About 150 of its pages are intentionally blank. Printed in an edition of 2,000 copies. Unknown to most, the business cards of both Foster and Ruscha must be present for this item to be complete, as here. This copy signed by Ruscha, with Foster\u2019s card signed. Free endpapers are beginning to separate (as usual), cover lightly rubbed. $750<\/p>\n
215. RUSCHA, Ed. Various Small Fires and Milk, Los Angeles: Edward Ruscha, 1964 (second edition, 1970). Softcover, 7 x 5 \u00bd inches, unpaginated, 16 halftone illustrations.
\nThe fires include a candle, a cigarette, a gas stove burner, and others, all rendered in yellow duotone. However, the sole glass of milk, at the end, is seen in straight black and white. Near fine condition, in glassine that is chipped, browned, and missing a tiny piece on the spine. $500<\/p>\n
216. RUSCHA, Ed. Every Building on the Sunset Strip, Los Angeles: Edward Ruscha, 1966 (second printing). Softcover, 7 \u00bc x 5 \u00be inches, unpaginated, halftone illustrations, original silver slipcase. Signed.
\nRuscha\u2019s most important artist\u2019s book, presented accordion-style, with the cars, buildings, and intersections on both sides of the street facing each other, along the top and bottom of the pages. This copy signed by Ruscha. Spine slightly wrinkled, mild tape residue, and light wear to two inches along bottom of slipcase. $2,500<\/p>\n
217. RUSCHA, Ed. Royal Road Test, Los Angeles: Edward Ruscha, 1967 (third edition, 1971). Softcover (spiral bound), 9 \u00bd x 6 \u00bc inches, unpaginated, halftone illustrations.
\nCollaborating with Mason Williams and Patrick Blackwell, Ruschas documents the results of tossing a Royal typewriter from a car traveling at 90 miles-per-hour. Most of the images are close-ups of mangled pieces of the machine along the side of a highway in Nevada. Perhaps they should perform an updated project with a laptop computer. Previous owner\u2019s wet stamp (photographer Betty Hahn), tiny edgewear and scuffing to covers. $500<\/p>\n
218. RUSCHA, Ed. Nine Swimming Pools and a Broken Glass, Los Angeles: Edward Ruscha, 1968 (second edition, 1976). Softcover, 7 x 5 \u00bd inches, unpaginated, 10 color halftones.
\nContains Ruscha\u2019s typically mundane snapshots of private swimming pools, presumably in Los Angeles, finished off by an image of a broken drinking glass that apparently had water in it, presented on a blue background. Near fine condition. $500<\/p>\n
219. RUSCHA, Ed. Crackers, Hollywood: Heavy Industries, 1969. Softcover,
\n8 \u00be x 6 inches, unpaginated, screen-gravure illustrations, dustjacket. Signed.
\nA photo sequence based on the short story \u201cHow to Deride the Maximum Enjoyment from Crackers\u201d by Mason Williams, which is printed on the rear inside flap of the dustjacket. They show a man making a giant salad on a bed, convincing a nude woman to lay in it, dowsing her with salad dressing, and then leaving to eat saltine crackers in a different bed. Among the four characters in the images are the artist Larry Bell and the comedian Tommy Smothers. This copy signed by Ruscha. Near fine condition, with just a tiny wrinkle and very short tear to rear of fragile dustjacket. $1,500<\/p>\n
220. RUSCHA, Ed. Real Estate Opportunities, 1970. Softcover, 7 x 5 \u00bd inches, 48 pages, 25 halftone illustrations. Signed.
\nHere we have Ruscha as real estate agent, turning his camera on empty urban and rural lots of property, each sporting a \u201cFor Sale\u201d sign. They were all in the Los Angeles area and are identified by street address. This copy signed by Ruscha. Fine condition, in glassine with browned spine, one chip, and two tears. $1,500<\/p>\n
221. SEYMOUR, Daniel. A Loud Song, New York: Lustrum Press, 1971. Softcover, 10 x 10 inches, 60 pages, halftone illustrations.
\nDanny Seymour\u2019s poignant, personal visual poem of casual photographs and handwritten text. One of Lustrum\u2019s 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 to be something of a \u201cstoryboard for a movie. It is an attempt to survive\u2014to preserve my identity.\u201d Unfortunately, the last picture shows the author getting ready to shoot heroin. Seymour (1945-1973) was in important photographer, filmmaker, and bookmaker, working in Minneapolis and New York during the 1960s and early seventies. His photographs epitomized the personal documentary style that enjoyed great currency at the time. Seymour\u2019s subjects frequently were from his wide circle of fellow artists and in 1967 he ventured to the Monterey Pop Festival, where he photographed musicians such as Jimi Hendrix and Ravi Shankar. That same year he had a one-person exhibition at the Minneapolis Institute of Arts. In 1971 he released his film \u201cHome is Where the Heart Is,\u201d with Robert Frank serving as cameraman and Jessica Lange appearing on screen for the first time. Shortly thereafter Seymour collaborated with Frank on the film \u201cCocksucker Blues,\u201d a behind-the-scenes look at a Rolling Stones\u2019 tour, which was so raw that the band essentially suppressed it. Seymour had family money and generously funded other artists\u2019 projects. Among them were Larry Clark\u2019s startling book \u201cTulsa\u201d and films by Danny Lyon. He was also close to Ralph Gibson, whose Lustrum press published the Clark book and Seymour\u2019s \u201cA Loud Song.\u201d In 1973, Danny Seymour mysteriously disappeared from his sailboat while returning from Cartagena, Columbia, probably with a large stash of cocaine. His body was never found, but he left a rich legacy of work, perhaps most importantly \u201cA Loud Song.\u201d Printed in an edition of five thousand copies. Mint condition, in shrink wrap. $275<\/p>\n
222. SHERMAN, Cindy. The Kaleidoscope House: Art Collection #1, Philadelphia: Bozart Toys, 2000. Cardboard box, 8 x 14 \u00bc x 4 \u00bd inches, with objects.
\nThis unusual item comprises a set of accessories for the Kaleidoscope House, one of a series of children\u2019s educational toys designed by artists. This collection comprises 1:12 scale reproductions of works by Mel Bochner, Carroll Dunham, Peter Halley, Mel Kendrick, Laurie Simmons, and Sherman. Sherman\u2019s piece is her well-known \u201cUntitled Film Still #54,\u201d which shows her in an overcoat, walking at night, housed in a plastic frame that measures 1\u00bd x 2 inches. The box is complete and unopened, in fine condition. $50<\/p>\n
223. SIMMONS, Laurie. Water Ballet\/Family Collision, Minneapolis: Walker Art Center, 1987. Hardcover (stiff boards), 6 x 9 \u00bc inches, 10 pages, 10 halftone illustrations (some in color).
\nThis is an inventive artist\u2019s book, issued without a dustjacket. The covers are made from an aqua-colored reflective material that shimmers like water. Inside, reproduced on very heavy board-pages are color images of nudes under water juxtaposed with black-and-white pictures of dolls also under water. Fine condition. $100<\/p>\n
224. SIMMONS, Laurie. The Kaleidoscope House: Art Collection #1, Philadelphia: Bozart Toys, 2000. Cardboard box, 8 x 14 \u00bc x 4 \u00bd inches, with objects.
\nThis unusual item comprises a set of accessories for the Kaleidoscope House, from a series of children\u2019s educational toys designed by artists. This collection comprises 1:12 scale reproductions of works by Mel Bochner, Carroll Dunham, Peter Halley, Mel Kendrick, Cindy Sherman, and Simmons. Simmons\u2019 piece is a soft-focus image of a female doll, housed in a plastic frame that measures 2 \u00bd x 3 \u00bc inches. The box is complete and unopened, in fine condition. $50<\/p>\n
225. SMITH, Keith A. When I Was Small, Rochester, Visual Studies Workshop Press, 1980 (second printing). Softcover, 7 \u00be x 12 inches, 52 pages, halftone and line illustrations.
\nSmith\u2019s text begins, \u201cPhantasy is making mental pictures employing one\u2019s imagination; to visualize.\u201d The images are primarily figures in interiors, often collaged and printed in reverse tones. Smith (born 1938) taught at the Visual Studies Workshop for most of his career and produced nearly three hundred books. Light edgewear and smudging to front cover. $35<\/p>\n
226. SOMMER, Frederick. All Children are Ambassadors\/Alle Kinder sind Botschafter, Tucson: Nazraeli Press, 1992. Softcover, 5 \u00bd x 7 inches, 30 halftone illustrations (some in color), slipcase.
\nContains 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. Fine condition. $75<\/p>\n
227. SOMMER, Frederick. The Box, Tucson, Arizona: Nazraeli Press, 1994. Plexiglass box, 4 \u00bd x 4 \u00bd x 1 \u00bd inches, 63 loose sheets, 50 screen-gravure illustrations (some in color).
\nComprises a selection of Sommer\u2019s work, both photographs and collages, ranging from the 1930s to nineties. While the collages usually utilize anatomical imagery, the photographs depict figures, landscapes, and still lifes. Issued in a numbered edition of 1,000 copies (this one is #15). Fine condition. $125<\/p>\n
228. SONNEMAN, Eve. Real Time: 1968-1974, New York: Printed Matter, 1976. Softcover, 8 x 15 inches, 96 pages, 46 halftone illustrations. Signed.
\nThis elongated-format artist\u2019s book was Sonneman\u2019s first publication, and features the work for which she is best known. Each reproduction is a pair of images shot a few seconds apart, sometimes from a slightly different camera position and always addressing time and change in the real world. Her human subjects perform everyday activities such as talking, walking, and smoking. This copy warmly inscribed and dated 1980. Near fine condition. $250<\/p>\n
229. SOTH, Alec, and Brad Zellar. House of Coates, St. Paul, Minnesota: Little Brown Mushroom, 2012. Softcover (spiral bound), 8 \u00be x 6 \u00be inches, unpaginated, color halftone illustrations. Signed, with ephemera.
\nThough the title page claims the photographs are by a Lester B. Morrison, they are, in fact, by Alec Soth. He took these Eggleston-like, banal color images inside and in the vicinity of the House of Coates, a suburban Twin-Cities bar, restaurant, and motel. Minnesota writer Brad Zellar provides a fictional account of Lester\u2019s activities. \u201cYou know Lester as a man and a boy you refused to see or acknowledge. There are, from the time of childhood, Lesters all around you and, try as they might, they never entirely disappear as adults, even if you still persist in not seeing them.\u201d First edition of one thousand copies, this one signed by both Zellar and Soth. Laid in is a press release for a book signing at a St. Paul resident hotel, along with a registration card additionally signed by the two. Near fine condition. $100<\/p>\n
230. SOTH, Alec. Geoff Dyer and Pico Iyer, Ping Pong, St. Paul, Minnesota: Little Brown Mushroom, 2013. Hardcover (white cloth spine and printed paper over boards), 8 x 6 \u00bd inches, 46 pages, halftone illustrations (some in color). Signed, with ephemera.
\nAn ode to table tennis by Minnesota photographer Alec Soth, who plays almost every day in his studio. The pictures are snapshots and postcards collected by Soth of everyday kids and adults playing the contained sport. Accompanying them is a running conversation between one Geoff Dyer and Pico Iyer, undoubtedly fictional ping-pong aficionados. This copy of the book signed by Soth. Added is the September 22, 2013, issue of The New York Times Magazine, which includes a three-page article on the book. Near fine condition. $75<\/p>\n
231. STIMSON, Abbie Ann. Unique book of original photographs, c. 1950s. Spiral binding with clear hard plastic covers, 11 x 9 inches, 12 pages, 10 gelatin silver prints. Signed.
\nThis seemingly one-of-a-kind item praises Stimson\u2019s teacher Ed Kaminski, whom she studied under at Pasadena\u2019s Art Center. It pictures a young man, with his camera, in class with Kaminski, and photographing, along with a full-page negative-image photogram. The full text, which is presented one sentence per page and photographically printed in the images reads: \u201cYou take the average photographer. He\u2019s loaded with gadgets. Then you put him in Kaminski\u2019s class. Where he learns to think. Gradually he grows. He emerges with new eyes to create. Rather than imitate.\u201d After attending the Art Center, Abbie Ann Stimson (1916-1988) married Stewart W. Purcell, who supervised the installation of microwave relay stations in California from the 1950s to 1970s. This copy is inscribed and signed by Stimson. A revealing piece on photographic instruction, Los Angeles culture, and visual thinking. Covers rubbed. $350<\/p>\n
232. STYRSKY, Jindrich. Emilie Comes to Me in a Dream, New York: Ubu Gallery, 1997. Softcover, 8 \u00bd x 5 \u00bd inches, 36 pages, 12 color halftone illustrations. With ephemera.
\nIn 1933 Styrsky produced his masterpiece Emilie Prichazi ka Mne ve Snu as a book of ten photomontages in a deliberately small edition (69 copies) in order to elude censors. It showed male and female genitalia combined with fish, water, and a skeleton; a woman masturbating; and couples and a threesome having sex, against the starry heavens and oversize human eyes. Photographer Jindrich Styrsky (1899-1942) was also a painter, stage and book designer, illustrator, and writer. He joined the Czech avant-garde group Devetsil in 1923 and worked in the late twenties in Paris, where he assimilated Surrealist themes and motifs. Back in Prague, he coedited and contributed to Erotic Review from 1930 to 1933, and exhibited in many international Surrealist exhibitions until World War II. In 1938, a retrospective of his work (along with fellow Czech artist Toyen) was shown in Prague, Brno, and Bratislava. Czech photo historian Vladimir Birgus noted that \u201cStyrsky\u2019s unusual openness toward sexual themes hastened his unprecedented, forceful imagination toward extremely potent visions that had an immediate effect on the young generation.\u201d
\nA copy of the original book sold at Christie\u2019s New York in 2008 for $193,000, and it is included in Andrew Roth\u2019s The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. The present copy is a reprint, with the photographer\u2019s introduction and Bohuslav Brouk\u2019s afterword translated into English. The Ubu Gallery produced it in conjunction with a 1997 exhibition of Styrsky\u2019s original collages, printed in an edition of 1,000 copies. This copy with the gallery\u2019s card announcement of the show in a black plastic envelop with a sticker attached warning \u201cDiscretion Advised! Sexually Explicit Material Enclosed.\u201d Fine condition. $100<\/p>\n
233. THOMAS, Kesa. Pages from a Child\u2019s Documentary, San Francisco: NFS Press, 1980. Softcover, 6 x 8 \u00bc inches, 54 pages, halftone illustrations.
\nUnusual, in that this is a children\u2019s artist\u2019s book, created by Kesa and her father, Lew Thomas, a photographer, installation artist, and visual arts curator. It features an introduction by Lew and drawings and words by Kesa, combined with photographs, presumably by Lew, of the nine-year old girl playing with a dog, toys, leaves, and other things. Edition of 1,000 copies. Little rubbing to covers. $25<\/p>\n
234. TILLMAN, Ulrich, and Wolfgang Vollmer. Meisterwerke der Fotokunst, Colgne, Germany: Weinend Verlag, 1985. Hardcover (gold-stamped red cloth with mounted reproduction), 8 \u00bd x 5 \u00be inches, 104 pages, halftone illustrations (a few in color), slipcase. Signed.
\nThis is a sendup on collecting fine-art photographs, in which Tillman and Vollmer allegedly find unknown predecessors to iconic images. Among those spoofed are Edward Weston\u2019s \u201cPepper No. 30,\u201d Ansel Adams\u2019 \u201cMoonrise over Hernandez,\u201d and images by Cameron, Frith, Sander, Outerbridge, Kertesz, Man Ray, Penn, Warhol, Mapplethorpe, and others. Includes text by the \u201ccollectors,\u201d Friedrich Heubach, and L. Fritz Gruber, who writes on \u201cOutranked Masterpieces\u201d. Glassine envelope pasted in with a silver of wood, described as an \u201coriginal fragment of Klaus Peter Schnuettger-Webs\u2019 plate camera, which he threw out of the studio window at the Bauhaus in Dessau following an argument with Herbert Bayer in 1925.\u201d The numbered edition of 1,000 is signed by the two authors. Fabulously funny for those who know the history of photography. Bilingual text in German and English. Near fine condition, except for two scuffs to back of slipcase. $750<\/p>\n
235. WALKER, Todd. A Portfolio of Eighteen Reproductions of Photographs by Todd Walker, Thumbprint Press, 1968. Paper folio (printed label pasted on), 10 x 8 inches, 23 sheets, 18 halftone illustrations.
\nThis is an early imprint of Walker\u2019s own Thumbprint press, comprising soft, close-up images of flowers. He was inspired by poems of the sixteenth-century poet John Donne, five of whose pieces are included on their own individual sheets. Printed in an edition of 500 copies, this is number 304. Near fine plates in cover that is lightly wrinkled and with a few tears. $125<\/p>\n
236. WALKER, Todd. Todd Walker, Newport: Northern Kentucky University, 1978. Folio, 13 x 10 inches, 12 sheets, 10 color halftone illustrations.
\nThe ten loose plates were printed at the university\u2019s print shop with plates made from negatives the artist provided while an artist-in-residence. The nudes inhabit primarily interior spaces and are turned into vibrantly-colored semi abstractions, due to Walker\u2019s manipulations. Includes a sheet with texts by art professor Kevin Booher and the photographer, who states, \u201cFor me, the image from the camera needs to be transformed into a picture. I am trying to make pictures, to re-present something in visible and\/or symbolic form.\u201d This is number 512 from an edition of 600 copies. Minor folds and spots to covers. $125<\/p>\n
237. WEBER, Bruce. Sam Shepard, New York: Little Bear Press, 1990. Hardcover (black-stamped red cloth with pasted-on reproduction), 11 x 9 inches, 32 pages, 23 screen-gravure illustrations.
\nIssued without a dustjacket, this thin volume pictures actor\/playwright Shepard posted mostly outdoors. Appearances by Shepard\u2019s convertible and dog and his partner, Jessica Lange. Commentary by the photographer. Mint condition, in shrink wrap. $250<\/p>\n
238. WEGMAN, William. $19.84, Buffalo: C.E.P.A., 1984. Softcover, 9 x 7 \u00bd inches, 24 pages, 23 halftone illustrations (most in color).
\nAn artist\u2019s book, in which Wegman declares that early on in his career, \u201cI had no choice but to engage and exploit women photographically. Although I am physically well and financially secure I feel guilty.\u201d Comprises color Polaroid images, largely of women and girls posed in his studio, interspersed with black-and-white watercolors of male figures. Light rubbing and faint creases along spine. $150<\/p>\n
239. WELLING, James. Gelatin Photographs 1-12, Buffalo: CEPA, 1985. Softcover, 7 \u00be x 10 inches, 12 pages, 12 halftone illustrations.
\nComprises twelve images of black, rock-like formations, in high contrast and bleeding off the page. The only text appears on a slipped-in sheet of paper, giving the essentials and indicating the edition was of 400 copies. Light rubbing to the covers. $175<\/p>\n
<\/p>\n
Catalog 9 \u2014\u00a0November 2014<\/p>\n","protected":false},"excerpt":{"rendered":"
This catalog brings together two related categories of printed matter, some of it photographic and some not. Ephemera\u2014I love it, I love it, perhaps even more than books, as the stuff, my definition, is fleeting, small, and rare because most people did not save it. Pieces of ephemera often contain information stored nowhere else, like […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"_links":{"self":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/103"}],"collection":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/comments?post=103"}],"version-history":[{"count":1,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/103\/revisions"}],"predecessor-version":[{"id":676,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/103\/revisions\/676"}],"wp:attachment":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/media?parent=103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}