{"id":305,"date":"2017-02-11T00:11:22","date_gmt":"2017-02-11T00:11:22","guid":{"rendered":"http:\/\/christianapeterson.com\/?page_id=305"},"modified":"2024-01-26T20:23:08","modified_gmt":"2024-01-26T20:23:08","slug":"catalog-13","status":"publish","type":"page","link":"https:\/\/christianapeterson.com\/catalog-13\/","title":{"rendered":"Catalog 13 \u2014 $500 and Up"},"content":{"rendered":"

1.\u00a0 <\/span>ADAMS, Ansel.\u00a0 <\/span><\/b>Ansel Adams: Images, 1923-1974<\/i>, Boston: New York Graphic Society, 1974.\u00a0 <\/span>Hardcover (gold-stamped black and gray cloth), 14 \u00bc x 17 \u00bc inches, 128 pages, duotone illustrations, dustjacket, in original slipcase, with ephemera.\u00a0 <\/span>Signed.<\/p>\n

\u00a0 <\/span><\/span>This largescale book includes an introduction by Adams, a foreword by Wallace Stegner, and many high-quality illustrations.\u00a0 <\/span>A full-page sheet pasted in between the frontispiece and title page indicates that this copy is from a \u201cspecial edition prepared for Time-Life Books subscribers with the signature of the photographer,\u201d signed by Adams in ink.\u00a0 <\/span>Laid into this copy are two pieces of ephemera on Adams books and posters published by the New York Graphic Society.\u00a0 <\/span>The front and rear hinges have been reinforced by thin strips of archival paper but show no signs of separating; the slipcase has minor wear at a few corners and a few spots.\u00a0 <\/span>$500<\/p>\n

2.\u00a0 <\/span>ADAMS, Ansel.\u00a0 <\/span><\/b>Yosemite and the Range of Light<\/i>, Boston: New York Graphic Society, 1979.\u00a0 <\/span>Hardcover (tan cloth and leather spine and printed label), 12 \u00bc x 15 \u00bc inches, unpaginated, 116 halftone illustrations, dustjacket.\u00a0 <\/span>Deluxe edition, with clamshell box, signed.<\/p>\n

An oversize, well-printed book of some of Adams\u2019 classic landscapes from Yosemite National Park.\u00a0 <\/span>With a foreword by Adams and an introduction by author\/conservationist Paul Brooks.\u00a0 <\/span>This edition was issued with an original photograph, which is not included here.\u00a0 <\/span>Limited to 250 numbered copies, signed by Adams.\u00a0 <\/span>Fine condition, in the original shipping cardboard box.\u00a0 <\/span>$750<\/p>\n

3.\u00a0 <\/span>ADAMS, Robert.\u00a0 <\/span><\/b>Interiors 1973-1974<\/i>, Tucson: Nazraeli Press, 2006.\u00a0 <\/span>Hardcover folder (yellow-stamped green cloth), 14 \u00bd x 11 \u00bd inches, 27 loose plates, 24 duotone illustrations, original box.\u00a0 <\/span>Signed and numbered special edition, with ephemera.<\/p>\n

This is a group of pictures Adams made in Denver in the early 1970s, rediscovered and published here for the first time.\u00a0 <\/span>All quiet, square-format images, they \u201coffer new insight into the photographer\u2019s way of seeing and thinking about the human condition.\u201d\u00a0 <\/span>Of the one thousand copies printed, 100 were numbered (this is 5\/100), signed by Adams, and presented in a clamshell box.\u00a0 <\/span>Additionally, this copy has the 2005 Nazraeli Press catalog in which the book was offered.\u00a0 <\/span>Mint condition, with the original opened shrink wrap laid in.\u00a0 <\/span>$500<\/p>\n

4.\u00a0 <\/span>ANDERSON, A. J.\u00a0 <\/span><\/b>The Artistic Side of Photography in Theory and Practice<\/i>, London: Stanley Paul & Co., 1910.\u00a0 <\/span>Hardcover (gold and brown-stamped brown cloth), 9 \u00bd x 6 \u00bc inches, 360 pages, 12 photogravure and 12 halftone illustrations.<\/p>\n

A well-received book that was published simultaneously in New York, Toronto, and London.\u00a0 <\/span>Anderson thoroughly covers creative photography and its technical side.\u00a0 <\/span>He includes chapters on exposure, development, printing, composition, Japonisme, landscape, portraiture, architecture, and other topics.\u00a0 <\/span>The rich photogravures are all by leading pictorialists: Alvin Langdon Coburn,<\/p>\n

F. Holland Day, Baron Adolf De Meyer, Frank Eugene, Gertrude K\u00e4sebier, George H. Seeley, Edward Steichen, and Alfred Stieglitz.\u00a0 <\/span>In 1913 Anderson reissued the text with fewer illustrations in a slightly smaller format as The ABC of Arttistic Photography<\/i>.\u00a0 <\/span>Anderson, an English author, is pictured in the gravure frontispiece by Coburn as a well-dressed gentleman.\u00a0 <\/span>Light wear and spotting to the covers.\u00a0 <\/span>$1,000 <\/b><\/p>\n

5.\u00a0 <\/span>ARBUS, Diane.\u00a0 <\/span><\/b>Diane Arbus<\/i>, Millerton, New York: Aperture, 1972.\u00a0 <\/span>Hardcover (paper over boards), 11 \u00bc x 9 \u00bd inches, halftone illustrations, unpaginated.\u00a0 <\/span>First printing.<\/p>\n

This book is one of the most important twentieth-century monographs on a photographer and Aperture has kept it in print nearly continuously over the last forty years.\u00a0 <\/span>Edited and designed by Doon Arbus and Marvin Israel, it is an understated masterpiece.\u00a0 <\/span>It features fifteen pages of quotations by Arbus and virtually all of her iconic square-format images of the unusual individuals she sought out and encountered on the street, including the highly-recognizable pair of twin girls on the cover.\u00a0 <\/span>The first printing is distinguished by the presence of the image \u201cTwo Girls in Identical Raincoats,\u201d which was replaced by a different picture in all subsequent printings.\u00a0 <\/span>In unusually nice condition, with miniscule edgewear, in a dustjacket with a little rubbing and a tiny tear.\u00a0 <\/span>$1,000<\/p>\n

6. \u00a0 <\/span>AVEDON, Richard.\u00a0 <\/span><\/b>Photographs, 1947-1977<\/i>, New York: Farrar, Straus and Giroux, 1978.\u00a0 <\/span>Hardcover (paper over boards), 14 \u00bc x 10 \u00be inches, unpaginated, 162 halftone illustrations, clear glassine jacket with printing.\u00a0 <\/span>Signed.<\/p>\n

This book, with an essay by Harold Brodkey, was published in conjunction with a retrospective of Avedon portrait and fashion photographs at the Metropolitan Museum of Art.\u00a0 <\/span>This copy boldly signed by the photographer on the front free endpaper.\u00a0 <\/span>Previous owner\u2019s blindstamp in the front free endpaper, in a lightly rubbed jacket.\u00a0 <\/span>$500<\/p>\n

7.\u00a0 <\/span>AVEDON, Richard.\u00a0 <\/span><\/b>Richard Avedon: Made in France<\/i>, San Francisco: Fraenkel Gallery, 2001.\u00a0 <\/span>Hardcover (black-stamped cream cloth spine and heavy boards), 15 x 11 \u00bc inches, unpaginated, 26 halftone illustrations.\u00a0<\/span><\/p>\n

Issued without a dustjacket, this book is an inventive, oversize compendium of photographs that appeared in Harper\u2019s Bazaar<\/i> between 1955 and 1959.\u00a0 <\/span>Each is reproduced with its original surrounding mount and back, which has illuminating typed labels, wet stamps, and handwritten notes.\u00a0 <\/span>Though printed in an edition of 5,000 copies, it quickly went out of print and up in price.\u00a0 <\/span>Mint condition, in shrink wrap.\u00a0 <\/span>$500\u00a0 \u00a0 \u00a0<\/span><\/p>\n

8.\u00a0 <\/span>BALTZ, Lewis.\u00a0 <\/span><\/b>The New Industrial Parks Near Irvine, California (Das Neue Industriegel\u00e4nde in der N\u00e4he von Irvine, Kalifornien)<\/i>, New York: Leo Castelli\/Castelli Graphics, 1974.\u00a0 <\/span>Hardcover (black-printed gray cloth), 10 \u00be x 11 \u00be inches, 108 pages, 51 halftone illustrations, dustjacket.<\/p>\n

Blatz\u2019s first and most iconic book, appearing a year before his work was included in the defining Eastman House show and catalog The New Topographics<\/i>.\u00a0 <\/span>Other than captions and basic publishing info, the book is devoid of text, reflecting the stark nature of the photographs.\u00a0 <\/span>Baltz photographed new suburban architecture that didn\u2019t reveal it purpose and that is usually seen frontally, creating people-less, formalist images of black-and-white rectangles.\u00a0 <\/span>Tiny scuffs to bottom edge, spotting to top edge of pages, in dustjacket with mild rubbing, wrinkles, and one short tear.\u00a0 <\/span>$1,000<\/p>\n

9.\u00a0 <\/span>BALTZ, Lewis.\u00a0 <\/span><\/b>Park City<\/i>, Albuquerque, New Mexico: Artspace and Castelli Graphics, New York, 1980.\u00a0 <\/span>Hardcover (black-stamped brown cloth), 10 \u00be x 11 \u00bc inches, 246 pages, 102 halftone illustrations, dustjacket, with ephemera.<\/p>\n

Baltz\u2019s assessment of the wholesale construction of a development of new homes outside of Salt Lake City.\u00a0 <\/span>He reveals a wasteland that once it was covered with residential and commercial buildings only \u201cincreased the sense of starkness and desolation.\u201d A key body of work and book from the \u201cNew Topographics\u201d movement.\u00a0 <\/span>Gus Blaisdell provides the essay \u201cSkeptical Landscapes.\u201d\u00a0 <\/span>Printed in an edition of 3,000 copies.\u00a0 <\/span>Laid into this copy is a small, folded poster announcing the book and a 1981 show of the work at Casetlli Photographs, New York.\u00a0 <\/span>Back corner of the lower spine very lightly bumped.\u00a0 <\/span>$500<\/p>\n

10.\u00a0 <\/span>BALTZ, Lewis.\u00a0 <\/span><\/b>Candlestick Point<\/i>, Tokyo: Gallery Min, 1989.\u00a0 <\/span>Hardcover (gray-stamped black cloth with label), 10 \u00bd x 13 \u00bd inches, unpaginated, 72 duotone and 12 color halftone illustrations, slipcase.\u00a0 <\/span>Special edition, signed, with ephemera.<\/p>\n

Comprises Baltz\u2019s typical deadpan assessment of an undeveloped, trash-strewn, section of San Francisco, later turned into a park.\u00a0 <\/span>Full-page, well reproduced images, including three gatefolds.\u00a0 <\/span>Afterword, in both Japanese and English, by Gus Blaisdell.\u00a0 <\/span>At some point after the original publication, Distributed Art Publishers obtained 45 copies of the book from Baltz and issued it as this limited, collector\u2019s edition.\u00a0 <\/span>They inserted a letterpress-printed page before the title page and had the photographer sign and number them; this one is 22\/45.\u00a0 <\/span>Laid into this copy is a prospectus.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$1,000<\/p>\n

11.\u00a0 <\/span>BAUMGARTEN, Lothar.\u00a0 <\/span><\/b>Carbon<\/i>, Los Angeles: Museum of Contemporary Art, 1991.\u00a0 <\/span>Hardcover (gray and yellow-stamped gray cloth), 12 \u00bc x 15 \u00bc inches, 144 pages, duotone illustrations, dustjacket.\u00a0 <\/span>Signed.<\/p>\n

This large volume reveals Baumgarten\u2019s fascination with railroads.\u00a0 <\/span>He turns his large-format camera on cars, tracks, bridges, stations, and other related subjects throughout the United States.\u00a0 <\/span>His well-seen images were richly rendered by Meridian Printing, in an edition of 1,750 copies.\u00a0 <\/span>The booklet inserted in the rear features text by the photographer and Michael Oppitz.\u00a0 <\/span>This copy of the book and booklet signed, in pencil, by Baumgarten.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$1,250<\/p>\n

12.\u00a0 <\/span>BEARD, Peter.<\/b>\u00a0 <\/span>Longing for Darkness: Kamante\u2019s Tales from Out of Africa<\/i>, New York: Harcourt Brace Jovanovich, 1975.\u00a0 <\/span>Hardcover (printed paper over boards), 12 \u00bc x 8 \u00bc inches, unpaginated, halftone illustrations (some in color), dustjacket.\u00a0 <\/span>Signed.<\/p>\n

This journal-like book, combines photographs by Beard and Isak Dinesen (Karen Blixen) with the stories of Dinesen\u2019s lead servant, Kamante, along with his fanciful drawings.\u00a0 <\/span>It comprises Kamante\u2019s version of Blixen\u2019s classic book Out of Africa<\/i>, told in a personal and enlightening manner.\u00a0 <\/span>Beard idolized Dinesen to the point of buying land next to her estate outside of Nairobi, Kenya, and befriending Kamante.\u00a0 <\/span>Demonstrating how well connected Beard was, he got Jacqueline (Kennedy) Onassis to write an afterword for the book.\u00a0 <\/span>This copy with drawings and an inscription by Beard.\u00a0 <\/span>Previous owner\u2019s inscription, mild edgewear, and chipping and tears to dustjacket.\u00a0 <\/span>$500<\/p>\n

13.\u00a0 <\/span>BEARD, Peter.<\/b>\u00a0 <\/span>Peter Beard: The Last Word from Paradise<\/i>, New York: International Center of Photography, 1977. Single folded sheet, 58 x 42 inches, halftone illustrations.<\/p>\n

This large-scale piece accompanied a solo show that Beard presented at ICP.\u00a0 <\/span>Printed on quality newsprint, one side features eight double-page spreads from Beard\u2019s diaries and a text by Nelson Doubleday.\u00a0 <\/span>The flip side is an homage to Beard\u2019s great cause of the survival of African elephants; it presents largescale images of elephant carcasses and herds, all aerial shots.\u00a0 <\/span>Laid out by the talented graphic designer Marvin Israel, it is a rare early Peter Beard item.\u00a0 <\/span>Mild stains to one corner.\u00a0 <\/span>$1,000<\/p>\n

14.\u00a0 <\/span>BEARD, Peter.\u00a0 <\/span><\/b>Diary<\/i>, Japan: Libro Port Publishing, 1993.\u00a0 <\/span>Hardcover (black-stamped white paper over boards), 12 x 9 \u00bc inches, unpaginated, color halftone illustrations, dustjacket and belly band, with ephemera.<\/p>\n

The book is filled with full-bleed color photographs by Beard of his richly collaged diary pages.\u00a0 <\/span>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.\u00a0 <\/span>Includes two short essays and an artist\u2019s chronology, in Japanese.\u00a0 <\/span>The copyright page states, \u201cCatalogue for show \u2018Diary,\u2019 From a Dead Man\u2019s Wallet: Confessions of a Bookmaker.\u201d\u00a0 <\/span>Laid into this copy are a few pieces of ephemera from the publisher.\u00a0 <\/span>Fine condition.\u00a0 <\/span>$500<\/p>\n

15.\u00a0 <\/span>BEATON, Cecil.\u00a0 <\/span><\/b>The Book of Beauty<\/i>, London: Duckworth, 1930.\u00a0 <\/span>Hardcover (gold-stamped white and pink cloth), 11 \u00bc x 8 \u00be inches, 124 pages, 27 collotype illustrations, with ephemera.<\/p>\n

This is Beaton\u2019s first book, discussing many prominent beautiful English and American women, with both drawings of them and rich reproductions after photographs.\u00a0 <\/span>Among those included are Anna May Wong, Lillian Gish, Lady Diana Cooper, and Beaton\u2019s own two sisters, Nancy and Baba.\u00a0 <\/span>Beaton presents the attractive young women in modernist dress and settings.\u00a0 <\/span>The fanciful cover features gold polka dots and a pink spine.\u00a0 <\/span>Laid into this copy are about a dozen magazine clippings of other beauties, at least one of them represented in the book.\u00a0 <\/span>Minor rubbing to covers, with a previous owner\u2019s bookplate.\u00a0 <\/span>$750<\/p>\n

16.\u00a0 <\/span>BELL, Larry, and Guy De Cointet<\/b>.\u00a0 <\/span>Animated Discourse<\/i>, Venice, California: Sure Co., 1975.\u00a0 <\/span>Hardcover, 5 x 15 inches, 145 pages, halftone illustrations.\u00a0 <\/span>Signed.<\/p>\n

This 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.\u00a0 <\/span>Each page features a grid of photographic reproductions of people running through Bell\u2019s Venice studio.\u00a0 <\/span>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.\u00a0 <\/span>Each image stands for a letter of the alphabet, a space, and punctuation.\u00a0 <\/span>The cover sports metallic silver cloth and the book is signed by both Bell and De Cointet.\u00a0 <\/span>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.\u00a0 <\/span>Very light rubbing and scratching to covers.\u00a0 <\/span>$1,500<\/p>\n

17.\u00a0 <\/span>BLOSSFELDT, Karl.\u00a0 <\/span><\/b>Urformen der Kunst: Photographische Pflanzenbilder<\/i>, Berlin: Verlag Ernst Wasmuth, 1929 (second edition).\u00a0 <\/span>Hardcover (gold-stamped turquoise cloth), 12 \u00bd x 10 inches, 260 pages, 120 screen-gravure illustrations.<\/p>\n

Art Forms in Nature<\/i> was Blossfeldt\u2019s great contribution to Germany\u2019s New Objectivity.\u00a0 <\/span>His close-up images of plants, sometimes presented in pairs and triptychs, make them look muscular and almost machine-made.\u00a0 <\/span>Like the first edition, the plates, in rich gravure, are backed by blank pages.\u00a0 <\/span>Introduction by Karl Nierendorf.\u00a0 <\/span>Text in German.\u00a0 <\/span>Covers worn and missing a small piece at bottom of spine.\u00a0 <\/span>$500\u00a0 \u00a0<\/span><\/p>\n

18.\u00a0 <\/span>BOURKE-WHITE, Margaret.\u00a0 <\/span><\/b>Eyes on Russia<\/i>, New York: Simon and Schuster, 1931.\u00a0 <\/span>Hardcover (black-stamped tan cloth), 11 \u00bc x 8 inches, 136 pages, 40 halftone illustrations, dustjacket.<\/p>\n

This is Bourke-White\u2019s first and most significant book, produced when she was only twenty-five years old.\u00a0 <\/span>She both wrote the text and provided the images, primarily of male and female workers and the dynamic architecture of Soviet industry.\u00a0 <\/span>The dustjacket quotes her as saying, \u201cThings are happening in Russia, and happening with staggering speed.\u00a0 <\/span>I could not afford to miss any of it.\u00a0 <\/span>I wanted to make the pictures of this astonishing development, because, whatever the outcome, whether success or failure, the plan is so gigantic, so unprece-dented in all history, that I felt that these photographic records might have some historical value.\u00a0 <\/span>I saw the five-year plan as a great scenic drama being unrolled before the eyes of the world.\u201d\u00a0 <\/span>Two pages stained from laid in newsprint article titled \u201cRussians See Hope in a Change of Policy.\u201d\u00a0 <\/span>The cloth is particularly bright, due to the presence of the rare dustjacket, which is worn and missing pieces.\u00a0 <\/span>$2,000<\/p>\n

19.\u00a0 <\/span>BOURKE-WHITE, Margaret.\u00a0 <\/span><\/b>Eyes on Russia<\/i>, another copy, signed.<\/p>\n

This copy is inscribed to an individual, \u201cin remembrance of one of my [illegible] photographing days in the open iron mines.\u201d\u00a0 <\/span>This probably refers to Bourke-White\u2019s 1936 visit to the Mesabi Iron Range in northern Minnesota.\u00a0 <\/span>Pasted onto a preliminary blank page is a portrait of the photographer, cut from the original dustjacket, the rest of which is missing.\u00a0 <\/span>Front hinge separating, covers lightly browned, with faint ring mark.\u00a0 <\/span>$2,000<\/p>\n

20.\u00a0 <\/span>BRADY, Mathew B.<\/b>\u00a0 <\/span>Illustrations of Longfellow\u2019s Courtship of Miles Standish by John W. Ehninger<\/i>, New York: Rudd & Carleton, 1859.\u00a0 <\/span>Hardcover (gold-stamped green leather), 9 \u00be x 12 inches, 50 pages, 8 mounted salt prints, gilt edges.<\/p>\n

Henry Wadsworth Longfellow\u2019s short narrative poem about Mayflower pilgrims in early Colonial days.\u00a0 <\/span>Brady\u2019s images are after illustrations by Ehninger, not made from life.\u00a0 <\/span>They show Miles Standish speaking to, leading, and otherwise interacting with fellow settlers and Native Americans, and, finally, at the wedding procession with his Purtian bride, Priscilla.\u00a0 <\/span>Known as \u201cMr. Lincoln\u2019s cameraman,\u201d Mathew Brady (1823-1896) operated portrait studios in New York and Washington, D.C., beginning in the 1840s.\u00a0 <\/span>He is best known for his photographic record of the Civil War during the 1860s and his portraits of famous public figures such as Lincoln, P. T. Barnum, and Walt Whitman.\u00a0 <\/span>This title is an early example of a photographically illustrated book, published only twenty years after the announcement of the daguerreotype.\u00a0 <\/span>Previous owner\u2019s inscription, endpapers rubbed, and covers worn along edges.\u00a0 <\/span>$500<\/p>\n

21.\u00a0 <\/span>BRANDT, Bill.\u00a0 <\/span><\/b>Perspective of Nudes<\/i>, New York: Amphoto, 1961.\u00a0 <\/span>Hardcover (red-stamped paper over boards), 11 x 9 \u00bd inches, 106 pages, 90 screen-gravure illustrations, dustjacket.<\/p>\n

Preface by Lawrence Durrell and introduction by Chapman Mortimer.\u00a0 <\/span>Brandt\u2019s most revered book, with quality, gravure plates.\u00a0 <\/span>Near fine condition, in dustjacket that has a few tears, is chipped and missing a small piece from the back.\u00a0 <\/span>$1,500<\/p>\n

22.\u00a0 <\/span>BRODOVITCH, Alexey.\u00a0 <\/span><\/b>Ballet<\/i>, New York: J. J. Augustin, 1945.\u00a0 <\/span>Hardcover, 9 x 11 \u00bc inches, 144 pages, halftone illustrations, dustjacket.<\/p>\n

This is Brodovitch\u2019s groundbreaking and influential book of photographs of various dance companies performing.\u00a0 <\/span>The impressionistic images, some gritty, some soft, bleed off the pages and into one another on two-page spreads.\u00a0 <\/span>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).\u00a0 <\/span>Dustjacket lightly soiled and edgeworn, missing the inside flaps and small pieces at spine.\u00a0 <\/span>$5,000<\/p>\n

23.\u00a0 <\/span>BROWN, Arthur.<\/b>\u00a0 <\/span>Tennyson\u2019s Brook, Illustrated by Arthur Brown with Photographic Views<\/i>, Newcastle-upon-Tyne, England: Arthur Brown, 1879.\u00a0 <\/span>Folder (gold-stamped green cloth), 10 \u00bd x 8 \u00bc inches, 13 mounted woodburytypes.<\/p>\n

The photographer explains in a printed sheet that he decided to publish this portfolio after Alfred, Lord Tennyson wrote him in thanks after receiving a set of prints that illustrated his thirteen-verse poem The Brook<\/i>.\u00a0 <\/span>Brown made the photographs along the Skelton Beck stream at Saltburn-by-the-Sea in Yorkshire.\u00a0 <\/span>The images are rich, idyllic, and usually unpeopled.\u00a0 <\/span>Tennyson\u2019s verse, written from the stream\u2019s viewpoint, ends, \u201cAnd out again I curve and flow\/To join the brimming river\/For men may come and men may go\/ But I go on forever.\u201d\u00a0 <\/span>The 4-x-3-inch prints are mounted on stiff printed boards.\u00a0 <\/span>Mild wear to cover edges and tips.\u00a0 <\/span>$500<\/p>\n

24.\u00a0 <\/span>BURKE, Bill.\u00a0 <\/span><\/b>I Want to Take Picture<\/i>, Atlanta: Nexus Press, 1987.\u00a0 <\/span>Hardcover (laminated paper over boards), 15 \u00bc x 11 \u00bd inches, unpaginated, duotone and color halftone illustrations.\u00a0 <\/span>With signed ephemera.<\/p>\n

Burke\u2019s influential artist\u2019s book, based on his travels in Southeast Asia.\u00a0 <\/span>He presents documentary pictures of such subjects as Bangkok sex clubs and Khmer Rouge soldiers, sometimes collaged with colorful ephemera like beer bottle labels.\u00a0 <\/span>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).\u00a0 <\/span>Included in both Roth and Parr\/Badger.\u00a0 <\/span>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.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$750<\/p>\n

25.\u00a0 <\/span>CALLAHAN, Harry.\u00a0 <\/span><\/b>Photographs: Harry Callahan<\/i>, Santa Barbara, California: El Mochuelo Gallery, 1964.\u00a0 <\/span>Hardcover (silver-stamped black cloth), 13 \u00bc x 11 \u00bc inches, unpaginated, 126 halftone illustrations, in original slipcase.<\/p>\n

There are five sections of plates; Eleanor and Barbara (wife and daughter); signs, windows, and other urban details; people on the street; miscellaneous pictures; and landscapes.\u00a0 <\/span>Includes a statement by Callahan and a bibliography of exactly one hundred entries.\u00a0 <\/span>Published without a dustjacket in an edition of 1,500, this is still the most desirable book on Callahan.\u00a0 <\/span>Near fine condition, with endpapers glue stained (as normal).\u00a0 <\/span>$1,000<\/p>\n

26.\u00a0 <\/span>CAPONIGRO, Paul.\u00a0 <\/span><\/b>Paul Caponigro: On Prior Lane: A Firefly\u2019s Light<\/i>, Toronto: Lumiere Press, 2008.\u00a0 <\/span>Hardcover (gray cloth and paper over boards with printed label on spine), 9 \u00bc x 7 \u00bc inches, 68 pages, 24 tritone illustrations.\u00a0 <\/span>Signed.<\/p>\n

Features classic straightforward images by Caponigro, mostly landscapes and including his famous \u201cRunning White Deer\u201d (1967) as a gatefold.\u00a0 <\/span>They are all high-quality reproductions and two of them are tipped-in.\u00a0 <\/span>The text, printed in elegant letterpress, comprises an interview by Lumiere Press operator Michael Torosian and an introduction by him.\u00a0 <\/span>This is another example of the press\u2019 nicely designed and produced books, printed in a number edition of 225.\u00a0 <\/span>This copy signed by Caponigro (called for only in the slip-cased edition of 26).\u00a0 <\/span>Fine condition.\u00a0 <\/span>$600<\/p>\n

27.\u00a0 <\/span>CARTIER-BRESSON, Henri.\u00a0 <\/span><\/b>The Decisive Moment<\/i>, New York: Simon and Schuster, 1952.\u00a0 <\/span>Hardcover (paper over boards), 14 \u00bd x 10 \u00be inches, unpaginated, 126 screen-gravure illustrations, dustjacket, original booklet.<\/p>\n

Cartier-Bresson\u2019s most influential book, comprising pictures from the United States, Europe, Middle East, and Asia.\u00a0 <\/span>They are printed large and in high-quality gravure. Henri Matisse provided the cover design (seen on both the paper boards and dustjacket) specifically for the book.\u00a0 <\/span>Light wear to covers, rear hinge loose, in dustjacket that is missing small pieces.\u00a0 <\/span>$1,500<\/p>\n

28.\u00a0 <\/span>CHAPPELL, Walter.\u00a0 <\/span><\/b>Logue and Glyphs: 1943-1949<\/i>, New Orleans: Glyph Press, 1951.\u00a0 <\/span>Hardcover (batik cloth over boards), 12 \u00bd x 9 \u00bd inches, 48 pages, unillustrated.\u00a0 <\/span>With signed ephemera.<\/p>\n

This early Chappell item, made when he was only twenty-six years old, comprises poems by him.\u00a0 <\/span>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\u00a0 <\/span>Printed in an edition of only 50 copies; WorldCat locates a single copy, at the University of Notre Dame Library.\u00a0 <\/span>An extremely rare Chappell piece (including the letter), for the completist.\u00a0 <\/span>Stains and light wear to covers, which are separating from the body text.\u00a0 <\/span>$1,000<\/p>\n

29.\u00a0 <\/span>CLARK, Larry<\/b>.\u00a0 <\/span>Tulsa<\/i>, New York: Lustrum Press, 1971.\u00a0 <\/span>Softcover, 12 x 9 inches, 64 pages, 50 halftone illustrations.\u00a0 <\/span>Signed.<\/p>\n

Clark\u2019s first book, a searing personal document of drug culture in Oklahoma around 1970.\u00a0 <\/span>The photographer states, \u201cI was born in Tulsa, Oklahoma, in 1943.\u00a0 <\/span>When I was sixteen I started shooting amphetamine.\u00a0 <\/span>I shot with my friends every day for three years and then left town, but I\u2019ve been back through the years.\u00a0 <\/span>Once the needle goes in it never comes out.\u201d\u00a0 <\/span>He presents sex, gun violence, and, most shockingly, a very pregnant woman shooting up, in an image beautified by glowing natural light.\u00a0 <\/span>Some of the portraits are accompanied by the simple caption \u201cDead.\u201d\u00a0 <\/span>The second book published by Lustrum Press, run by Ralph Gibson.\u00a0 <\/span>This copy inscribed to fellow photographer and bad boy Ramon Muxter.\u00a0 <\/span>Some pages loose and covers worn.\u00a0 <\/span>$750<\/p>\n

30.\u00a0 <\/span>CLARK, Larry<\/b>.\u00a0 <\/span>Teenage Lust<\/i>, New York: Larry Clark, 1983.\u00a0 <\/span>Softcover, 8 \u00bd x 9 inches, unpaginated, halftone illustrations.\u00a0 <\/span>Signed.<\/p>\n

Commencing with the touching image on the cover of a nude teenage couple in the backseat of a car, the photographer revels in the sexual escapades of young people, indoors and out.\u00a0 <\/span>Clark declares the book an autobiography and includes childhood and youthful images of himself, such as with his parents and musician Jimmy Reed, and as an adult, doing drugs and other mis-adventures.\u00a0 <\/span>He owns up to his criminal activities by including newspaper clippings and a police report.\u00a0 <\/span>The book ends with a long, rambling autobiographical text by the photographer.\u00a0 <\/span>This copy inscribed to fellow bad boy Ramon Muxter and dated a year after the publication, making it an important association copy.\u00a0 <\/span>Scratches, folds, rubbing, and other marks to the covers.\u00a0 <\/span>$750<\/p>\n

31.\u00a0 <\/span>CLARK, Larry<\/b>.\u00a0 <\/span>Larry Clark 1992<\/i>, New York: Thea Westreich, and Gisela Capitain, K\u00f6ln, 1992.\u00a0 <\/span>Softcover, 10 \u00be x 8 \u00bc inches, 336 pages, halftone illustrations.<\/p>\n

A thick book, without text and featuring bleed halftones of primarily adolescent boys, with guns, nooses, and in various stages of undress.\u00a0 <\/span>Though designated in an edition of one thousand copies, about half of them were inadvertently destroyed.\u00a0 <\/span>Mint condition, in shrink wrap.\u00a0 <\/span>$750<\/p>\n

32. CLARK, Larry.<\/b> Teenage Lust<\/i>, Tokyo: Taka Ishii Gallery, 1997.\u00a0 <\/span>Softcover, 11 \u00bd x 8 \u00be inches, unpaginated, halftone illustrations.<\/p>\n

Originally self-published by Clark in 1983 (see entry above) and 1987, this is the third incarnation of Teenage Lust<\/i> and the only Japanese edition.\u00a0 <\/span>This edition, of 1,000 copies, has about ten extra pictures and Clark\u2019s 23-page autobiographical text printed in Japanese.\u00a0 <\/span>Fine condition.\u00a0 <\/span>$500<\/p>\n

33.\u00a0 <\/span>CLARK, Larry.<\/b>\u00a0 <\/span>Punk Picasso<\/i>, New York: AKA Editions, 2003.\u00a0 <\/span>Softcover, 11 x 8 \u00bd inches, 496 pages, halftone illustrations (some in color), in original cardboard sleeve.\u00a0 <\/span>Signed.<\/p>\n

This two-inch thick book continues Clark\u2019s autobiographical publishing streak.\u00a0 <\/span>It features reproductions of records, baseball cards, newspaper clippings, letters, and images from his projects such as Tulsa<\/i>, Teenage Lust<\/i>, and Kids<\/i>.\u00a0 <\/span>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<\/i>.\u00a0 <\/span>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.\u00a0 <\/span>Mint condition.\u00a0 <\/span>$750<\/p>\n

34.\u00a0 <\/span>EGGLESTON, William.\u00a0 <\/span><\/b>William Eggleston\u2019s Guide<\/i>, New York: Museum of Modern Art, 1976.\u00a0 <\/span>Hardcover (gold-stamped leatherette with mounted reproduction), 9 \u00bc x 9 \u00bc inches, 112 pages, 94 color halftone illustrations.\u00a0 <\/span>Signed.<\/p>\n

The influential book accompanying Eggleston\u2019s 1976 exhibition at the Museum of Modern Art, which was considered to be the coming out of color photography for the art world (even though it was not the first show of color photographs at the museum, as is often misstated).\u00a0 <\/span>Sporting the look of a children\u2019s book, it features green pages for John Szarkowski\u2019s introductory essay and Eggleston\u2019s now famous tricycle picture on the cover.\u00a0 <\/span>This copy inscribed and dated 1996 on the title page by Eggleston.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$1,000<\/p>\n

35.\u00a0 <\/span>EVANS, Walker.<\/b>\u00a0 <\/span>American Photographs<\/i>, New York: Museum of Modern Art, 1938.\u00a0 <\/span>Hardcover (black cloth with printed label on spine), 9 x 8 inches, 204 pages, 87 halftone illustrations, dustjacket.<\/p>\n

Evans\u2019 masterpiece and one of the most important photography books of the twentieth century.\u00a0 <\/span>The first of two sections references the photographic medium by beginning with pictures of two photographers\u2019 studios. It then proceeds to emphasize people, such as visitors to Coney Island, tenant farmers, children, and workers.\u00a0 <\/span>The second section, nearly bereft of people, reads like a catalog of vernacular architecture, one of Evans\u2019 dearest subjects, with the buildings often approached in his formal, frontal manner.\u00a0 <\/span>Lincoln Kirstein provides the afterword for what was the \u201ccatalog\u201d of the first one-man show of photographs at the Museum of Modern Art, printed in an edition of 5,000.\u00a0 <\/span>Minor wear to the tips and top and bottom of spine, water damage to the top of the back cover and wrinkling to the pages in the second half of the book; the dustjacket is missing small pieces at the tips and top and bottom of darkened spine and blackened along top of the back, but professional conservation of the jacket makes it look better than it sounds here.\u00a0 <\/span>$500<\/p>\n

36.\u00a0 <\/span>EVANS, Walker.<\/b>\u00a0 <\/span>James Agee, Let Us Now Praise Famous Men<\/i>, Boston: Houghton Mifflin, 1941.\u00a0 <\/span>Hardcover (silver-stamped black cloth), 8 \u00bd x 6 inches, 472 pages, 31 halftone illustrations, dustjacket.<\/p>\n

This was a defining book for Evans, Agee, and the Great Depression.\u00a0 <\/span>The writer and photographer were originally commissioned by Fortune<\/i> to document poor Southern sharecroppers, but the magazine never ran the project.\u00a0 <\/span>Published a few years later as this book, it received good reviews but sold only about 600 copies, as the general public wished to forget about the previous decade\u2019s economic woes.\u00a0 <\/span>Agee\u2019s extensive text is often in the hard-to-read stream-of-consciousness mode.\u00a0 <\/span>Evans\u2019 photographs, on the other hand, are sharp and searing.\u00a0 <\/span>Notably, his portfolio of images is placed even before the title page, signifying its importance beyond merely illustrating the text.\u00a0 <\/span>The pictures essay three main families, each group introduced by a portrait of the husband\/father.\u00a0 <\/span>Includes the poignant portrait of Allie Mae Burroughs, tight-lipped, modestly dressed, and backed by raw clapboard siding.\u00a0 <\/span>The cloth is rubbed and lightly worn at the tips and top and bottom of spine, while the dustjacket is faded on the spine, with a three-inch split, chipped, and missing small portions at the top and bottom of spine, with owner\u2019s inscription and signature on the front free-end paper.\u00a0 <\/span>$2,500<\/p>\n

37.\u00a0 <\/span>EVANS, Walker.<\/b>\u00a0 <\/span>Many Are Called<\/i>, Boston: Houghton Mifflin, 1966.\u00a0 <\/span>Hardcover (white-stamped black cloth), 8 \u00be x 7 \u00bc inches, 178 pages, 89 halftone illustrations, dustjacket.<\/p>\n

Evans\u2019 coherent set of subway photographs made surreptitiously between 1938 and 1941, with Helen Levitt often accompanying him.\u00a0 <\/span>James Agee, who famously collaborated with Evans on their book Let Us Now Praise Famous Men<\/i>, wrote the introduction used here in 1940, but died a decade before this book came out.\u00a0 <\/span>Evans\u2019 intimate pictures, completely devoid of captions, show his unsuspecting subjects sitting directly across the aisle from him, neatly framed by windows and bits of signage.\u00a0 <\/span>Erratum slip pasted in.\u00a0 <\/span>The cloth has some minor scuffing to the back, the dustjacket is edgeworn, torn, and taped.\u00a0 <\/span>$750<\/p>\n

38.\u00a0 <\/span>FRANK, Robert.<\/b>\u00a0 <\/span>The Americans<\/i>, New York: Grossman, 1969.\u00a0 <\/span>Hardcover (gold-stamped black cloth), 7 \u00bd x 8 \u00bd inches, unpaginated, 89 halftone illustrations, dustjacket.<\/p>\n

Frank\u2019s monumental classic, considered by many to be the most influential book of photographs from the twentieth century, with an introduction by Jack Kerouac.\u00a0 <\/span>This is the second American edition, coming ten years after the Grove Press first.\u00a0 <\/span>It is designated the \u201crevised and enlarged edition\u201d on the front flap and \u201cAn Aperture Book\u201d on the title page.\u00a0 <\/span>The major change is the \u201cContinuation\u201d at the end, in which Frank added film strips from his first four movies: \u201cPull My Daisy,\u201d \u201cThe Sin of Jesus,\u201d \u201cO.K. End Here,\u201d and \u201cMe and My Brother.\u201d\u00a0 <\/span>Previous owner\u2019s stamp on front paste-down, faint wear to lower cloth edges and tips, in a lightly browned dustjacket with a few tiny tears and wrinkles.\u00a0 <\/span>$750<\/p>\n

39.\u00a0 <\/span>FRANK, Robert.\u00a0 <\/span><\/b>The Lines of My Hand<\/i>, Tokyo: Yugensha\/ Kazuhiko Motomura, 1972.\u00a0 <\/span>Hardcover (white-stamped black cloth), 13 \u00be x 10 \u00bc inches, 120 pages, halftone illustrations, slipcase and pamphlet.<\/p>\n

The 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).\u00a0 <\/span>It is Frank\u2019s \u201cautobiography,\u201d beginning with images of deceased friends and his son and daughter.\u00a0 <\/span>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<\/i>.\u00a0 <\/span>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.\u00a0 <\/span>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.\u00a0 <\/span>Limited edition of 1,000.\u00a0 <\/span>Includes the 30-page pamphlet with the Japanese translation.\u00a0 <\/span>Near fine condition, with the slipcase covering separating a little on the inside.\u00a0 <\/span>$4,500<\/p>\n

40.\u00a0 <\/span>FRIEDLANDER, Lee.\u00a0 <\/span><\/b>Self Portrait<\/i>, New City, New York: Haywire Press, 1970.\u00a0 <\/span>Softcover, 8 \u00bd x 9 \u00bc inches, 88 pages, 43 duotone illustrations.\u00a0 <\/span>Signed.<\/p>\n

Friedlander\u2019s first solo book, published by his own Haywire Press, only in soft and perhaps his signature publication.\u00a0 <\/span>Includes many of his now classic self- portraits, like the one where his shadow falls on the back of a woman, implying stalking, and his hair is rendered spikey by the subject\u2019s fur collar.\u00a0 <\/span>In his brief introduction, Friedlander claims that he did not make the pictures as a project, instead finding them among his other work.\u00a0 <\/span>\u201cThey began as straight portraits but soon I was finding myself at times in the landscape of my photography.<\/p>\n

I might call myself an intruder.\u201d\u00a0 <\/span>A modestly sized book that packed great\u00a0 <\/span>punch.\u00a0 <\/span>This copy signed by Friedlander.\u00a0 <\/span>Light rubbing to covers, with tiny wear to the top and bottom of spine.\u00a0 <\/span>$750<\/p>\n

41.\u00a0 <\/span>FRIEDLANDER, Lee.\u00a0 <\/span><\/b>The American Monument<\/i>, New York: Eakins Press Foundation, 1976.\u00a0 <\/span>Hardcover (black and gold-stamped turquoise cloth), 12 x 17 inches, 170 pages, 213 halftone illustrations.<\/p>\n

As a book, equal in standing to his earlier and much smaller Self Portrait<\/i>.\u00a0 <\/span>This project, published in the year of the country\u2019s Bicentennial, reveals Friedlander as a patriot, humorist, and cataloger.\u00a0 <\/span>He pictures statues, plaques, and other monuments large and small, some still highly revered and others overlooked.\u00a0 <\/span>Some images receive full-page treatment, while others are ganged in groups of up to nine, suggesting a catalog or inventory of the subjects.\u00a0 <\/span>Printed without a dustjacket in an edition of 2,000 copies, with an afterword by Leslie George Katz.\u00a0 <\/span>The book is actually loose bound, with three screw posts, that allow individual sheets to be removed (for framing?).\u00a0 <\/span>Minor scuffing to covers.\u00a0 <\/span>$1,250<\/p>\n

42.\u00a0 <\/span>FRIEDLANDER, Lee.\u00a0 <\/span><\/b>Lee Friedlander: Photographs<\/i>, New City, New York: Haywire Press, 1978.\u00a0 <\/span>Hardcover (silver-stamped blue cloth), 10 \u00be x 11 \u00bd inches, 106 pages, 137 duotone illustrations.\u00a0 <\/span>Signed.<\/p>\n

This catalog for a show at the Hudson River Museum, in Yonkers, New York, was issued without a dustjacket and contains very little text\u2014only acknowledgements and a quotation by Marcel Proust.\u00a0 <\/span>The reproductions cover work from the early 1960s to mid-1970s; still lifes, landscapes, party pictures, and images that appeared in Friedlander\u2019s previous books Self Portrait<\/i> and The American Monument<\/i>.\u00a0 <\/span>This copy signed by Friedlander. \u00a0 <\/span>Light rubbing to cloth and spine ink.\u00a0 <\/span>$500<\/p>\n

43.\u00a0 <\/span>FRIEDLANDER, Lee.\u00a0 <\/span><\/b>Flowers and Trees<\/i>, New City, New York: Haywire Press, 1981.\u00a0 <\/span>Hardcover (black-stamped purple cloth, with internal spiral binding), 15 x 12 inches, 88 pages, 40 tritone illustrations.\u00a0 <\/span>Signed.<\/p>\n

An elegant, oversize production, issued without a dustjacket.\u00a0 <\/span>Features Friedlander\u2019s attractive and sometimes challenging images, all dating from the 1970s.\u00a0 <\/span>The minimal text is in letterpress and the inside covers sport a dark green cloth that compliments the outside purple.\u00a0 <\/span>This copy signed by Friedlander.\u00a0 <\/span>Near mint condition, in opened shrink wrap.\u00a0 <\/span>$1,250<\/p>\n

44.\u00a0 <\/span>FRIEDLANDER, Lee.<\/b>\u00a0 <\/span>Lee Friedlander: Portraits<\/i>, Boston: Little, Brown and Co., 1985.\u00a0 <\/span>Hardcover (silver-stamped black cloth), 10 \u00bc x 11 inches, 96 pages, 73 duotone illustrations, dustjacket.\u00a0 <\/span>Signed.<\/p>\n

An array of previously little-known portraits by the great street photographer, spanning thirty years.\u00a0 <\/span>Primarily seen in each subject\u2019s personal space are such individuals as musician Count Basie, artist Jim Dine, curator John Szarkowski, collector Arnold Crane, photographers Helen Levitt and Walker Evans, and the photographer\u2019s children and wife.\u00a0 <\/span>British painter R. B. Kitaj provides an insightful foreword and himself is pictured with a nude woman draped over his knees, pubis up.\u00a0 <\/span>This copy signed by Friedlander.\u00a0 <\/span>Mint condition, in opened shrink wrap.\u00a0 <\/span>$500<\/p>\n

45.\u00a0 <\/span>FRITH, Francis.<\/b>\u00a0 <\/span>Henry Wadsworth Longfellow, Hyperion: A Romance<\/i>, Boston: Ticknor and Fields, 1868.\u00a0 <\/span>Hardcover (gold and black-stamped brown leather), 9 \u00bd x 7 \u00bd inches, 272 pages, 24 mounted albumen prints, gilt edges.<\/p>\n

One of Longfellow\u2019s earliest works (first published in 1839\u2014the year photography was invented), Hyperion<\/i> is a prose romance that follows an American traveling in Germany.\u00a0 <\/span>Frith himself describes his \u201clong and delightful journey\u201d making the photographs for the book.\u00a0 <\/span>His albumen prints, measuring about 5 x 6 \u00bd inches, show landscapes and city scenes shot along the Rhine River, in Switzerland, and the Tyrol.\u00a0 <\/span>They depict bridges, cemeteries, castles, mills, cloisters, market places, and even a glacier.\u00a0 <\/span>Francis Frith (1822-1898) was a top nineteenth-century English photographer, who ran Europe\u2019s largest photographic printing business for decades.\u00a0 <\/span>He was most renowned for his mammoth-plate images of Egypt, made in the late 1850s.\u00a0 <\/span>See: Goldschmidt and Naef, The Truthful Lens<\/i>, for a slightly earlier edition of Hyperion<\/i>.\u00a0 <\/span>This one has an attractive binding, which shows minimal wear to the edges and tips, with one free endpaper (attractive marbled paper) detached.\u00a0 <\/span>$750<\/p>\n

46.\u00a0 <\/span>GOSSAGE, John.\u00a0 <\/span><\/b>Here<\/i>, Rochester, Minnesota: Rochester Art Center, 2010.\u00a0 <\/span>Unbound (as issued), 22 \u00bc x 12 \u00bd inches, 80 newsprint pages, bellyband, in original plastic sleeve.\u00a0 <\/span>Signed, with original photograph.<\/p>\n

This \u201ccatalog\u201d accompanied an exhibition at the art center of photographs it commissioned Gossage to take in Rochester.\u00a0 <\/span>After an introduction by curator Kris Douglas, come 72 largescale, full-page halftones of typical street images by Gossage, showing yards, telephone poles, houses, and people, in both detail and from afar.\u00a0 <\/span>Indicative of the inclusive nature of the project, the entire guts of this catalog was inserted in an issue of the city\u2019s daily paper, the Post-Bulletin<\/i>.\u00a0 <\/span>This copy is from the special limited edition of only 15 that includes a mounted silver print (measuring 8 x 6 \u00bd inches), signed and numbered 11\/15.\u00a0 <\/span>The image is of a small clapboard house with a picket fence and American flag that Gossage shot from the driver\u2019s seat of a car, suggesting a surveillance photograph.\u00a0 <\/span>Both the cover page and the photograph are signed.\u00a0 <\/span>Mint condition.\u00a0 <\/span>$1,500<\/p>\n

47.\u00a0 <\/span>GOWIN, Emmet.\u00a0 <\/span><\/b>Photographs<\/i>, New York: Alfred A. Knopf, 1976.\u00a0 <\/span>Hardcover (gold and blind-stamped black cloth), 10 \u00bc x 9 \u00bd inches, 102 pages, duotone illustrations, with ephemera.\u00a0 <\/span>Signed.<\/p>\n

Gowin\u2019s first monograph, containing his most appreciated body of work, depicting his wife, Edith, and other family members, richly reproduced.\u00a0 <\/span>Features short quotations by Frederick Sommer and James Agee, and a brief afterword by the photographer.\u00a0 <\/span>This copy inscribed \u201cwith a handshake\u201d and dated 1981.\u00a0 <\/span>Laid in is a hand-written letter from Gowin, indicating that 2,000 hardcovers were issued.\u00a0 <\/span>Near fine condition, in dustjacket, with tiny edgewear.\u00a0 <\/span>$650<\/p>\n

48.\u00a0 <\/span>GOWIN, Emmet.\u00a0 <\/span><\/b>Petra: In the Hashemite Kingdom of Jordon<\/i>, New York: Pace\/McGill Gallery, 1986.\u00a0 <\/span>Softcover, 14 x 11 inches, 40 pages, 14 duotone illustrations, dustjacket. \u00a0 <\/span>Signed.<\/p>\n

This elegant, oversize publication chronicles the ancient capital of a pre-Islamic Arab culture that flourished from the fourth century B.C. to the sixth century A.D.\u00a0 <\/span>Subsequently lost to the outside world until 1812, it was photographed by Gowin between 1982 and 1985.\u00a0 <\/span>With a large-format camera and a keen eye, he examines the passageways, rock formations, tombs, and palaces of the \u201ccity of rose-red stone.\u201d\u00a0 <\/span>Features an introduction by Gowin, an historical essay by anthropology professor Phillip C. Hammond, and a dustjacket with a tipped-on reproduction.\u00a0 <\/span>A hard-to-find title, this copy is discretely signed by Gowin after his text.\u00a0 <\/span>Faint scuff to front cover, in opened shrink wrap.\u00a0 <\/span>$650<\/p>\n

49.\u00a0 <\/span>GRIFFITHS, Philip Jones.\u00a0 <\/span><\/b>Vietnam Inc.<\/i>, New York: Macmillan, 1971.\u00a0 <\/span>Softcover, 11 x 8 inches, 224 pages, halftone illustrations.<\/p>\n

This is Griffiths\u2019 searing examination of the effects of the Vietnamese conflict on both soldiers and civilians.\u00a0 <\/span>As a major Magnum photographer, he worked in the country between 1966 and 1970, capturing images of roundups of the enemy, drug use, prostitution, urban decadence, the destruction of villages, and the wounded and dead.\u00a0 <\/span>Griffiths made clear in his text that he felt the United States was arrogantly attempting to impose its own values on Vietnam, pointing out that the southeast Asian country had chosen communist politicians in its first election, in 1946.\u00a0 <\/span>This is one of the few books publishing during the war that made a case against both the conflict and war in general.\u00a0 <\/span>Light rubbing, scuffs, and edgewear to covers.\u00a0 <\/span>$500<\/p>\n

50.\u00a0 <\/span>HEATH, David.\u00a0 <\/span><\/b>A Dialogue with Solitude<\/i>, Culpepper, Virginia: Community Press, 1965.\u00a0 <\/span>Hardcover, 11 \u00bc x 8 \u00be inches, 100 pages, halftone illustrations, dustjacket.\u00a0 <\/span>Signed.<\/p>\n

According to the front flap, the book is \u201ca paean to life\u2014tragic, comic, and lyrical. It begins with a photographic prologue that sets the theme: the solitude of the individual.\u00a0 <\/span>Photographs of lovers pursue the theme, suggesting that even this relationship may not be enough to alter the essential loneliness of the soul.\u00a0 <\/span>A series of photographs taken in Korea shows the frustration, hardship, and ennui of Army life.\u00a0 <\/span>A group of Negro portraits and another group exploring the bewilderments of youth further reveal the undeniable and haunting aspects of alienation.\u00a0 <\/span>In seeking to probe the meaning of the world around him and his relation to it, Dave Heath has transmuted into photographic images his intense feeling and concern for the world.\u00a0 <\/span>He concurs with W. B. Yeats\u2019 assertion that creative expression is the social act of the solitary man.\u201d\u00a0 <\/span>A groundbreaking and influential book in American photography.\u00a0 <\/span>This copy boldly signed on the title page by Heath.\u00a0 <\/span>Light shelf wear, in a dustjacket that is lightly rubbed, creased, and with one short tear.\u00a0 <\/span>$1,500<\/p>\n

51.\u00a0 <\/span>HEATH, David.\u00a0 <\/span><\/b>Extempore: Reflections & Ruminations on Art & Personal History<\/i>, Toronto: Lumiere Press, 1988.\u00a0 <\/span>Hardcover (brown cloth with printed label and black-stamped gray paper over boards), 9 \u00bc x 6 \u00bc inches, 36 pages, 1 halftone illustration and 2 gelatin silver prints, with ephemera.\u00a0 <\/span>Signed.<\/p>\n

Edited by Michael Torosian, this is one of the Lumiere Press\u2019 elegant books on classic photographers.\u00a0 <\/span>The text is printed in letterpress and the tipped-in silver prints are from copy negatives.\u00a0 <\/span>It features an interview with Heath about his life and work.\u00a0 <\/span>Numbered edition of only 150 copies.\u00a0 <\/span>Laid in is the prospectus and an order form, equally well designed.\u00a0 <\/span>This copy inscribed by Heath.\u00a0 <\/span>Fine condition, in original plastic sleeve.\u00a0 <\/span>$500<\/p>\n

52.\u00a0 <\/span>HOPPE, E. O.\u00a0 <\/span><\/b>The Book of Fair Women<\/i>, New York: Alfred A. Knopf, 1922.\u00a0 <\/span>Hardcover (gold-stamped vellum spine and textured paper over boards), 12 \u00bd x 9 \u00bd inches, unpaginated, 32 screen-gravure illustrations.<\/p>\n

This is an elegant book, with letterpress typography, of elegant women, rendered in rich, tipped-in gravure plates.\u00a0 <\/span>Hopp\u00e9 provides studio portraits of beautiful women from about twenty countries, including the United States, Cuba, Chile, England, France, Poland, Sweden, Russia, China, Japan, and India.\u00a0 <\/span>His subjects are expertly dressed, coiffed, posed, and lit.\u00a0 <\/span>Richard King essays \u201cBeauty,\u201d \u201cCharm,\u201d and \u201cBeautiful Women the World Over.\u201d\u00a0 <\/span>The periodical American Photography<\/i> reviewed the book, claiming that the photographer \u201chas the painter\u2019s eye for arrangements of tone which translate well into designs on a flat surface.\u00a0 <\/span>His versatility is immense; he has no stock poses.\u00a0 <\/span>As if by intuition, he grasps the character of this subject.\u201d\u00a0 <\/span>(Copy of review laid in).\u00a0 <\/span>Issued in an edition of only five hundred numbered copies (this one 322\/500).\u00a0 <\/span>Light stains to edges of spine and light wear to tips.\u00a0 <\/span>$500<\/p>\n

53.\u00a0 <\/span>HOSOE, Eikoh.\u00a0 <\/span><\/b>Man and Woman<\/i>, Tokyo: Camera Art, 1961.\u00a0 <\/span>Hardcover (paper over boards), 9 \u00bd x 7 \u00bc inches, 60 pages, 32 screen-gravure illustrations, dustjacket and slipcase.\u00a0 <\/span>Signature laid in.<\/p>\n

This is one of Hosoe\u2019s most elegant books, small in scale and richly printed in gravure.\u00a0 <\/span>The images, primarily of nude women, frequently bleed off the page and appear somewhat abstracted.\u00a0 <\/span>Text in Japanese.\u00a0 <\/span>Lacking the English translation booklet.\u00a0 <\/span>Laid into this copy is a 1998 letter signed by Hosoe.\u00a0 <\/span>Near fine condition, in original printed slipcase.\u00a0 <\/span>$1,250<\/p>\n

54.\u00a0 <\/span>HOSOE, Eikoh.\u00a0 <\/span><\/b>Killed by Roses<\/i>, Tokyo: Shueisha, 1963.\u00a0 <\/span>Hardcover (printed cloth), 16 \u00be x 11 inches, unpaginated, screen-gravure illustrations, acetate jacket and cardboard box.\u00a0 <\/span>Signed.<\/p>\n

This is one of Hosoe\u2019s most elaborate books, over-sized, richly printed, and featuring some gatefolds.\u00a0 <\/span>His collaborator was the author Yukio Michima, who is the subject of most of the pictures, rendered surrealistically and with strong graphic impact.\u00a0 <\/span>Issued in an edition of 1,500 numbered copies (this one 586), signed by both Michima and Hosoe.\u00a0 <\/span>Near fine condition, except for light scuffs to a few pages, in worn (as usual) box.\u00a0 <\/span>$4,000<\/p>\n

55.\u00a0 <\/span>HOSOE, Eikoh.\u00a0 <\/span><\/b>Embrace<\/i>, Tokyo: Shashin Hyoronsha Publishing, 1971.\u00a0 <\/span>Hardcover (silver-stamped black cloth), 14 \u00bc x 10 \u00bd inches, unpaginated, screen-gravure illustrations, dustjacket, slipcase, and bellyband.\u00a0 <\/span>With signed ephemera.<\/p>\n

Similar in subject matter and treatment to Man and Woman<\/i>, but much larger in scale and more consistently abstract in its imagery.\u00a0 <\/span>Arms, legs, breasts, and other body parts graze, caress, and embrace one another, in a tour-de-force<\/i> of human fleshiness.\u00a0 <\/span>Laid into this copy is a 1988 letter signed by Hosoe.\u00a0 <\/span>Near fine condition, in original slipcase that is lightly rubbed.\u00a0 <\/span>$2,000 <\/b><\/p>\n

56.\u00a0 <\/span>HOSOE, Eikoh.\u00a0 <\/span><\/b>Kamaitachi<\/i>, New York: Aperture, 2005.\u00a0 <\/span>Hardcover (printed cloth), 15 x 12 \u00bc inches, unpaginated, 34 tri-tone illustrations, glassine dustjacket, box.<\/p>\n

Another oversize and deluxe publication illustrated by Hosoe, first published in 1969.\u00a0 <\/span>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.\u00a0 <\/span>The book features 34 gatefold bleed images, hidden by dense blue pages.\u00a0 <\/span>Issued in a signed, numbered edition of 500 in Japan and 500 in the U.S., in a Pop-Art-designed clamshell box.\u00a0 <\/span>Mint condition, in original plastic sleeve.\u00a0 <\/span>$750<\/p>\n

57.\u00a0 <\/span>JONES, Nathaniel P.<\/b>\u00a0 <\/span>Daniel S. Durrie, A History of Madison, the Capital of Wisconsin; Including the Four Lake Country<\/i>, Madison: Daniel S. Durrie, 1874.\u00a0 <\/span>Hardcover (copper-stamped blue cloth), 9 x 6 inches, 420 pages, 19 mounted albumen prints.<\/p>\n

Durrie, the librarian of the State Historical Society of Wisconsin, covers the pre-history of Madison, its incorporation in 1856, its designation as state capital, and various other milestones.\u00a0 <\/span>In the 1870 census, four years before the book was published, Madison\u2019s population was 857 people, while today it is home to about 235,000.\u00a0 <\/span>Among Jones\u2019 subjects is Roseline Peck, the first woman settler, who arrived in 1837 with her husband.\u00a0 <\/span>Most of the tipped-in albumen prints measure about 3 x 3 inches and are probably halves of stereo pairs.\u00a0 <\/span>They show Main Street (from two different corners), Vilas House, Park Hotel, Hospital for the Insane, Grace and Congregational Churches, the U.S. Court House, and the Capitol building.\u00a0 <\/span>Also noteworthy are views of Lake Mendota and Lake Monona, as downtown Madison is on an isthmus between the two bodies of water.\u00a0 <\/span>Nathaniel P. Jones specialized in stereographs during the 1870s and was active from 1855 to about the turn of the twentieth century.\u00a0 <\/span>Among the museums that own work by him is the Amon Carter Museum (Fort Worth, Texas).\u00a0 <\/span>Binding a little loose, covers worn, and missing small piece at bottom of spine.\u00a0 <\/span>$750<\/p>\n

58.\u00a0 <\/span>KERTESZ, Andr\u00e9.\u00a0 <\/span><\/b>Day of Paris<\/i>, New York: J. J. Augustin, 1945.\u00a0 <\/span>Hardcover (black-stamped gray cloth), 148 pages, halftone illustrations, dustjacket.<\/p>\n

This is Kert\u00e9sz\u2019s personal and quiet ode to the city he called home for many years.\u00a0 <\/span>He essays its people, caf\u00e9s, shops, parks, and streets during three parts of the day: morning, afternoon, and night.\u00a0 <\/span>One corner bumped and tiny wear to top of spine, tape remnants to endpapers, tear and foxing to half title page, in dustjacket that is worn and rubbed.\u00a0 <\/span>$1,500<\/p>\n

59.\u00a0 <\/span>KLEIN, William.\u00a0 <\/span><\/b>Tokyo<\/i>, New York: Crown, 1964.\u00a0 <\/span>Hardcover (white and red-stamped black cloth), 14 x 10 \u00bc inches, 184 pages, screen-gravure illustrations, dustjacket.<\/p>\n

According to the inside flap, this is a \u201cbook of magnificent photographs.\u00a0 <\/span>Here is<\/i> Tokyo.\u00a0 <\/span>Not Tokyo for the tourist or Tokyo for travel posters, but everyday Tokyo in all its contradictions, discords, beauty, and appeal.\u201d\u00a0 <\/span>Tiny wear to tips and bottom of spine, in dustjacket that is wrinkled, scuffed, chipped, and with a 2-inch tear.\u00a0 <\/span>$1,000<\/p>\n

60.\u00a0 <\/span>KOUDELKA, Josef.\u00a0 <\/span><\/b>Gypsies<\/i>, Millerton, New York: Aperture, 1975.\u00a0 <\/span>Hardcover (blind and silver-stamped brown cloth), 11 x 12 inches, unpaginated, halftone illustrations, dustjacket.\u00a0 <\/span>First printing.<\/p>\n

Koudelka\u2019s first and still most revered book.\u00a0 <\/span>He made most of the images in East Slovakian gypsy settlements in the early 1960s.\u00a0 <\/span>Short texts by John Szarkowski and Czech photo historian Anna F\u00e1rov\u00e1.\u00a0 <\/span>Near fine condition, in dustjacket that is rubbed and with tiny edgewear.\u00a0 <\/span>$500<\/p>\n

61.\u00a0 <\/span>KOUDELKA, Josef.\u00a0 <\/span><\/b>Limestone<\/i>, Paris: Lhoist, 2001.\u00a0 <\/span>Hardcover (printed paper over boards), 9 x 12 inches, 36 halftone illustrations, box.<\/p>\n

The result of Koudelka being commissioned by the French limestone mining company Groupe Lhoist.\u00a0 <\/span>Working in both Europe and the United States, he presents landscapes, mines, and machinery of the industry.\u00a0 <\/span>The book is one continuous accordion binding, with largescale panoramic images, a rich and elaborate production.\u00a0 <\/span>Introduction by board chairman Jean-Pierre Berghmans and captions by plant managers.\u00a0 <\/span>Trilingual text in French, German, and English.\u00a0 <\/span>Produced in a numbered edition of 2,000, this is #259.\u00a0 <\/span>With the original cardboard box.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$1,500<\/p>\n

62.\u00a0 <\/span>LEVITT, Helen.\u00a0 <\/span><\/b>James Agee, A Way of Seeing<\/i>, New York: Viking Press, 1965. Hardcover (silver-stamped black cloth), 7 \u00be x 9 \u00bc inches, 80 pages, 50 screen-gravure illustrations, dustjacket, with ephemera.\u00a0 <\/span>Signed.<\/p>\n

The outstanding collaboration between Levitt and author James Agee, published a decade after his death.\u00a0 <\/span>Levitt\u2019s lyrical photographs, presented in rich gravure, picture primarily poor children in Harlem and include some of her most revered images.\u00a0 <\/span>Agee declared in his text that the project was a \u201cmajor poetic work\u201d and \u201can uninsistent but irrefutable manifesto of a way of seeing.\u201d\u00a0 <\/span>Laid into this copy is the New York Times<\/i> obituary for Levitt, dated March 30, 2009, on original newsprint.\u00a0 <\/span>Additionally, this copy signed by Levitt on the title page.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$1,500<\/p>\n

63.\u00a0 <\/span>LOCK & WHITFIELD.<\/b>\u00a0 <\/span>Men of Mark: A Gallery of Contemporary Portraits<\/i>, London: Sampson Low, Martson, Searle, and Rivington, 1876 and 1877.\u00a0 <\/span>Hardcover (gold-stamped black and maroon leather and cloth), 10 \u00bd x 8 \u00bd inches, unpaginated, 72 mounted woodburytypes.<\/p>\n

This volume contains the first and second series of seven, showing English and European men who were distinguished in government, religion, science, literature, art, law, medicine, and the military.\u00a0 <\/span>Thompson Cooper provides brief biographical notes on each subject.\u00a0 <\/span>Among the impressive array of eminent Victorians are His Royal Highness the Prince of Wales (first series frontispiece), Victor Hugo, Gustave Dore, and Jules Verne.\u00a0 <\/span>The portraits were taken expressly for the publication and are presented as oval woodburytypes, each 4 \u00bd x 3 \u00bd inches, in a printed border.\u00a0 <\/span>Samuel Lock and George Whitfield ran a London portrait studio from 1856 to 1894, and are most remembered for their contributions to Men of Mark<\/i>.\u00a0 <\/span>See: George Eastman House, Imagining Paradise<\/i>.\u00a0 <\/span>Occasional foxing, wear to cover edges and tips.\u00a0 <\/span>$750<\/p>\n

64.\u00a0 <\/span>LYON, Danny.<\/b>\u00a0 <\/span>The Bikeriders<\/i>, New York: MacMillan, 1968.\u00a0 <\/span>Softcover, 9 \u00bc x 6 \u00bd inches, 94 pages, halftone illustrations.<\/p>\n

Lyon\u2019s first and most important book.\u00a0 <\/span>Working in the personal documentary mode, he became a member of the Chicago Outlaw Motorcycle Club and photographed its activities as an insider.\u00a0 <\/span>He shows its members riding, racing, partying, and burying one of its own.\u00a0 <\/span>Includes substantial statements by over a dozen individuals, like Cockroach, Funny Sonny, and Zipco.\u00a0 <\/span>Indicative of the meager number of creative photography books being issued at the time, the publisher suggested its classification for booksellers on the back cover as \u201cAdventure.\u201d\u00a0 <\/span>Minor edgewear.\u00a0 <\/span>$500<\/p>\n

65.\u00a0 <\/span>LYON, Danny.<\/b>\u00a0 <\/span>Conversations with the Dead<\/i>, New York: Holt, Rinehart and Winston, 1971.\u00a0 <\/span>Hardcover (black-stamped white and gray cloth), 8 \u00bd x 11 \u00bc inches, 196 pages, halftone illustrations, dustjacket.\u00a0 <\/span>Signed.<\/p>\n

In 1967 Lyon gained nearly unfettered access to the inside of Texas penitentiaries, an unimaginable feat today.\u00a0 <\/span>He proceeded to befriend many inmates and captured them working in fields, eating, showering, and being strip searched.\u00a0 <\/span>The final section features the compassionate letters and drawing of Billy McCune, inmate #122054.\u00a0 <\/span>This copy boldly signed on the title page.\u00a0 <\/span>Small sticker marks to front pastedown, otherwise in near fine condition (unusual in this shape, in hardcover, and signed).\u00a0 <\/span>$1,000<\/p>\n

66.\u00a0 <\/span>MANDEL, Mike.\u00a0 <\/span><\/b>The Baseball-Photographer Trading Cards<\/i>, Mike Mandel, 1975.\u00a0 <\/span>Box (3 x 3 x 11 inches), complete with 36 unopened packs of ten cards each (3 \u00bd x 2 \u00bd inches) and gum.\u00a0 <\/span>Signed.<\/p>\n

Undoubtedly Mandel\u2019s most wide-ranging and uproarious project, these cards lampoon the newfound fame of artistic photographers during the 1970s.\u00a0 <\/span>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.\u00a0 <\/span>Mandel photographed a total of 134 individuals, including himself.\u00a0 <\/span>It is unknown how many boxes he issued, but this one is signed and dated 1992 (the year I bought it directly from Mandel).\u00a0 <\/span>There was only one printing of the cards.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$5,000<\/p>\n

67.\u00a0 <\/span>MANDEL, Mike, and Larry Sultan.\u00a0 <\/span><\/b>Evidence<\/i>, Santa Cruz: Clatworthy Colorvues, 1977.\u00a0 <\/span>Hardcover (gold-stamped blue cloth), 9 \u00bc x 10 inches, 72 pages, 59 halftone illustrations, with ephemera.<\/p>\n

Sultan and Mandel\u2019s renowned selection of documentary photographs that are variously mysterious and entertaining.\u00a0 <\/span>Robert F. Forth provides the afterword \u201cThe Circumstantial and the Evident.\u201d\u00a0 <\/span>A year later the Center for Creative Photography (University of Arizona, Tucson) traveled an exhibition of the material.\u00a0 <\/span>Laid into this copy is an original Newsweek<\/i> review of the show when it appeared at Harvard\u2019s Fogg Art Museum, written by Douglas Davis, who calls it a \u201cbaffling\u201d exhibition.\u00a0 <\/span>In Parr and Badger II.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$750<\/p>\n

68.\u00a0 <\/span>MEATYARD, Ralph Eugene.\u00a0 <\/span><\/b>Father Louie: Photographs of Thomas Merton by Ralph Eugene Meatyard<\/i>, New York: Timken, 1991.\u00a0 <\/span>Hardcover (gold-stamped green cloth), 10 \u00bc x 10 \u00bc inches, 108 pages, duotone illustrations, slipcase.\u00a0 <\/span>Special edition, with original photograph.<\/p>\n

Thomas Merton was a poet, social activist, Trappist Monk, and a close friend of Meatyard\u2019s.\u00a0 <\/span>The pictures show him reading, socializing, and posing in rural Kentucky, some with Meatyard\u2019s telltale blurring and most made in the few years before Merton died in 1968.\u00a0 <\/span>Includes an essay by Guy Davenport about the relationship of the subject and photographer, correspondence between the two, and a eulogy by Meatyard.\u00a0 <\/span>This copy is from the numbered edition of 125, signed by Davenport and with a gelatin silver photograph, printed posthumously from the original negative by Meatyard\u2019s son Christopher.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$500<\/p>\n

69.\u00a0 <\/span>MEISELAS, Susan.<\/b>\u00a0 <\/span>Nicaragua: June 1978\u2013July 1979<\/i>, London: Writers and Readers Publishing Cooperative, 1981.\u00a0 <\/span>Hardcover (white-stamped black cloth), 9 \u00be x 11 \u00bc inches, unpaginated, 71 color halftone illustrations, dustjacket.\u00a0 <\/span>Signed.<\/p>\n

Magnum photographer Meiselas\u2019 important chronicle of the Nicaraguan revolution in the late 1970s.\u00a0 <\/span>She photographed the Somoza regime, the insurrection, and the final offensive.\u00a0 <\/span>Includes interviews with principle figures and a chronology of the country beginning with its founding in 1524.\u00a0 <\/span>This copy signed and dated 2001 by Meiselas.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$500<\/p>\n

70.\u00a0 <\/span>MERTIN, Roger.\u00a0 <\/span><\/b>Plastic Love Dream<\/i>, Davis: University of California, Memorial Union Art Gallery, 1969.\u00a0 <\/span>Box (plastic with label), 4 x 4 \u00bd x 1 \u00bc inches, 7 inserts.\u00a0 <\/span>Signed.<\/p>\n

This is a rare and unusual exhibition \u201ccatalog\u201d created by curator Fred R. Parker, who was partial to such productions.\u00a0 <\/span>\u201cPlastic Love Dream\u201d was Mertin\u2019s earliest successful body of work, depicting female nudes outdoors, with mirrors, and under plastic.\u00a0 <\/span>The inserts include halftone illustrations, biographical information, text from an interview, and an essay by Eastman House curator Robert Sobieszek.\u00a0 <\/span>This and a few other interesting catalogs by Parker are pictured in the 2006 book The Collectible Moment<\/i> (Norton Simon Museum, page 43).\u00a0 <\/span>This copy bears the signatures of both Mertin and Parker (neither called for in the edition).\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$750<\/p>\n

71.\u00a0 <\/span>MISRACH, Richard.\u00a0 <\/span><\/b>[a photographic book]<\/i>, San Francisco: Grapestake Gallery, 1979.\u00a0 <\/span>Softcover, 12 x 9 \u00be inches, 58 pages, 56 halftone illustrations.\u00a0 <\/span>Signed.<\/p>\n

This is the desirable early monograph of Misrach\u2019s important series of split-toned photographs of the desert, taken at night.\u00a0 <\/span>This copy signed and dated 1983.\u00a0 <\/span>Light rubbing to covers and one corner lightly bumped.\u00a0 <\/span>$1,250<\/p>\n

72.\u00a0 <\/span>MORINAGA, Jun.\u00a0 <\/span><\/b>River, Its Shadow of Shadows<\/i>, Tokyo: Yugensha, 1978.\u00a0 <\/span>Hardcover (white-stamped brown cloth), 12 x 10 \u00be inches, unpaginated, halftone illustrations.<\/p>\n

Apparently Morinaga\u2019s only book, it is a tour-de-force<\/i> of design.\u00a0 <\/span>His images, made in the 1960s, are gritty impressions of polluted water, sort of like demonic Minor White pictures.\u00a0 <\/span>They are printed in high-contrast tones and often presented as gatefolds.\u00a0 <\/span>Morinaga assisted W. Eugene Smith when the great photojournalist was in Japan working on his \u201cMinamata\u201d project, and Smith contributes some text to the book.\u00a0 <\/span>Issued by the same concern that published two important Japanese books by Robert Frank.\u00a0 <\/span>Fine condition, in original slipcase (printed paper over boards) and original plain cardboard box.\u00a0 <\/span>$750<\/p>\n

73.\u00a0 <\/span>MUYBRIDGE, Eadweard.\u00a0 <\/span><\/b>J. D. B. Stillman, The Horse in Motion: As Shown in Instantaneous Photography<\/i>, Boston: James R. Osgood, 1882.\u00a0 <\/span>Hardcover (black and gold-stamped brown cloth), 12 \u00bc x 10 inches, 342 pages, 107 illustrations.<\/p>\n

This massive compendium was the first publication on Muybridge\u2019s images of animal locomotion.\u00a0 <\/span>It was executed by Leland Stanford, a horse owner and former governor of California.\u00a0 <\/span>He begins his preface by stating, \u201cI have for a long time entertained the opinion that the accepted theory of the relative positions of the feet of horses in rapid motion was erroneous.\u00a0 <\/span>I also believed that the camera could be utilized to demonstrate that fact, and by instantaneous pictures show the actual position of the limbs at each instant of the stride.\u00a0 <\/span>Under this conviction I employed Mr. Muybridge, a very skillful photographer, to institute a series of experiments to that end.\u201d\u00a0 <\/span>However, the publisher had difficulty reproducing Muybridge\u2019s work, so hand-rendered images after his photographs represent the majority of the illustrations herein.\u00a0 <\/span>There are beautiful chromolithographs of horse muscles, silhouettes after Muybridge, drawings after Muybridge, and three collotypes of the photographer\u2019s setup at Stanford\u2019s private racing track.\u00a0 <\/span>Solid binding, but wear to the edges and tips.\u00a0 <\/span>$500<\/p>\n

74.\u00a0 <\/span>NARES, George S.<\/b>\u00a0 <\/span>Narrative of a Voyage to the Polar Sea, <\/i>London: Sampson Low, Marston, Searle, and Rivington, 1878.\u00a0 <\/span>Hardcovers (gold and black-stamped green cloth), 2 volumes, 9 x 6 inches, 396 pages (each), 6 mounted woodburytypes.<\/p>\n

Captain Nares\u2019 account of the North Pole expedition of two English ships during the season of 1875-1876.\u00a0 <\/span>In the preface he admits that they did not reach their goal and indicates that the photographs were made by paymaster<\/p>\n

F. Mitchell and engineer George White.\u00a0 <\/span>The rich, full-page woodburytypes depict the ships ominously ensconced in snow and ice, at Floeberg Beach, Cape Beechey, and Discovery Bay (with pitched tents), and serenely afloat in Cape Prescott.\u00a0 <\/span>Only one crew member appears in one photograph, standing on a floeberg and peering up at largescale \u201cpressed-up rubble ice.\u201d\u00a0 <\/span>In addition to the photographic illustrations are woodcuts, diagrams, and fold-out maps.\u00a0 <\/span>Mounts of each frontispiece browned (due to tissue guard, but seemingly not affecting the prints), some loose signatures, and covers worn.\u00a0 <\/span>Two volume set: $1,250<\/p>\n

75.\u00a0 <\/span>NEGRE, Charles.<\/b>\u00a0 <\/span>Andr\u00e9 Jammes, Charles N\u00e8gre Photographe, 1820-1880<\/i>, Paris: Andr\u00e9 Jammes, 1963.\u00a0 <\/span>Softcover (printed paper with mounted reproduction), 13 x 16 \u00bd inches, 42 pages, 31 collotype (?) illustrations, original acetate dustjacket.<\/p>\n

This is an early monograph on a photographer, unusually largescale, and elaborately produced.\u00a0 <\/span>All of the high-quality reproductions are tipped in and one (of an architectural detail) is a fold-out that measures a whopping 28 x 13 inches.\u00a0 <\/span>Other images show landscapes, monuments, and example of N\u00e8gre\u2019s important series of Parisian street vendors, mostly from the 1850s and printed from paper negatives.\u00a0 <\/span>After studying painting with Ingres and Delaroche, Charles N\u00e8gre (1820-1880) became a prominent French photographer during the middle of the nineteenth century.\u00a0 <\/span>He studied and experimented with photogravure and was known for producing particularly large salt prints, measuring up to 20 x 30 inches.\u00a0 <\/span>Written by one of the earliest collectors of photographs, with all text in French, in an edition of only 300 copies.\u00a0 <\/span>Light foxing and minor wrinkles to covers.\u00a0 <\/span>$750<\/p>\n

76.\u00a0 <\/span>OUTERBRIDGE, Paul, Jr. <\/b> Elaine Dines and Graham Howe, Paul Outerbridge: A Singular Aesthetic: Photographs and Drawings, 1921-1941: A Catalogue Raisonn\u00e9<\/i>, Santa Barbara, California: Arabesque Books, 1981.\u00a0 <\/span>Hardcover (tan cloth with mounted reproduction and mat, and black-stamped mounted label on spine), 12 \u00bc x 9 \u00bd inches, 240 pages, 564 halftone illustrations (some in color), printed acetate jacket, with ephemera.<\/p>\n

An ambitious project, this is one of the few catalog raisonn\u00e9s for a photographer.\u00a0 <\/span>It includes an introduction by Dines, Howe, and Bernard Barryte, a 1940 essay by Outerbridge on the color carbro process, a selected bibliography, and, most importantly, every image by him known at the time. Featured are his modernist ink drawings, delicate platinum prints, and color nude and advertising images.\u00a0 <\/span>The challenging cover image shows a nude woman wearing only a mask and gloves with metal fingertips.\u00a0 <\/span>Laid into this copy is a prospectus for this limited edition of 1,500 copies.\u00a0 <\/span>Fine condition, in a rubbed jacket.\u00a0 <\/span>$500<\/p>\n

77.\u00a0 <\/span>PARKEHARRISON, Robert.\u00a0 <\/span><\/b>The Architect\u2019s Brother<\/i>, Santa Fe, New Mexico: Twin Palms, 2000.\u00a0 <\/span>Hardcover (black-stamped black cloth with mounted reproduction), 13 \u00be x 11 \u00bc inches, unpaginated, full-color illustrations, slipcase.\u00a0 <\/span>Signed.<\/p>\n

This book includes selections from seven of ParkeHarrison\u2019s earliest successful series, dating from 1993 to 2000 ; \u201cThe Architect\u2019s Brother,\u201d \u201cCardboard Sky,\u201d \u201cWitnessland,\u201d \u201cExhausted Globe,\u201d \u201cIndustrial Land,\u201d \u201cPromisedland,\u201d and \u201cEarth Elegies.\u201d\u00a0 <\/span>These highly fabricated images generally show the photographer himself (?) interacting with nature and primitively made mechanical devices.\u00a0 <\/span>They suggest, in varying degrees, fantasy, dreams, experi-mentation, and Armageddon.\u00a0 <\/span>Printed in an edition of 4,000 copies, 150 of which were numbered, signed, and slip cased (this one 125\/150).\u00a0 <\/span>Fine condition, in opened shrink wrap.\u00a0 <\/span>$500<\/p>\n

78.\u00a0 <\/span>PARKER, Fred R.<\/b> Attitudes: Photography in the 1970\u2019s<\/i>, Santa Barbara Museum of Art, 1979.\u00a0 <\/span>Softcover with plastic spiral binding, 11 \u00bc x 9 \u00bc inches, unpaginated, halftone illustrations, sheet of 20 color slides and pieces of original art, with ephemera.\u00a0 <\/span>Signed.<\/p>\n

This 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.\u00a0 <\/span>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.\u00a0 <\/span>The latter is a unique page extracted from a popular magazine (Vogue<\/i>,\u00a0 <\/span>in this case) over which Heinecken printed (on both sides) the grizzly image of a Vietnamese soldier holding two severed human heads.\u00a0 <\/span>Laid into this copy is a 1982 typed and signed letter from curator Fred R. Parker.\u00a0 <\/span>Printed in an edition of 1,000 copies, all of which were numbered and signed by Parker; this one is #827. The fragile covers have minor wear along the edges and a spot on the back.\u00a0 <\/span>$650<\/p>\n

79.\u00a0 <\/span>PARKS, Gordon. <\/b> Harlem: Gordon Parks<\/i>, Toronto: Lumiere Press, 1997. Hardcover (tan cloth and black-stamped gray paper over boards, with paper label on spine), 9 \u00bc x 6 \u00bc inches, 54 pages, 4 duotone illustrations and gelatin silver print, with ephemera.<\/p>\n

One of the Lumiere Press\u2019 \u201cHomage\u201d series, issued without a dustjacket, nicely designed and printed in letterpress.\u00a0 <\/span>It focuses on two of Parks\u2019 Life<\/i> magazine photo essays; one on a Harlem gang leader (1948) and the other a Harlem family (1968).\u00a0 <\/span>Publisher Michael Torosian interviews the photographer, who discusses the evolution and production of the essays and his interaction with the subjects.\u00a0 <\/span>The high-quality illustrations are tipped in, as is the frontispiece self-portrait, a silver print made from a copy negative.\u00a0 <\/span>This copy is numbered 105\/200, in the limited edition.\u00a0 <\/span>Laid in is a prospectus and order form for the book.\u00a0 <\/span>Fine condition, in original plastic sleeve.\u00a0 <\/span>$500<\/p>\n

80.\u00a0 <\/span>ROTH, Andrew.<\/b>\u00a0 <\/span>The Book of 101 Books: Seminal Photographic Books of the Twentieth Century<\/i>, New York: PPP Editions, 2001.\u00a0 <\/span>Hardcover (gray-stamped gray cloth), 12 x 9 \u00be inches, 308 pages, halftone illustrations (some in color), dustjacket.<\/p>\n

An important scholarly study of the subject, handsomely designed and printed.\u00a0 <\/span>It begins with The North American Indian<\/i> (volume one, 1907) by Edward S. Curtis and ends with David LaChapelle\u2019s LaChapelle Land<\/i> (1996).\u00a0 <\/span>Among the other photographers represented are Edward Weston, Walker Evans, William Eggleston, Larry Clark, and Susan Meiselas.\u00a0 <\/span>Features essays by Richard Benson, Jeffrey Fraenkel, Daido Moriyama, and others.\u00a0 <\/span>Mint condition, in shrink wrap.\u00a0 <\/span>$500<\/p>\n

81.\u00a0 <\/span>RUSCHA, Edward.\u00a0 <\/span><\/b>Various Small Fires and Milk<\/i>, Los Angeles: Edward Ruscha, 1964 (second edition, 1970).\u00a0 <\/span>Softcover, 7 x 5 \u00bd inches, unpaginated, 16 halftone illustrations.<\/p>\n

The fires include a candle, a cigarette, a gas stove burner, and others, all rendered in yellow duotone.\u00a0 <\/span>However, the sole glass of milk, at the end, is seen in straight black and white.\u00a0 <\/span>Near fine condition, in glassine that is chipped, browned, and missing a tiny piece on the spine.\u00a0 <\/span>$500<\/p>\n

82.\u00a0 <\/span>RUSCHA, Edward.\u00a0 <\/span><\/b>Every Building on the Sunset Strip<\/i>, Los Angeles: Edward Ruscha, 1966 (second printing).\u00a0 <\/span>Softcover, 7 \u00bc x 5 \u00be inches, unpaginated accordion-style pages, halftone illustrations, original silver slipcase.\u00a0 <\/span>Signed.<\/p>\n

As the title describes, on both sides of the street, printed bottom to bottom.\u00a0 <\/span>Ruscha\u2019s most influential book, spawning hundreds of take-offs, which he gleefully embraced (rather than trying to suppress through legal action).\u00a0 <\/span>This copy signed by Ruscha.\u00a0 <\/span>Spine slightly wrinkled and light wear to two inches along bottom of slipcase.\u00a0 <\/span>$2,500<\/p>\n

83.\u00a0 <\/span>RUSCHA, Edward.\u00a0 <\/span><\/b>Royal Road Test<\/i>, Los Angeles: Edward Ruscha, 1967 (third edition, 1971).\u00a0 <\/span>Softcover (spiral bound), 9 \u00bd x 6 \u00bc inches, unpaginated, halftone illustrations.<\/p>\n

Collaborating with Mason Williams and Patrick Blackwell, Ruscha documents the results of tossing a Royal typewriter from a car traveling at 90 miles-per-hour.\u00a0 <\/span>Most of the images are close-ups of mangled pieces of the contraption along the side of a highway in Nevada.\u00a0 <\/span>Perhaps they should perform an updated version with a laptop computer.\u00a0 <\/span>Previous owner\u2019s wet stamp (photographer Betty Hahn), tiny edgewear and scuffing to covers.\u00a0 <\/span>$500<\/p>\n

84.\u00a0 <\/span>RUSCHA, Edward.\u00a0 <\/span><\/b>Nine Swimming Pools and a Broken Glass<\/i>, Los Angeles: Edward Ruscha, 1968 (second edition, 1976).\u00a0 <\/span>Softcover, 7 x 5 \u00bd inches, unpaginated, 10 color halftones.<\/p>\n

Contains 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.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$500<\/p>\n

85.\u00a0 <\/span>RUSCHA, Edward.\u00a0 <\/span><\/b>Real Estate Opportunities<\/i>, 1970.\u00a0 <\/span>Softcover, 7 x 5 \u00bd inches, 48 pages, 25 halftone illustrations.\u00a0 <\/span>Signed.<\/p>\n

Here 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.\u00a0 <\/span>They were all in the Los Angeles area and are identified by street address.\u00a0 <\/span>This copy signed by Ruscha.\u00a0 <\/span>Fine condition, in glassine with browned spine, one chip, and two tears.\u00a0 <\/span>$1,500<\/p>\n

86.\u00a0 <\/span>RUSCHA, Edward.\u00a0 <\/span><\/b>Edward Ruscha (Ed-werd Rew-shay) Young Artist<\/i>, Minneapolis Institute of Arts, 1972.\u00a0 <\/span>Hardcover (printed paper over boards), 4 \u00bd x 3 \u00be inches, 436 pages, halftone illustrations.\u00a0 <\/span>Business card of the curator (signed) and artist laid in; book signed by Ruscha.<\/p>\n

This little publication, issued without a dustjacket, accompanied an exhibition at the museum of Ruscha\u2019s prints, drawings, and books, his first major retrospective.\u00a0 <\/span>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.\u00a0 <\/span>Like them, it consists entirely of newsprint pages and has a thick spine.\u00a0 <\/span>It reproduces images of the artist, works of art, lists of words chosen by Ruscha, and a checklist.\u00a0 <\/span>About 150 of its pages are intentionally blank.\u00a0 <\/span>Printed in an edition of 2,000 copies.\u00a0 <\/span>Unknown to most, both business cards must be present for this item to be complete, as here.\u00a0 <\/span>This copy signed by Ruscha, with Foster\u2019s signed card laid in.\u00a0 <\/span>Free endpapers are beginning to separate (as usual), cover lightly rubbed.\u00a0 <\/span>$500<\/p>\n

87.\u00a0 <\/span>SANDER, August.\u00a0 <\/span><\/b>August Sander: Menschen Ohne Maske<\/i>, Luzern and Frankfurt: Verlag C. J. Bucher, 1971.\u00a0 <\/span>Hardcover (black paper over boards), 12 x 9 inches, 314 pages, 234 screen-gravure illustrations, dustjacket.<\/p>\n

An extensive selection of Sander\u2019s portraits of German types such as farmers, politicians, musicians, and artists.\u00a0 <\/span>Introduction by Golo Mann and biographical text by the photographer\u2019s son, Gunther.\u00a0 <\/span>Text in German.\u00a0 <\/span>Tiny edgewear, in dustjacket that is torn and worn.\u00a0 <\/span>$500<\/p>\n

88.\u00a0 <\/span>SANDER, August.\u00a0 <\/span><\/b>Rheinlandschaften: Photographien, 1929-1946<\/i>, Munich, Germany: Schirmer, Mosel, 1975.\u00a0 <\/span>Hardcover (white paper over boards), 12 \u00be x 10 \u00be inches, 140 pages, 40 duotone and 21 halftone illustrations, dustjacket.<\/p>\n

This oversize book features Sander\u2019s German landscapes.\u00a0 <\/span>Among the subjects are Westerwald, L\u00f6wenburg, and the Rhine River.\u00a0 <\/span>The quality plates end with a set of views of Wolkenburg, made in all four seasons.\u00a0 <\/span>German text by Wolfgang Kemp.\u00a0 <\/span>Near fine, in dustjacket that is lightly sunned.\u00a0 <\/span>$500<\/p>\n

89.\u00a0 <\/span>SANDER, August.\u00a0 <\/span><\/b>August Sander: Menschen des 20. Jahrhunderts: Portraitphotographien, 1892-1952<\/i>, Munich, Germany: Schirmer, 1980.\u00a0 <\/span>Hardcover (silver-stamped black cloth), 11 \u00bd x 9 \u00bc inches, 560 pages, 431 screen-gravure illustrations, dustjacket, slipcase.\u00a0 <\/span>Inscribed by the photographer\u2019s grandson.<\/p>\n

This thick volume is one of the most comprehensive collections of Sander\u2019s German portrait work, with over four hundred high quality gravure repro-ductions.\u00a0 <\/span>They are grouped in the following sections: archetypes, farmers, rural characters, small-town folk, athletes, workers, craftsmen, manufacturers, technicians, mothers and children, families, society ladies, students, scholars, officials, doctors, lawyers, judges, soldiers, aristocrats, clergymen, teachers, businessmen, politicians, artists, writers, actors, architects, painters and sculptors, composers, musicians, circus performers, itinerants, servants, traveling salesmen, handicapped children, and, lastly, Jewish victims of Nazi persecution.\u00a0 <\/span>Major text, in German, by Ulrich Keller.\u00a0 <\/span>This copy with a full-page, playful inscription from Gerd Sander, August\u2019s grandson, dated in the year of publication.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$500<\/p>\n

90.\u00a0 <\/span>SINSABAUGH, Art.\u00a0 <\/span><\/b>6 Mid-American Chants by Sherwood Anderson\/11 Midwest Photographs by Art Sinsabaugh<\/i>, Highlands, North Carolina: Nantahala Foundation, 1964.\u00a0 <\/span>Softcover (spiral binding), 7 \u00bc x 21 \u00bd inches, 48 page, 11 duotone illustrations.<\/p>\n

The significant elongated-format book of panoramas by Sinsabaugh.\u00a0 <\/span>Includes city scenes, landscapes, and ends with 24 cars of a freight train on the Midwestern plains.\u00a0 <\/span>With a note on Anderson\u2019s poetry by Edward Dahlberg and Frederick Eckman\u2019s poem, \u201cTo Sherwood Anderson, in Heaven.\u201d\u00a0 <\/span>The detailed colophon mentions the type of wire binding and that the book was published in an edition of 1,500 copies.\u00a0 <\/span>Cover with mild rubbing and tiny creases to corners, otherwise near fine condition, due to the presence of the original shipping carton.\u00a0 <\/span>$1,000<\/p>\n

91.\u00a0 <\/span>SISKIND, Aaron.\u00a0 <\/span><\/b>The Siskind Variations: A Quartet of Photographs and Contemplations<\/i>, Toronto: Lumiere Press, 1990.\u00a0 <\/span>Hardcover, 9 \u00bc x 6 \u00bc inches, 36 pages, 6 illustrations, with ephemera.<\/p>\n

Orchestrated and edited by Michael Torosian, one of the beautifully designed books from the press\u2019 \u201cHomage\u201d series.\u00a0 <\/span>Text printed letterpress, with four reproductions of Siskind\u2019s work and two silver-print portraits of him tipped in.\u00a0 <\/span>Numbered edition of 190 copies.\u00a0 <\/span>Laid into this copy are both a prospectus and an order form.\u00a0 <\/span>Fine condition.\u00a0 <\/span>$500<\/p>\n

92.\u00a0 <\/span>SMITH, Michael A.\u00a0 <\/span><\/b>Landscapes 1975-1979: Photographs by Michael A. Smith<\/i>, Revere, Pennsylvania: Lodima Press, 1981, two volumes, with ephemera. Signed.<\/p>\n

Volume I<\/i>.\u00a0 <\/span>Hardcover (silver-stamped black cloth with mounted original gelatin silver print), 11 \u00bc x 13 inches, 110 pages, 42 duotone illustrations, mylar dustjacket.\u00a0 <\/span>Includes an introduction by James L. Enyeart and a statement by the photographer, printed in elegant letterpress.\u00a0 <\/span>The highly detailed tipped-in plates were made from 8-x-10-inch negatives.<\/p>\n

Volume II<\/i>.\u00a0 <\/span>Hardcover (silver-stamped black cloth with mounted reproduction), 11 \u00bc x 23 \u00bd inches, 52 pages, 15 duotone illustrations, mylar dustjacket.\u00a0 <\/span>Similar letterpress printing and tipped-in plates, this time made from 8-x-20-inch negatives.<\/p>\n

Originally planned in an edition of one thousand copies, only 600 were realized. Each is signed and numbered; this set is #568.\u00a0 <\/span>It was awarded the best photography book of the year at the Rencontres Internationales de al Photog-raphie (Arles, France).\u00a0 <\/span>Laid in is a handwritten and signed letter from Smith, dated 1999, a prospectus for the book set, and a few other Smith items.\u00a0 <\/span>Both books in fine condition, in original shipping box.\u00a0 <\/span>$1,000<\/p>\n

93.\u00a0 <\/span>SOMMER, Frederick.\u00a0 <\/span><\/b>The Constellations that Surround Us: The Conjunction of General Aesthetics and Poetic Logic in an Artist\u2019s Life<\/i>, Toronto: Lumiere Press, 1992.\u00a0 <\/span>Hardcover (gray cloth with printed label on spine and printed paper over boards), 9 \u00bc x 6 \u00bc inches, 36 pages, 4 gelatin silver prints, with ephemera.<\/p>\n

This elegant book features letterpress printing and four actual photographs made from copy negatives, tipped in.\u00a0 <\/span>Among them are the frontispiece portrait of Sommer by Edward Weston.\u00a0 <\/span>The book is a unique window into the artist\u2019s personal history and thoughts.\u00a0 <\/span>Editor\/printer Michael Torosian interviewed Sommer and presents the artist\u2019s reflections on formative episodes of his life and the philosophy they engendered.\u00a0 <\/span>Printed in a limited edition, this one numbered 61\/200.\u00a0 <\/span>Laid into this copy is a prospectus and order form for the book.\u00a0 <\/span>Fine condition.\u00a0 <\/span>$500<\/p>\n

94.\u00a0 <\/span>SOTH, Alec.\u00a0 <\/span><\/b>Sleeping by the Mississippi, <\/i>Minneapolis: Alec Soth, 2003.\u00a0 <\/span>Hardcover (gold-stamped brown cloth with mounted ink-jet print), 11 x 8 \u00bd inches, 60 pages, 45 color ink-jet illustrations.\u00a0 <\/span>Signed.<\/p>\n

This is the second maquette for what became one of the most revered photography books of the first decade of this century (see next entry).\u00a0 <\/span>Influ-enced by his teacher Joel Sternfeld, Soth ventured up and down the route of the Mississippi River, the main artery of America\u2019s heartbeat.\u00a0 <\/span>Using a large format-camera, he captured solemn landscapes and everyday people.\u00a0 <\/span>Soth hints at tales about marginal and disregarded lives, which give both consequence and dignity to their subjects, creating a contemplative book, full of quiet, lyrical, and poignant pictures.\u00a0 <\/span>The first maquette was less elegant, being spiral bound with plastic covers.\u00a0 <\/span>In 2004 the high-end German publisher Steidl issued the book with a slightly different set of images and format, to universal praise.\u00a0 <\/span>This prototype has original ink-jet prints made by Soth, features the famously misspelled Mississippi on the title page, and is signed and numbered by him (two editions of total of 60 copies).<\/p>\n

Born in 1969, Alec Soth has remained in his native Minneapolis most of his life and is now a member of the Magnum photo agency.\u00a0 <\/span>He worked as a darkroom technician and digital specialist at the Minneapolis Institute of Arts from 1996 until he burst on the international photographic scene in 2004.\u00a0 <\/span>In that year he exhibited at the Whitney and S\u00e2o Paulo Biennials.\u00a0 <\/span>This maquette and the Steidl edition are included in The Photobook: A History, Volume II<\/i> (Martin Parr and Gerry Badger, Phaidon, 2006).\u00a0 <\/span>Fine condition, obtained directly from the photographer.\u00a0 <\/span>$6,500<\/p>\n

95.\u00a0 <\/span>SOTH, Alec.\u00a0 <\/span><\/b>Sleeping by the Mississippi<\/i>, G\u00f6ttingen, Germany: Steidl, 2004.\u00a0 <\/span>Hardcover (black-stamped pictorial cloth), 11 x 11 \u00bd inches, unpaginated, 47 color halftone illustrations.\u00a0 <\/span>First edition, signed.<\/p>\n

This is Soth\u2019s tremendously successful breakout book, issued without a dustjacket.\u00a0 <\/span>Photographed in the straightforward aesthetic of his mentor Joel Sternfeld, Soth essays the ordinary people, humble interiors, and the backwater landscape along the Mississippi River, which appears only peripherally in some of the images.\u00a0 <\/span>With essays by Minnesota author Patricia Hampl and Texas curator Anne W. Tucker.\u00a0 <\/span>A handsome book that has been reprinted twice (with different covers and the second edition mistakenly indicating it\u2019s a first).\u00a0 <\/span>One of the best-known images pictures a man in a flight suit holding two model airplanes; it also appeared on the cover of the book\u2019s second edition and the poster for the 2004 Whitney Biennial.\u00a0 <\/span>This copy signed by Soth on the title page.\u00a0 <\/span>Fine condition.\u00a0 <\/span>$1,250<\/p>\n

96.\u00a0 <\/span>SOTH, Alec.\u00a0 <\/span><\/b>The Last Days of W.<\/i>, St. Paul, Minnesota: Little Brown Mushroom, 2008.\u00a0 <\/span>Softcover, 16 \u00bd x 12 inches, 48 pages, color halftone illustrations.\u00a0 <\/span>With placemat with original photograph, signed.<\/p>\n

Self-published on quality newsprint, this selection of images presents Soth\u2019s take on the American psyche in the final year of George W. Bush\u2019s tenure as President of the United States.\u00a0 <\/span>About half of the pictures were made in Soth\u2019s native Minnesota and further his interest in everyday people and vernacular architecture.\u00a0 <\/span>The newsprint is signed and dated.\u00a0 <\/span>However, this one is from the special edition with placemats, each of which features a digital print of an image of a mockup of the President\u2019s Oval Office desk.\u00a0 <\/span>This copy is numbered 100\/100 and signed by Soth.\u00a0 <\/span>Fine condition.\u00a0 <\/span>$500<\/p>\n

97.\u00a0 <\/span>STEINERT, Otto.\u00a0 <\/span><\/b>Subjektive Fotografie: A Collection of Modern European Photography<\/i>, Bonn, Germany: Br\u00fcder Auer Verlag, 1952.\u00a0 <\/span>Hardcover (gold-stamped cream cloth), 12 x 9 inches, 116 pages, 100 halftone illustrations.<\/p>\n

<\/b>Accompanied the first of two influential exhibitions of modern photography.\u00a0 <\/span>Includes essays by Dr. Steinert, Franz Roh on \u201cThe Imaginative Range of Photography,\u201d and another scholar.\u00a0 <\/span>Among the contributing photographers are Herbert Bayer, Christer Christian (great name, huh?) Heinz Hajek-Halke, Man Ray, L\u00e1szl\u00f3 Moholy-Nagy, and Steinert.\u00a0 <\/span>All text trilingual in German, French, and English.\u00a0 <\/span>Steinert (1915-1978) was a leading German photographer and professor in the 1950s and sixties.\u00a0 <\/span>While his own work was technically and artistically accomplished in the tradition of the New Objectivity, he is perhaps best remembered for organizing the two exhibitions \u201cSubjektive Fotografie\u201d in the 1950s.\u00a0 <\/span>Folds to caption page and first two pages.\u00a0 <\/span>Near fine condition, with light ink loss to spine, lacking the dustjacket.\u00a0 <\/span>$500<\/p>\n

98.\u00a0 <\/span>STERNFELD, Joel.\u00a0 <\/span><\/b>American Prospects<\/i>, New York: Times Books, 1987.\u00a0 <\/span>Hardcover (blind and silver-stamped gray cloth), 10 \u00bc x 12 inches, unpaginated, 54 color illustrations, with ephemera.\u00a0 <\/span>Signed.<\/p>\n

This important and influential book comprises Sternfeld\u2019s look at the American landscape and urban scenes, from the 1970s to early eighties.\u00a0 <\/span>With wit and discovery he surveys both the mundane and the exalted.\u00a0 <\/span>The now famous image of a fireman choosing a pumpkin while a farmhouse burns in the background appears on the cover.\u00a0 <\/span>With an introduction by critic Andy Grundberg and an afterword by curator Anne W. Tucker.\u00a0 <\/span>Indicative of its stature, American Prospects<\/i> appears in both Andrew Roth\u2019s The Book of 101 Books: Seminal Photographic Books of the Twentieth Century<\/i> and Parr and Badger\u2019s The Photobook: A History<\/i>.\u00a0 <\/span>This copy is inscribed by both Sternfeld and Tucker and dated in the year of publication.\u00a0 <\/span>In addition, an invitation to the accompanying exhibition at the Museum of Fine Arts, Houston, is laid in, making for a fabulous package.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$1,500<\/p>\n

99.\u00a0 <\/span>STRAND, Paul.\u00a0 <\/span><\/b>Claude Roy, La France de Profil<\/i>, Lausanne, Switzerland: \u00c9ditions Clairefontaine, 1952.\u00a0 <\/span>Softcover, 11 x 8 \u00be inches, 128 pages, screen-gravure illustrations, dustjacket.<\/p>\n

This is French poet Claude Roy\u2019s and Strand\u2019s sensitive evocation of small-town and rural life in France at the middle of the twentieth century.\u00a0 <\/span>It features photographs of people, architecture, and the landscape, richly rendered in gravure.\u00a0 <\/span>Roy\u2019s text sometimes reproduces his handwriting and becomes a playful graphic design element.\u00a0 <\/span>Text in French.\u00a0 <\/span>This book was produced in two nearly identical editions, apparently printed at the same time.\u00a0 <\/span>One was published by La Guilde du Livre as a book club title, in a machine-numbered edition of about 10,000.\u00a0 <\/span>The other was issued by Editions Clairefontaine and made available to the general public (not numbered).\u00a0 <\/span>The dustjacket has light edge wear.\u00a0 <\/span>$500<\/p>\n

100.\u00a0 <\/span>STRAND, Paul.\u00a0 <\/span><\/b>Cesare Zavattini, Un Paese<\/i>, Italy: Giulio Einaudi, 1955.\u00a0 <\/span>Hardcover (red and black-stamped cream cloth), 11 \u00bd x 9 \u00bc inches, 106 pages, screen-gravure illustrations, dustjacket.<\/p>\n

Strand and Zabattini\u2019s sensitive evocation of rural life in Italy.\u00a0 <\/span>Most of the photographs are straightforward but insightful portraits, and Strand also turned his camera on a room full of new hats, a staircase, empty milk cans, tools, firewood, and fields.\u00a0 <\/span>Rich gravure illustrations, with the famous \u201cLusetti Family\u201d image on the cover.\u00a0 <\/span>Text in Italian.\u00a0 <\/span>Near fine, in dustjacket with a little sunning, tiny edgewear, and a few tears.\u00a0 <\/span>$500<\/p>\n

101.\u00a0 <\/span>STRAND, Paul.\u00a0 <\/span><\/b>Naomi Rosenblum, Orgeval<\/i>, Toronto: Lumiere Press, 1990.\u00a0 <\/span>Hardcover (brown cloth spine with mounted paper label and printed paper over boards), 9 \u00bc x 6 \u00bc inches, 36 pages, 2 halftone illustrations and 2 tipped-in copy silver prints.<\/p>\n

This is one of the early titles in the Lumiere Press\u2019 \u201cHomage\u201d series.\u00a0 <\/span>It is beautifully printed in letterpress and features a frontispiece portrait of Strand and his image \u201cBird on the Edge of Space\u201d as actual photographs.\u00a0 <\/span>Rosenblum provides a remembrance of the photographer and Strand contributed text from his diaries at Orgeval, France.\u00a0 <\/span>This is copy 129\/200.\u00a0 <\/span>Additionally, signed by Rosenblum and with the original prospectus and order form (letterpress printed) laid in.\u00a0 <\/span>Fine condition, in original plastic sleeve.\u00a0 <\/span>$500<\/p>\n

102.\u00a0 <\/span>SUDEK, Josef. <\/b> Lubomir Linhart, Josef Sudek: Fotografie<\/i>, Prague, Czechoslovakia: St\u00e1tn\u00ed Nakladatelstv\u00ed Kr\u00e1sn\u00e9 Literatury, Hudby a Um\u00e9n\u00ed, 1956.\u00a0 <\/span>Hardcover (black-stamped cream cloth), 9 \u00bd x 6 \u00be\u00a0 <\/span>inches, unpaginated, 232 screen-gravure illustrations, dustjacket, with ephemera.<\/p>\n

This dense book features Linhart\u2019s text and a rich selection of images, made between 1915 and 1954 and printed in high-quality gravure, by the Czech Republic\u2019s most famous photographer.\u00a0 <\/span>Features his landscapes, portraits, still lifes, cityscapes, and a few fold-out panoramas.\u00a0 <\/span>The cloth and dustjacket sport Sudek\u2019s name nicely designed in a block of modernist type.\u00a0 <\/span>This title was actually a book-club item, not available in stores, and printed in the surprisingly large edition of thirty thousand copies.\u00a0 <\/span>Nonetheless, it is not common in the West and remains the most preferred book on him.\u00a0 <\/span>Laid into this copy is an original book club slip.\u00a0 <\/span>Bottom of spine lightly bumped, in the fragile dustjacket that is darkened, edge worn, and torn.\u00a0 <\/span>$500<\/p>\n

103.\u00a0 <\/span>TILLMAN, Ulrich, and Wolfgang Vollmer.<\/b>\u00a0 <\/span>Meisterwerke der Fotokunst<\/i>, Colgne, Germany: Weinend Verlag, 1985.\u00a0 <\/span>Hardcover (gold-stamped red cloth with mounted reproduction), 8 \u00bd x 5 \u00be inches, 104 pages, halftone illustrations (a few in color), slipcase.\u00a0 <\/span>Signed.<\/p>\n

This is a sendup on collecting fine-art photographs, in which Tillman and Vollmer allegedly find unknown predecessors to iconic images.\u00a0 <\/span>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, Kert\u00e9sz, Man Ray, Penn, Warhol, Mapplethorpe, and others.\u00a0 <\/span>Includes text by the \u201ccollectors,\u201d Friedrich Heubach, and L. Fritz Gruber, who writes on \u201cOutranked Master-pieces.\u201d\u00a0 <\/span>Glassine envelope pasted in with a sliver 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\u00a0 <\/span>The numbered edition of 1,000 is signed by the two authors.\u00a0 <\/span>Fabulously funny for those who know the history of photography.\u00a0 <\/span>Bilingual text in German and English.\u00a0 <\/span>Near fine condition, except for two scuffs to back of slipcase.\u00a0 <\/span>$750<\/p>\n

104.\u00a0 <\/span>VAN DER ELSKEN, Ed.\u00a0 <\/span><\/b>De Ontdekking Van Japan<\/i>, Amsterdam: Fragment Uitgeverij, 1988.\u00a0 <\/span>Hardcover (red and blind-stamped gray cloth), 12 x 12 inches, 176 pages, screen-gravure illustrations, dustjacket and booklet.<\/p>\n

Van Der Elksen\u2019s gritty look at Japan, reminiscent in its style and layout of William Klein\u2019s book on Tokyo.\u00a0 <\/span>After a one-page introduction, the images bleed off the pages and are identified in a separate section with captions.\u00a0 <\/span>Includes the accompanying booklet Ratatouille Japonica<\/i>.\u00a0 <\/span>Text in Dutch.\u00a0 <\/span>Van Der Elsken\u00a0 <\/span>(1925-1990) was a leading photographer and filmmaker in the Netherlands.\u00a0 <\/span>Working from World War II to the 1970s, he essayed European love, sex, art, music, and alternative culture.\u00a0 <\/span>He illustrated over twenty books, including Love on the Left Bank<\/i>, his first and most influential one.\u00a0 <\/span>Light cockling to top of pages.\u00a0 <\/span>$500<\/p>\n

105.\u00a0 <\/span>WEBER, Bruce.\u00a0 <\/span><\/b>O Rio de Janeiro<\/i>, New York: Alfred A. Knopf, 1986.\u00a0 <\/span>Softcover, 14 \u00bd x 11 inches, unpaginated, 130 halftone illustrations.<\/p>\n

Weber\u2019s oversize ode to the great Brazilian city of Rio, issued only in soft.\u00a0 <\/span>It pictures mostly attractive young men and women, on the beach and enjoying the city\u2019s energetic night life.\u00a0 <\/span>Features some gatefolds and drawings by Richard Giglio.\u00a0 <\/span>Minor edgewear and spotting to covers.\u00a0 <\/span>$500<\/p>\n

106.\u00a0 <\/span>WEEGEE.\u00a0 <\/span><\/b>Naked City<\/i>, New York: Essential Books, 1945.\u00a0 <\/span>Hardcover (blue-stamped gray cloth), 9 \u00bd x 6 \u00bd inches, 246 pages, screen-gravure illustrations.\u00a0 <\/span>Signed.<\/p>\n

This is Weegee\u2019s first and most fully realized photobook, considered by many to be his masterpiece.\u00a0 <\/span>He shows the people, street life, crime, joy, and mayhem of his New York, from Harlem to Park Avenue, in richly printed, mostly nocturnal images.\u00a0 <\/span>The photographer also provides sectional text and captions.\u00a0 <\/span>In his introduction, he explained that he found the time to put together the book because, \u201cThere was a sudden drop in Murders and Fires (my two best sellers, my bread and butter).\u00a0 <\/span>I couldn\u2019t understand that.\u00a0 <\/span>With so many millions of people, it just wasn\u2019t normal, but it did give me a chance to look over the pictures I had been accumulating.\u201d<\/p>\n

This copy is inscribed to Jane Bell Edwards, dated 1946 (the year after publication), and signed by Weegee, in ink on the title page.\u00a0 <\/span>Most interestingly, Edwards, a Chicago amateur photographer, wrote (in pencil) extensive comments in the book.\u00a0 <\/span>She fills nearly two previously blank pages with notes she made after a lecture Weegee gave at Chicago\u2019s Institute of Design on July 22, 1946.\u00a0 <\/span>She recounts him saying, \u201cYou are doing an editor a favor by showing him your pics.\u00a0 <\/span>Don\u2019t be afraid to go to magazines with them.\u00a0 <\/span>It took him [Weegee] a year to crack Life<\/i>.\u00a0 <\/span>When people ask you what paper you are with, tell them anything.\u201d\u00a0 <\/span>He made some technical recommendations, but primarily spoke about working with subjects, the police, and editors.\u00a0 <\/span>Edwards recounts Weegee\u2019s comments about the cost, making, and eventual success of the book: \u201cIt has sold to date about 25,000 copies at $4.00 and the publisher and Weegee are doing nicely.\u201d\u00a0 <\/span>In addition, she covers a bit of the photographer\u2019s biography and his comments about 20 specific images in the book, including \u201cThe Critic.\u201d<\/p>\n

The covers and pages are cockled, with small remnants of paper attached to back cover, lacking dustjacket.\u00a0 <\/span>However, despite its condition, the marginalia (most of it after Weegee\u2019s own words) makes this a desirable and unique item.\u00a0 <\/span>$500<\/p>\n

107.\u00a0 <\/span>WEST, Larry J., and Patricia A. Abbott.<\/b>\u00a0 <\/span>Antique Photographic Jewelry: Tokens of Affection and Regard<\/i>, New York: West Companies, 2005.\u00a0 <\/span>Hardcover (printed and padded paper over boards), 12 \u00bc x 9 \u00bc inches, 256 pages, halftone illustrations (some in color), dustjacket, gilded edges.\u00a0 <\/span>Signed.<\/p>\n

This is a large-format and in-depth study of photographic jewelry, certainly authoritative.\u00a0 <\/span>The text covers all aspect of the subject: portrait miniatures; American folk art; decorative, functional, and commemorative uses; domestic and European differences; accessories; privacy; the industry; and identification, collecting, and research.\u00a0 <\/span>Apparently produced in a limited number of copies; this one is warmly inscribed by West.\u00a0 <\/span>Fine condition, in opened shrink wrap.\u00a0 <\/span>$500<\/p>\n

108.\u00a0 <\/span>WESTON, Brett.\u00a0 <\/span><\/b>Merle Armitage, Brett Weston Photographs<\/i>, New York: E. Weyhe, 1956.\u00a0 <\/span>Hardcover (black cloth), 13 \u00bc x 11 inches, 104 pages, 28 duotone illustrations, dustjacket.\u00a0 <\/span>Signed.<\/p>\n

This was the first major monograph on Brett Weston, with text by the great designer Merle Armitage.\u00a0 <\/span>It\u2019s an oversize production, with letterpress text and largescale reproductions on heavy, glossy stock.\u00a0 <\/span>The images are primarily landscapes from the 1950s, but \u201crange without limit in the subject matter, from the most evanescent subtleties through every nuance to the powerful mutations of nature and the monuments of men.\u201d\u00a0 <\/span>This copy is signed twice, once on the dedication page and then inscribed to \u201cmy good friend Fred\u201d (dated 1982).\u00a0 <\/span>This was Fred W. Parker, the first director of the Friends of Photography, thus an important association copy.\u00a0 <\/span>Previous owner\u2019s name on flap, small stain to outer page edges, with light edgewear to cloth, in a dustjacket that has a small stain, rubbing, and edgewear.\u00a0 <\/span>$2,500<\/p>\n

109.\u00a0 <\/span>WESTON, Edward.\u00a0 <\/span><\/b>Edward Weston<\/i>, New York: E. Weyhe, 1932.\u00a0 <\/span>Hardcover (white and black paper over boards), 13 \u00be x 10 \u00bd inches, 90 pages, 39 halftone illustrations.\u00a0 <\/span>Signed.<\/p>\n

The first monograph on Edward Weston, edited and designed by the great Merle Armitage.\u00a0 <\/span>Features largescale reproductions of the first ten years of Weston\u2019s career.\u00a0 <\/span>Text contributed by Armitage, Charles Sheeler, Lincoln Stefffens, Arthur Millier, Jean Charlot, and Weston himself.\u00a0 <\/span>The edition was limited to 550 numbered copies (this one #428), all boldly signed by Weston.\u00a0 <\/span>Light wear and rubbing to cover, lacking the slipcase.\u00a0 <\/span>$4,000<\/p>\n

110.\u00a0 <\/span>WESTON, Edward.\u00a0 <\/span><\/b>Edward Weston: Dedicated to Simplicity<\/i>, Toronto: Lumiere Press, 1986.\u00a0 <\/span>Hardcover (brown cloth spine with label and gray paper over boards), 9 \u00bc x 6 \u00bc inches, 24 pages, 3 tipped-in silver prints.<\/p>\n

This was the first of the Lumiere Press\u2019 elegant little monographs dedicated to master photographers.\u00a0 <\/span>The silver prints are from copy negatives, one by Weston and two portraits of him.\u00a0 <\/span>The text is letterpress printed, and the book limited to 150 numbered copies (this one #75).\u00a0 <\/span>Includes a reminiscence by son, Cole.\u00a0 <\/span>Fine condition.\u00a0 <\/span>$500<\/p>\n

111.\u00a0 <\/span>WHITE, Minor.\u00a0 <\/span><\/b>Mirrors Messages Manifestations<\/i>, Millerton, New York: Aperture, 1969.\u00a0 <\/span>Hardcover (blue-stamped white cloth), 12 \u00bc x 12 inches, 244 pages, halftone illustrations, dustjacket.<\/p>\n

White\u2019s magnum opus picture book, comprising many of his sequences, such as the 1959 \u201cSound of One Hand Clapping.\u201d\u00a0 <\/span>It \u201cis a testament, a penetrating synthesis of work and image revealing the development of sight and insight, the progression of consciousness within and without.\u00a0 <\/span>As photographer and poet, artist, and philosopher, graced with creative power often seemingly wholly other, Minor White offers documents of his attendance to the profane and sacred, his veritable destined service to share with us realizations of the correspondences between perception and revelation, the harmonies of created and creator.\u201d\u00a0 <\/span>Includes the pamphlet with comments by Beaumont Newhall, Peter C. Bunnell, Barbara Morgan, Ansel Adams, and a few others.\u00a0 <\/span>Near fine condition, in dustjacket with a few small chips.\u00a0 <\/span>$500<\/p>\n

112.\u00a0 <\/span>WINOGRAND, Garry.\u00a0 <\/span><\/b>Women are Beautiful<\/i>, New York: Farrar, Straus and Giroux, 1975.\u00a0 <\/span>Hardcover (silver-stamped black cloth), 8 \u00bc x 9 \u00bc inches, unpaginated, halftone illustrations, dustjacket, with ephemera.<\/p>\n

Winogrand\u2019s important book, which drew feminist criticism for its title and voyeuristic outlook (in some people\u2019s eyes).\u00a0 <\/span>The renowned social-landscape photographer captures women largely walking down the street, often through a tilted viewfinder.\u00a0 <\/span>The book begins (on the cover) and ends with the same, now iconic, image of a woman with an ice cream cone throwing her head back in laughter.\u00a0 <\/span>Laid into this copy is the publisher\u2019s press release for the book, calling it \u201can eloquently erotic statement from one of America\u2019s foremost photog-raphers.\u201d\u00a0 <\/span>Near fine condition, in lightly rubbed dustjacket with a tiny tear at top of spine.\u00a0 <\/span>$1,000<\/p>\n

113.\u00a0 <\/span>WITKIN, Joel-Peter.\u00a0 <\/span><\/b>Joel-Peter Witkin<\/i>, Pasadena, California: Twelvetrees Press, 1985.\u00a0 <\/span>Hardcover (blind-stamped black cloth), 12 x 12 inches, unpaginated, duotone illustrations, slipcase.\u00a0 <\/span>Signed.<\/p>\n

This was the first monograph on Witkin, printed in Switzerland in an edition of 4,000 copies.\u00a0 <\/span>It features his earliest successful body of work, made between 1975 and 1984, and includes \u201cWomen Breastfeeding an Eel\u201d and \u201cWoman Masturbating on the Moon.\u201d\u00a0 <\/span>The Bosch-like images are variously horrific, explicit, and challenging.\u00a0 <\/span>The artist, contrary to appearances, is methodical and deliberate in the making of his photographs, often inspired by masterpiece paintings and making preparatory drawings (two of which are reproduced here).\u00a0 <\/span>Acknowledging the unusual nature of most of his models, he incudes an appeal to some specific types to help him make future photographs, such as pre-op transsexuals, people with tails or missing or additional limbs, and \u201call manner of extreme visual perversions.\u201d\u00a0 <\/span>The book and pictures are not for the faint hearted.\u00a0 <\/span>This special edition copy is signed and numbered (79\/100), housed in a slipcase.\u00a0 <\/span>Absolutely fine condition, in slipcase with opened shrink wrap.\u00a0 <\/span>$1,000<\/p>\n

In Catalog 13, we have 113 of the more important, significant, and costly ($$$) books in my inventory.\u00a0 <\/span>But just as you cannot judge a book by its cover, you also can\u2019t appraise its aesthetic value by its price.\u00a0 <\/span>I am happy to offer a discount on purchases of two or more titles.<\/p>\n

All items are subject to prior sale.\u00a0 <\/span>Customers known to me will be invoiced.\u00a0 <\/span>Others add shipping ($5 for each book within the U.S.) and write your check to \u201cChristian Peterson.\u201d\u00a0 <\/span>Books may be returned within ten days, with prior notice and if received in the condition sent.\u00a0 <\/span>I am always interested in hearing about specific books, photographers, or topics that you are seeking, and also any items you may wish to sell.<\/p>\n

Catalog 13
\nOctober 2016<\/p>\n","protected":false},"excerpt":{"rendered":"

1.\u00a0 ADAMS, Ansel.\u00a0 Ansel Adams: Images, 1923-1974, Boston: New York Graphic Society, 1974.\u00a0 Hardcover (gold-stamped black and gray cloth), 14 \u00bc x 17 \u00bc inches, 128 pages, duotone illustrations, dustjacket, in original slipcase, with ephemera.\u00a0 Signed. \u00a0 This largescale book includes an introduction by Adams, a foreword by Wallace Stegner, and many high-quality illustrations.\u00a0 A […]<\/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\/305"}],"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=305"}],"version-history":[{"count":1,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/305\/revisions"}],"predecessor-version":[{"id":580,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/305\/revisions\/580"}],"wp:attachment":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/media?parent=305"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}