This is my second catalog. The first one, \u201cMiscellaneous,\u201d included a general selection from my existing stock. This one commences my more focused listings, and features three of America\u2019s kingpin photographers from the twentieth century: Walker Evans, Robert Frank, and Lee Friedlander. Closely associated in subject and sensibility, they represent three generations of street photographers and are among my personal favorites. Within the section on each photographer, the books are arranged chronologically, except for subsequent editions of the same title, which follow the first. I am happy to send images of the original photographs or other items, upon request.<\/p>\n
I expect my next catalog to address pictorial photography, that first movement of artistic photography, which started in the late nineteenth century and continued into the 1950s. Naturally, 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
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\u00a0<\/strong><\/p>\n Beals\u2019s expos\u00e9 on Cuba\u2019s struggles for independence; the tangled relationship between its government, American financiers, and the U. S. State Department, plus the life of everyday Cubans of all classes. Evans, on his first major commission, focuses on the street life of vendors, families, laborers, and newsboys. But for punch, he throws in a few newspaper photographs of fatal victims of political violence. Missing the rare dustjacket, light rubbing to covers and top and bottom of spine, and tape residue on the title and copyright pages. $125<\/p>\n \u00a0<\/strong><\/p>\n This was Evans\u2019s first contribution to Fortune<\/em>, over a decade before he became a staff photographer for the magazine. It comprises images of American Communists camping, swimming, and eating, individually and in groups. Spine is browned and wracked, and the cover edges show light wear. Entire issue: $35<\/p>\n <\/p>\n 9 x 8 inches, 204 pages, 87 halftone illustrations, dustjacket.<\/p>\n Evans\u2019s masterpiece and one of the most important photography books of the twentieth century. 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. The second section, nearly bereft of people, reads like a catalog of vernacular architecture, one of Evans\u2019s dearest subjects, with the buildings often approached in his formal, frontal manner. 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. 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. $500<\/p>\n <\/p>\n 9 x 8 inches, 204 pages, 87 halftone illustrations.<\/p>\n Same as the above, but without the dustjacket and not water damaged. Errata slip pasted in. Previous owner\u2019s stamp on the front free-end paper, light foxing to the first few and last few blank pages, the covers have light scratches and light wear to the tips and top and bottom of the spine, with the spine label darkened and a little worn at two corners. $750<\/p>\n <\/p>\n This is the first reprint of American Photographs<\/em>, issued because of increased interest in the long out-of-print original. The same printing plates were used for the illustrations but the book\u2019s 1962 date, confusingly, does not appear in it. The major changes were an added foreword by Monroe Wheeler, captions appearing opposite the images (rather than listed separately), and a different dustjacket, with an image on the front (unlike the first that featured text only). Printed in an edi-tion of 4,000. Previous owner\u2019s signature on front free-end paper, cloth rubbed, tops of pages spotted, dustjacket rubbed, chipped, and torn in a few places. $350<\/p>\n <\/p>\n This third edition of the title appeared in the year of Evans\u2019s death and after the book had gone out of copyright. It is the most pedestrian of them, due to it being issued in softcover and the illustrations being mere reproductions from a copy of the original book. A few minor nicks to cover edge and original price marked over. $75<\/p>\n This fiftieth-anniversary edition of the book most closely replicates the original and provides the highest quality illustrations, as duotones that are much better than the single-impression letterpress reproductions of the first. Includes an essay by MOMA curator Peter Galassi that details the differences in the four editions (all offered here). Near fine condition. $75<\/p>\n <\/p>\n This was a defining book for Evans, Agee, and the Great Depression. The writer and photographer were originally commissioned by Fortune<\/em> to document poor Southern sharecroppers, but the magazine never ran the project. 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. Agee\u2019s extensive text is often in the hard-to-read stream-of-consciousness mode. Evans\u2019s photographs, on the other hand, are sharp and searing. Notably, his portfolio of images is placed even before the title page, signifying its importance beyond merely illustrating the text. The pictures essay three main families, each group introduced by a portrait of the husband\/father. Includes the poignant portrait of Allie Mae Burroughs, tight-lipped, modestly dressed, and backed by raw clapboard siding. 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. $3,500<\/p>\n \u00a0<\/strong><\/p>\n This is the first reprint and most common edition of the above, produced after Agee had won the Pulitzer Prize. It features twice as many pictures by Evans, with better halftones, most of the added ones being additional Southern subjects like vernacular architecture, unrelated to the three sharecropper families emphasized in the first edition. The dustjacket was redesigned, dropping the photographic background of the original for plain gray, and with portraits of Agee and Evans on the back. Light edgewear to the spine and bottom tips, the dustjacket is lightly soiled, darkened, and worn along the edges, with previous owner\u2019s signature on the front free-end paper. $50<\/p>\n \u00a0<\/strong><\/p>\n This is the third printing of the 1960 reissue. The top of the paper edges have light spotting, the price-clipped dustjacket is darkened and lightly edge worn and torn. $35<\/p>\n <\/p>\n Appealing to the growing audience for the book, this appears to be the initial paperback edition of Let Us Now Praise Famous Men<\/em>, as it states: \u201cFirst Printing: April, 1966.\u201d It is reduced in size, the text appears on newsprint (now yellowed), and the illustrations are quite muddy. Two small spots on the creased spine, with rubbed and creased covers. $25<\/p>\n <\/p>\n Yet another edition of the 1960 hardcover reissue. It seems to be identical except for the 1969 copyright renewal notice. Near fine in a dustjacket that has a few marks and scratches. $35<\/p>\n <\/p>\n Newspaperman Bickel tells the story of the West Coast of Florida\u2014its history, wildlife, cities, landscape, and inhabitants. Evans\u2019s photographs are relegated to the tail end of the book and given minimal captions. It represents one of his less-inspired projects, perhaps because he was never a landscape photographer. He is at his best in an auto graveyard and at a postcard rack, where his unique take on Americana remains on display. Lacking the dustjacket, with slight darkening along the spine. $250<\/p>\n <\/p>\n Covers a company in a small town near Hartford that specializes in making machetes for export to Latin America. Evans photographed the Collins Company\u2019s buildings, workers, and executives. Among the over dozen machetes displayed, in catalog fashion, are those used on coffee, rubber, sugar-cane, and banana plantations, in Mexico, Columbia, and other countries. Spine lightly wracked, with a few small creases to the back cover. Entire issue: $35<\/p>\n <\/p>\n Evans stationed himself in downtown Detroit, where he took photographs of people striding past him on the street, against a plain background. His subjects were largely men in worker\u2019s clothes who were unaware of his camera. Also included are one man in a tie smoking a cigar and a young couple in slightly better attire. Covers lightly browned, one corner and bottom of spine bumped and torn. Entire issue: $35<\/p>\n <\/p>\n This article features Paducah, Kentucky, and its Sun Democrat<\/em>. Evans provides portraits of the father\/son owners, but succeeds best at showing the town\u2019s downtown streets, with pedestrians and signage (one of his favorite subjects). Wracked spine, with the top and bottom bumped. Entire issue: $35<\/p>\n <\/p>\n The text examines the slump on Wall Street, despite booming business. Evans provides images primarily of facades along the street, some with strong shadow areas and dramatic lighting. The smallest and most poetic of them depicts Trinity Church in the distance, beyond the statue of George Washington in front of the New York Stock Exchange. Spine loose, wrinkled and slightly torn. Entire issue: $35<\/p>\n <\/p>\n Evans provides images of New England resort hotels in Maine, New Hampshire, and Massachusetts. Built in the late nineteenth and early twentieth century, his subjects are massive, sprawling, pretentious, and overwrought. Back cover rubbed, front cover with small tear and a 2-x-2 inch piece missing, previous owner\u2019s blind stamp internally. Entire issue: $35<\/p>\n <\/p>\n Evans both writes about and photographs New York buildings being demolished and those who do the work, although the architecture dominates in the pictures. He lovingly shows details such as a staircase and a wall-papered wall. Identified subjects include the Ritz-Carlton Hotel and the old Fulton Fish Market. Wracked spine and minor edgewear. Entire issue: $35<\/p>\n <\/p>\n This substantial volume offers a representative collection of over seventy-five African myths and folktales, along with photographs of \u201cAfrican Negro Sculpture,\u201d with an introduction by James Johnson Sweeney. The objects pictured include mostly wooden masks and figures, but also other items in bronze, ivory, and stone. Man Ray provided one picture and Eliot Elisofon many, but the vast majority (around 100 of the 165) are by Evans. All of the photographs are straightforward documents, but the best of them make effective use of lighting and positioning. Evans\u2019s efforts were considered so successful that in 2000 the Metropolitan Museum of Art mounted an exhibition of them titled \u201cPerfect Documents: Walker Evans and African Art, 1935\u201d (with an accompanying catalog). Light foxing to the cloth, the price-clipped dustjacket has minor edgewear and loss to top of spine. $75<\/p>\n <\/p>\n The text (by an unnamed writer) and photographs cover a railroad station, meeting house, hotel, mint, row houses, mansions, and examples of vernacular architecture. Prominent is New York\u2019s Pennsylvania Station (by McKim, Mead & White), represented by five images taken just a few months before its demolition began. Other notable pictures by Evans include variants of his well-known photographs of the Tuscaloosa (Alabama) Wrecking Company, originally an Italian-style villa, and the United States Hotel in Saratoga Springs, New York, with its 655-foot fa\u00e7ade and veranda. Fold and light edge wear to covers, with mailing label. Entire issue: $35<\/p>\n <\/p>\n Evans\u2019s coherent set of subway photographs made surreptitiously between 1938 and 1941, with Helen Levitt often sitting next to him. James Agee, who famously collaborated with Evans on their book Let Us Now Praise Famous Men<\/em>, wrote the introduction used here in 1940, but died a decade before this book came out. Evans\u2019s 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. Erratum slip pasted in. The cloth has some minor scuffing to the back, the dustjacket is edgeworn, torn, and taped. $750<\/p>\n <\/p>\n Same as above, but softcover. Covers are rubbed, scratched, edgeworn, and chipped. $125<\/p>\n <\/p>\n While the majority of the book comprises Kouwenhoven\u2019s text and historical photographs, Evans gets his due in the epilogue, \u201cBankers, and Evans, and Chance,\u201d made up of his 55 images, selected from a much larger number pro-duced on commission by the bank. Generally, they show bank employees at work, but a few are typical Evans studies of the vernacular. Light wear to bottom of spine, light spotting to page edges, and mild foxing to 2 interior blank pages. $35<\/p>\n <\/p>\n This book accompanied the rediscovery exhibition of Evans, a few years before his death in 1975. It includes curator Szarkowski\u2019s short but insightful essay and images from 1929 to 1970. Wisely, about half of the photographs date from the mid-1930s when Evans was working for the government\u2019s Farm Security Administration and experiencing an artistic hot streak that he never subsequently matched. Dustjacket with light edgewear, a one-inch tear, and marks on the back. $35<\/p>\n <\/p>\n This is the prospectus for a portfolio of the same name of a group of photographs by Evans, dating between 1931 and 1936. The prints were contact printed from the original negatives, archivally processed, mounted, and signed by the artist, in an edition of 100. Includes technical information about the production of the prints and a loose sheet that states, \u201cThe 14 images were chosen to define the originative quality of the artist\u2019s vision.\u201d The portfolio price: $1,200. Light paper clip impression to the top of the covers and pages. $25<\/p>\n <\/p>\n Catalog for an exhibition of 202 photographs by Evans at the Museum of Fine Arts. Curiously, it includes some of the text from the above, about the Ives-Sillman portfolio, and the illustrations are the same. $25<\/p>\n <\/p>\n This is a commemorative issue devoted completely to James Agee, Evans\u2019s collaborator on their 1941 book Let Us Now Praise Famous Men<\/em>. In addition to the many articles on Agee, there is a short one on Evans and one by him titled, \u201cJames Agee in 1936.\u201d Evans also contributed six illustrations (five from 1936 Alabama) and the cover portrait of Agee, made on Long Island Beach in 1937. The front cover has light rubbing, a few small spots and a faint ring mark. $25<\/p>\n <\/p>\n This important early reference book reproduces the nearly five hundred negatives held by the Library of Congress that Evans made while working for the government during the Great Depression. Most of them hail from the Deep South, such as New Orleans and Vicksburg, Mississippi, and include some of his most recognizable images. In addition to place and date, the images are identified by the Library\u2019s reference numbers, making it easy for readers to order prints, as all the material was in the public domain. Near mint condition, in shrink wrap. $50<\/p>\n \u00a0<\/strong><\/p>\n A few years after New York\u2019s Museum of Modern Art presented its rediscovery exhibition of Evans in 1971, it traveled an eighty print version of the show. This item documents the fall 1974 stop at the Minneapolis Institute of Arts. It comprises an actual silver print showing photography curator Ted Hartwell standing in the gallery, a one-page biography of him, and a four-page description of the show and Evans\u2019s work. Hartwell\u2019s biography is signed by him. An unusual piece of Evans ephemera. Tiny edgewear to folder, inner papers are browned and have a paper-clip indentation. $35<\/p>\n <\/p>\n Small catalog for an exhibition of nearly 100 photographs made in the summer of 1936 in Hale County, Alabama, when Evans and James Agee were working on what became their book Let Us Now Praise Famous Men<\/em>. Drawn from the university\u2019s Agee collection (of mostly manuscripts), it comprises primarily pictures of the three sharecropper families the two spent time with\u2014the Gudgers, Ricketts, and Woods. Texts provided by William Stott, Gary Winogrand (who taught photography at the university), and others. Light creases to back cover. $25<\/p>\n <\/p>\n New York\u2019s Museum of Modern Art traveled an eighty print version of its 1971 Evans show, and this catalog documents its fall 1975 presentation at a gallery in Helsinki. The text, all in Finnish, includes Szarkowski\u2019s essay and the selected bibliography from the original MOMA book, plus a checklist of the eighty photographs in the exhibition. Though there are no reproductions inside, the front cover features Evans\u2019s important image \u201cChurch Organ.\u201d Definitely a rare Evans item here in the States; not in Kingston\u2019s bibliography (see no. 55-56). Light edgewear to the covers, with creases and tape at the top and bottom of spine. $125<\/p>\n <\/p>\n This is the catalog for a comparative exhibition of etchings by Hopper and photographs by Evans. Among their similar subjects were locomotives, people on park benches, abandoned urban buildings, and women in windows. Text is provided by Robert Flynn Johnson, curator at the Achenbach Foundation for Graphic Arts. Covers lightly rubbed and edgeworn, with previous owner\u2019s name on the back. $25<\/p>\n <\/p>\n This is the small catalog for an exhibition at the Museum of Modern Art, in Oxford, England. Includes an introduction by Valerie Lloyd and a checklist of eighty prints, most of them from the collection of New York\u2019s Museum of Modern Art. The frontispiece is a portrait of Evans at age seventy, with a white beard. Near fine condition. $25<\/p>\n <\/p>\n 8 \u00bd x 11 inches, 64 pages, 31 halftone illustrations.<\/p>\n An early scholarly investigation on the defined period during which Evans wrote and photographed for Fortune<\/em>, with great freedom. Despite the magazine\u2019s prime audience of businessmen looking to the future, Evans nostalgically focused on small towns, old practices, and everyday workers. Perhaps his most memorable images were those made for his 1955 picture story \u201cBeauties of the Common Tool,\u201d which presented such objects as a crescent wrench isolated against a seamless background, in elegant simplicity. Near fine condition. $35<\/p>\n <\/p>\n This is the prospectus for a posthumous portfolio of Evans photographs published by the Lunn Gallery. Two printers who had worked with Evans before his death made the prints, which had the Evans estate seal embossed on their mounts. Among the images, all illustrated, are those of the Brooklyn Bridge (1929), Berenice Abbott (1931), Cuba (1932), an Alabama church interior (1936), the New York subway (1938), and Robert Frank\u2019s stove (1971). Light rubbing to covers. $25<\/p>\n <\/p>\n This self-mailing poster reproduces on one side a 1929 image by Evans of Coney Island from an elevated viewpoint that included hundreds of bathers in the water and on the beach. The other side features the same image smaller, plus text on Evans by collector Crane and a checklist of the approximately 200 photographs in the show. Accompanied by two sheets of 35mm color slides of the installation, two of them with Crane leaning on an exhibition case. Also present is a sheet of slides of the same show at the Minneapolis Institute of Arts, where it was organized by curator Carroll T. Hartwell and first shown. $25<\/p>\n <\/p>\n This is the catalog for the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 same show as above, drawn from the collection of Chicago attorney Arnold H. Crane. In addition to the reproductions, it includes a different text by Crane and a checklist of 236 photographs. Light rubbing and indentations to the covers. $35<\/p>\n <\/p>\n Exhibition catalog for an intelligent show that featured work by Diane Arbus, William Christenberry, Robert Frank, Lee Friedlander, Helen Levitt, Alston Purvis, John Szarkowski, and Jerry Thompson. Each gets one reproduction, while Evans is represented by five images. Includes the title essay by Isabelle Storey and \u201cThe Artist of the Real\u201d by Alan Trachtenberg. Near fine condition. $35 \u00a0<\/strong><\/p>\n <\/p>\n A large-format book, giving Evans\u2019s sharp and authoritative images ample scale and surrounding white space, printed in high quality 300-line duotone. The text is a mere one-paragraph publisher\u2019s note that states \u201cthis book maps the creative range of a great American artist,\u201d and that its images were \u201cchosen from more than 20,000 negatives and span forty-five years of continuous activity.\u201d Remainder mark on top page edges, in a lightly edgeworn dustjacket with a few scratches and tears. $150<\/p>\n <\/p>\n Exhibition catalog with reproductions primarily from his peak 1930s work for the Farm Security Administration. The essay is by German scholar Volker Kahmen. Near fine condition. $25<\/p>\n <\/p>\n <\/p>\n Part of the Aperture History of Photography Series, all issued without dustjackets, this book includes a short essay by Lloyd Fonvielle, a brief chronology, and a selected bibliography. While the illustrations include early work from the late 1920s, about half of them are F. S. A. photographs from 1935 and 1936. Small nick to spine and a little rubbing to the cover. $35<\/p>\n <\/p>\n This catalog for an exhibition of the same name at Yale was a logical undertaking, given the connections between the two photographers. But it was controversial at the time, due, in part, to Papageorge (a street photographer in his own right) pairing specific images by each photographer, sometimes based largely on formal qualities. Still, it\u2019s an important examination. Perhaps, someone will follow up with an Evans\/Frank\/Friedlander project. Light rubbing and a shallow dent on the front cover. $35<\/p>\n <\/p>\n Excerpts from writings by Evans and multiple shots of the same subject reveal the photographer\u2019s thinking and working methods. The images, which cover his full career, include variants of such iconic images as the photographer\u2019s display window (\u201cStudio\u201d) with photobooth-like portraits, seen on the book\u2019s cover from a severely cropped negative. Dustjacket with miniscule edgewear, two small tears, and a small piece missing from the back. $75<\/p>\n <\/p>\n This book investigates the concentrated body of Cuban work Evans made in 1933, shortly before he went to work for the F. S. A. It represents a commission for the book The Crime of Cuba<\/em> by Carleton Beals, published the same year. Evans photographed primarily on Havana\u2019s streets, capturing the human condition and built environment. This publication includes about three times the number of pictures that appeared in the original book. Mint condition, in shrink wrap. $75<\/p>\n <\/p>\n Catalog for an exhibition of Evans\u2019s Cuban photographs, made in 1933 when he was hired to make photographs for Carleton Beals\u2019s book The Crime of Cuba<\/em>. The images are primarily of storefronts and people on the street. Includes a short text by Gilles Mora and a chronology. Near fine condition. $25<\/p>\n <\/p>\n While this exhibition catalog includes some early and late pictures by Evans, its core is a study of his New York City subway portraits, made between 1938 and 1941. Evans used a hidden camera to capture his subterranean subjects in difficult conditions of light and movement. Curator Greenough explains how his pictures did not see the light of day until years later when small samplings were reproduced in the Cambridge Review<\/em> in 1956 and Harper\u2019s Bazaar<\/em> in 1962, and, more fully, in the 1966 book Many Are Called.<\/em> Near mint condition, in shrink wrap. $75<\/p>\n <\/p>\n Includes Brix\u2019s essay \u201cWalker Evans\u2019s Photographs, 1928-1938: A Campaign Against Right-Thinking and Optimism\u201d and Evans\u2019s own \u201cThe Reappearance of Photography,\u201d an altered version of a 1931 review he wrote about six photography books. The reproductions span work from the late 1920s to late 1940s. Mint condition, in shrink wrap. $75<\/p>\n <\/p>\n 9 x 12 inches, 24 pages, 50 halftone illustrations.<\/p>\n This exhibition catalog concerns both the artistic work and interpersonal relationship of Evans and the artist Jane Ninas. They met while Evans was photographing classical revival architecture in the South and married about five years later. In fact, Ninas helped Evans get inside the Belle Grove Plantation House, allowing him to make an image of its breakfast room, one of his most revered photographs. Much of Ninas\u2019s work from their brief time together in New Orleans was destroyed, so less than ten of her pieces appear here, mostly oil paintings or crayon drawings of shacks and still lifes, primitively rendered. One corner lightly creased. $25<\/p>\n <\/p>\n A substantial selection of work by Evans, covering his entire career. Presented in six chronological sections, from the early small abstractions of 1928 to the color Polaroid SX-70s of 1974. Includes a chronology and bibliography. Mint condition, in shrink wrap. $55<\/p>\n <\/p>\n Rylant was inspired by specific F. S. A. photographs to pen short poems, which are paired with the appropriate images. Among her one-word titles are \u201cUtensils\u201d and \u201cStudio,\u201d which should bring to mind the Evans photographs she chose. The dustjacket proclaims: \u201cThe photographs of Walker Evans tell stories, stories of ordinary people living in America in the extraordinary time of the Great Depression. Poet Cynthia Rylant offers a new voice in this telling, a voice at once reverent and clear, celebrating the stark beauty of lives lived in extreme circumstances. Together the visions of photographer and writer culminate in a unique poetry\u2014personal, universal, and impossible to forget.\u201d Near fine condition. $35<\/p>\n <\/p>\n For this first full biography of Evans, Rathbone interviewed hundreds of friends and colleagues, former wives, and dug into archives of his personal papers and professional work. The dustjacket flap states, \u201cA man in love with Americana, Evans was a sensualist, a junk collector, a connoisseur, a wit, a perpetual weekend guest. Charismatic and seductive, he attracted many of the brightest talents of his day. He counted Hart Crane, James Agee, Lincoln Kirstein, Ben Shahn, and Berenice Abbott among his closest friends, and with them he reveled in the intellectual and sexual freedom that distinguished the New York art world during his lifetime.\u201d In a nod to Evans\u2019s and Agee\u2019s 1941 book Let Us Now Praise Famous Men<\/em>, the portfolio of photographs also appears here first up\u2014before the title page. Tiny wrinkles at bottom of dustjacket spine. $25<\/p>\n <\/p>\n\n
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