So, in my third catalog I finally get to the topic that was my main area of expertise as a museum curator\u2014pictorialism, that first international movement of artistic photography. I have researched pictorial photography thoroughly, both its initial period, from the 1890s to World War I, and its continuation all the way into the 1950s. Later pictorialists, such as Adolf Fassbender, D. J. Ruzicka, and Max Thorek are largely ignored in the published history of photography, so I attempt to give them their due here, sometimes in books I authored. I am especially enamored with ephemera, due to the valuable information it often provides, and offer some nice examples, such as salon catalogs and their corresponding stickers.<\/p>\n
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5 \u00be inches, 152 pages, 16 halftone illustrations.<\/p>\n
Long\u2019s tragic tale, that became popular as an opera, about a Japanese woman who is jilted by an American man and commits hari-kari. The vignetted images show Cho-Cho-San alone, with her child, and ultimately kneeling with a sword. The reproductions have tissue guards, the text pages are on deckle-edged stock, and the cover is an attractive Art-Nouveau cover design of plants (signed \u201cY\u201d). Issued the same year in a reduced format (see below).<\/p>\n
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This is the smaller edition of the above, with half as many images, no tissue guards, thinner paper, but still sporting the nice cover design. Cloth edges and tips lightly worn. $30<\/p>\n
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This item demonstrated how good Warren\u2019s Lustro Brilliant-Dull paper was for printing letterpress halftones. The company wisely chose to reproduce images by pictorial photographers, probably with the input of the editors of American Photography<\/em>, which was also based in Boston. Among the contributing photographers are Eleanor Parke Custis, Arthur Hammond, and D. J. Ruzicka. Two pictorialists are represented by their best known images: Gustav Anderson\u2019s Winter Eve<\/em> and Frank R. Fraprie\u2019s Warmth of the Winter Sun<\/em>. Light rubbing and tiny folds to cover. $25<\/p>\n <\/p>\n This long-running annual was the leading one on pictorial photography in the United States. Overseen by Frank R. Fraprie for much of its life, it was packed with articles and full-page halftones by photographers both domestic and foreign. During the 1940s it became known as the \u201cpictorialist\u2019s bluebook\u201d because it compiled exhibition records for hundreds of salon photographers.<\/p>\n 1941, 1947, 1950<\/em>. The lead articles are by Julian Smith, one of Australia\u2019s top pictorialists, and on England\u2019s F. J. Mortimer and Spain\u2019s Jos\u00e9 Ortiz-Echag\u00fce. They each measure about 10 x 7 \u00bd inches and contain approximately 250 pages. Two hardcovers and one soft, in very good condition. Group of three: $75<\/p>\n <\/p>\n The American Annual of Photography<\/em> was the longest-running and most significant photographic yearly published in the United States. It first appeared in 1887 and by the time of its demise in 1953 covered over half the lifespan of the photographic medium. It remains today a rich resource on three generations of photographers. Included were such early figures as Edward Bierstadt and Napoleon Sarony, pictorialists Gertrude K\u00e4sebier and Clarence H. White, and twentieth-century masters like Minor White. This index encompasses every credited article and photographic reproduction in the annual\u2019s sixty-seven volumes; over 3,500 names are alphabetically listed with citations. Privately printed in an edition of 500 copies. This copy signed by Peterson. Mint condition. $15<\/p>\n <\/p>\n This intimate book was Anderson\u2019s first and most understated. The three chapters are: \u201cThe Subjective Side,\u201d \u201cSubjective Technique,\u201d and \u201cTechnical Methods.\u201d All the reproductions are early examples of the kind of soft-focus and evocative work that he championed for another quarter century. Paul L. Anderson (1880-1956) printed in a variety of manipulative processes, taught at the Clarence H. White School of Photography, and wrote extensively for the photographic press until about 1940. This edition is different from the first seemingly only by the color of the cloth. Light scuffing to cover. $35<\/p>\n <\/p>\n Anderson\u2019s third book, which includes reproductions by Photo-Secession members with whom he associated, such as Gertrude K\u00e4sebier, Karl F. Struss, and Clarence H. White. According to the front flap, \u201cThis volume might be entitled \u2018Painting with the Camera,\u2019 as it deals with photography as a fine art. Its aim is to point out the underlying principles of art<\/em> in so far as they are applicable to photography, and to encourage the student of the subject to apply these principles in his own work.\u201d Loose front hinge, in a dustjacket with a small rectangle cut from the spine. $25<\/p>\n <\/p>\n This is Anderson\u2019s most substantial technical treatise, comprising over twenty chapters in five general sections: Apparatus, Negative Modification, Printing Methods, Color, and Miscellaneous. Among the pictorialists who contributed images were William E. Macnaughtan, D. J. Ruzicka, and Clarence H. White. The volume represents a complete rewrite of his 1917 book Pictorial Photography: Its Principles and Practice<\/em>. Missing the dustjacket, but in near fine condition. $25<\/p>\n Paul Anderson<\/em>, issue of The Archive<\/em>, May 1983 (no. 18), Tucson: Center for Creative Photography, University of Arizona, 1983. Softcover, 11 x 8 \u00bd inches, 48 pages, 22 halftone illustrations. Largely devoted to Anderson, the periodical features a portfolio of his images and the essay \u201cPaul Lewis Anderson: A Life in Photography\u201d by Terence R. Pitts. Fine condition.<\/p>\n Paul Anderson: Photographs<\/em>, Guide Series Number Seven, Tucson: Center for Creative Photography, University of Arizona, 1983. Softcover, 11 x 8 \u00bd inches, 40 pages, 245 halftone illustrations. This reference work reproduces all the images by Anderson in the center\u2019s collection, representing over ten different processes and the following subjects: portraits, landscapes, still lifes, and Smith College. It includes a bibliography of his writings and reprints his 1915 article \u201cThe Education of the Photographic Artist.\u201d Fine condition.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The set of two: $25<\/p>\n <\/p>\n The catalog for a traveling show of nearly ninety items by or relating to Annan. Among Annan\u2019s distinguished sitters are the artists Muirhead Bone and William Strang. Most of the portraits are straightforward images, but two of them are reproduced on thin, translucent paper, suggesting the look of his more creative photogravures on tissue. James Craig Annan (1864-1946), the son of documentary photographer Thomas Annan, was a top Scottish pictorialist at the turn of the twentieth century. He learned the photogravure process from its Czech inventor, Karl Klic, became a leading commercial printer, and issued most of his own creative images as gravures. He corresponded regularly with Alfred Stieglitz, who included thirty of Annan\u2019s photogravures in Camera Notes<\/em> and Camera Work<\/em>. Near fine condition. $25<\/p>\n <\/p>\n Written by Archer after giving hundreds of lectures on portraiture, this publication was probably used as a textbook at the photography school he ran in Los Angeles. He covers all aspects of the subject, including posing, makeup, lighting, equipment, the studio, retouching, \u201cglamour,\u201d and \u201ccreative portraiture.\u201d Fred R. Archer (1889-1963) was active in Southern California from the 1910s to mid-century, with both pictorialists and professionals. In addition to soft-focus images, he produced modernist ones, such as the self-portrait on the cover, which superimposes a camera over his face. The dustjacket is worn, wrinkled, and missing pieces. $25<\/p>\n <\/p>\n This dealers\u2019 exhibition catalog includes the essays \u201cPictorialism in Japan\u201d by Christian A. Peterson and \u201cPoetry of Light: Writings on Japanese Pictorial Photography\u201d by Kerry Ross, and thirteen biographies. The pictures include primarily landscapes, still lifes, figure studies, and urban scenes, some with modernist tendencies. A useful addition to the dearth of information on Asian pictorialists available in the West. This copy signed by Peterson. Fine condition. $25<\/p>\n <\/p>\n 8 \u00bc inches, 204 pages, 110 halftone illustrations.<\/p>\n This exhibition catalog features the work of twenty-nine members of the Ashiya Camera Club, most of it very modernist in its pictorial sensibility. There are still lifes, nudes, and abstractions, sometimes rendered via the photogram and multiple exposure. Features an overview of the club and numerous installation shots of its exhibitions. A scarce publication. Text in Japanese. $50<\/p>\n <\/p>\n This survey of art photography in Australia, 1898-1938, was edited and written by curator Gael Newton. She provides an overview addressing the country\u2019s clubs, exhibitions, and relationship to England. Among the thirty pictorialists given biographies, the most well- known are Cecil W. Bostock, Harold Cazneaux, John Kaufmann, and Julian Smith. A good initial study on the subject. Near fine condition. $25<\/p>\n <\/p>\n 9 x 10 \u00bd inches, 32 pages, 25 halftone illustrations (some in color).<\/p>\n This is the catalog for a memorial exhibition presented the same year as Bafford\u2019s death. It features Beck\u2019s essay on the photographer, a chronology, and a description of bromoil printing, a manipulative process at which Bafford excelled. Edward L. Bafford (1902-1981) was second only to A. Aubrey Bodine among Baltimore pictorialists. He photographed from the 1920s until his death, making romantic images of rural life and the environs of his home city. Fine condition. $25<\/p>\n <\/p>\n Bailey\u2019s treatise on portrait photography, covering posing, lighting, and other pertinent elements of the genre, highlighted with diagrams and charts. Hillary G. Bailey (1894-1988) explored various avenues of photography from the 1920s to 1940s. He ran his own portrait studios in Indiana beginning in 1922 and subsequently worked for the Agfa Ansco Corporation, a major photographic manufacturer in Binghamton, New York. As a pictorialist, he most frequently made figure studies and was active in camera clubs in Indianapolis and Atlanta. The dustjacket is torn and missing small pieces. $25<\/p>\n <\/p>\n 9 \u00bd x 11 \u00bc inches, 20 pages, 10 photogravure illustrations.<\/p>\n This delicate children\u2019s book comprises Mother Goose nursery rhymes (such as \u201cLittle Miss Muffet\u201d) and images by Bartlett printed together on tissue sheets that are tipped in. Her images picture well-dressed boy and girls acting out the verses and evoke the sweet Victorian charm of the early pictorial period. Mary A. Bartlett (1846-1913) was active in Chicago camera clubs during the 1890s, making primarily portraits and genre scenes. This is one of only three children\u2019s books she illustrated, all with rich photogravures and published in the early 1890s. The front hinge is starting, number written on free endpaper, and the covers are worn, as is usual. $250<\/p>\n <\/p>\n This is the catalog for an exhibition of photographs by and material related to Barton. It includes portraits of her family members, ephemera, photographs by other pictorialists, and Barton\u2019s own pictures of children, the \u201cKodak Girls,\u201d and other subjects. Working from the turn of the twentieth century until about 1930, Emma Barton (1872-1938) produced mostly figure studies and portraits, in black and white and as Autochrome color plates. She presented a solo show at the Royal Photographic Society (London) in 1901 and later exhibited at the Birmingham Photographic Society and in the American Photographic Salons, which traveled around the United States. Fine condition. $25<\/p>\n <\/p>\n This, the only monograph devoted to Blickensderfer, succinctly examines his activities and output. Clark Blickensderfer (1882-1962) was most active as a pictorialist during the 1920s, when he helped found the Denver Camera Club and joined the Pictorial Photographers of America. His soft-focus images picture landscapes, mountains, birds, and Native American sites. Mint condition, in shrink wrap. $35<\/p>\n <\/p>\n This is the first of four books Bodine produced of dramatic images in the Maryland and Virginia area. Printed in high-quality gravure, his pictures show the state\u2019s people, architecture, landscape, and water life. Includes a playful endpaper map illustration by Richard Q. Yardley. A. Aubrey Bodine (1906 -1970) was a career photographer for Baltimore\u2019s Sunday Sun<\/em> and a successful pictorialist with some of the same pictures. This copy signed by Bodine on the front free endpaper. Dustjacket torn, wrinkled, and missing a few small pieces. $35<\/p>\n <\/p>\n Bodine\u2019s second book, now published by his own concern, but distributed by New York\u2019s Hastings House. His accessible images show many aspects of the bay, including recreational, commercial, and military uses. Includes a playful endpaper map illustration by Richard Q. Yardley. This copy signed by Bodine on the front free endpaper. Dustjacket torn, wrinkled, and missing a few small pieces. $35<\/p>\n <\/p>\n The final of Bodine\u2019s set of four well-printed regional books. In it he organizes the Commonwealth of Virginia into six geographical regions and includes additional sections on the U.S. Presidents the state produced and the Civil War. This copy signed by Bodine on the front free endpaper. Price-clipped dustjacket with minor wear to top and bottom of spine. $35<\/p>\n <\/p>\n The revised and enlarged edition of Bodine\u2019s third book, originally released in 1961. It pictures the Free State from the Alleghenies to Ocean City and from the Mason-Dixon Line to the Potomac River, and features his typical dramatic images of people, architecture, and the land. Dustjacket torn, wrinkled, and missing a few small pieces. $35<\/p>\n <\/p>\n Williams, a colleague of Bodine\u2019s at Baltimore\u2019s Sunday Sun<\/em>, recounts the photographer\u2019s work as both a professional and pictorial photographer. Many of Bodine\u2019s dramatic and accessible newspaper pictures were also widely seen at international salons. Reproduced in high-quality gravure, the images picture primarily the residents, built environment, and landscape in the region of Baltimore and Chesapeake Bay, Bodine\u2019s lifelong hunting grounds. Dustjacket wrinkled and torn in a few places. $35<\/p>\n <\/p>\n Published a year after Bodine\u2019s death, this is a \u201cpictorial panorama of the life style of Baltimore between 1924 and 1970.\u201d The images were gleaned from more than 15,000 of Bodine\u2019s negatives on deposit at the Peale Museum, whose director provides the commentary. Near fine condition. $35<\/p>\n <\/p>\n This is the only monograph on Bodine as a pictorialist, written by gallery owner Ewing, with a remembrance by Williams, who wrote the photographer\u2019s 1971 biography (see above). Features many of Bodine\u2019s best-known creative images, dating from the 1920 to 1950s, along with a few from the 1960s. Many of the images are of water-related subjects, but also included is a portrait of the Baltimore writer and friend of Bodine, H. L. Mencken. A few corners lightly bumped, but otherwise near fine condition, in opened shrink wrap. $35<\/p>\n <\/p>\n The Servant in the House<\/em>, 1908, 152 pages, 8 halftone illustrations.<\/p>\n The Terrible Meek<\/em>, 1912, 44 pages, one halftone illustration.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The Idol-Breaker<\/em>, 1914, 178 pages, one halftone illustration.<\/p>\n The Rib of Man<\/em>, 1917, 188 pages, one halftone illustration.<\/p>\n This group represents four of the five books Boughton illustrated for Kennedy, all featuring portraits of actors in the plays. Alice Boughton (1866 -1943) was a professional and pictorial photographer, working in New York after apprenticing with Gertrude K\u00e4sebier. Alfred Stieglitz included six photogravures by her in a 1906 issue of Camera Work<\/em>, most of them picturing nude women and children. Minor wear to covers. The set of four: $50<\/p>\n <\/p>\n This book features Boughton\u2019s studio portraits and her written impressions of the subjects. It includes actors such as George Arliss and Ellen Terry, authors like Henry James and William Butler Yeats, and others in the arts. Mounted opposite the portrait of Yvette Guilbert is a facsimile of a letter from her praising Boughton\u2019s portrait of Eleanore Duse, which is also in the book. Previous owner\u2019s bookplate, light wear to a few tips, and covers lightly soiled. $125<\/p>\n <\/p>\n This image depicts a common subject for pictorialists around the turn of the twentieth century\u2014sheep in a field. Here they are tended by three figures in a landscape with trees and a hill in the distance. London resident Tom Bright was a founding member of the Linked Ring Brotherhood, England\u2019s acclaimed group of pictorialists. An agricultural surveyor by profession, he showed his photographs in the London salons and exhibitions of the Royal Photographic Society until at least 1904. Image sent upon request. Original tissue guard (printed with title and Bright\u2019s name) attached, portion of sheet missing, not effecting the image. $50<\/p>\n <\/p>\n Though Brigman was most active as a pictorialist around the turn of the twentieth century, she issued this book much later, just a year before her death. It comprises about forty of her poems paired with examples of her characteristic soft-focus images, primarily of figures in landscapes. Anne Brigman (1869-1950) was born in Hawaii and became one of the few West Coast members of Stieglitz\u2019s Photo-Secession. She was something of a free spirit, using so many unusual words in her poems that she included a glossary. Near fine condition, lacking the dustjacket. $250<\/p>\n <\/p>\n This early study of Brigman is largely a chronology of her life and accomplishments. It accompanied a small exhibition of photographs by her, of her, and supplementary items such as a copy of Songs of a Pagan<\/em>. According to Heyman, this catalog was printed twice (without any changes), in a total edition of 2,000. This copy signed by Heyman. Near fine condition. $25<\/p>\n The catalog for a traveling exhibition. Includes Ehrens\u2019 essay \u201cSacred Quest: The Life and Work of Anne Brigman,\u201d plus a chronology, exhibition history, checklist, and bibliography, making it the most extensive publication on the subject. Though Brigman was known for her dreamy figure studies from the early twentieth century, this book also includes more modernist work by her from the 1920s and thirties. Fine condition. $35<\/p>\n <\/p>\n A children\u2019s book with about twenty stories by authors such as Hans Christian Andersen, Charles Dickens, and Robert Louis Stevenson. Brownell edited the book and provided many photographic illustrations, most of them picturing children. Elizabeth Brownell (c. 1860-1909), of Chicago, illustrated three children\u2019s books and exhibited her pictorial photographs in photographic salons in Chicago and Philadelphia around 1900. The cloth and paper-covered boards are edge worn, internally there is some underlining and foxing. $25<\/p>\n <\/p>\n 9 \u00bd inches, 162 pages, 129 halftone illustrations, dustjacket. Stated first edition, with ephemera.<\/p>\n The first major critical and biographical examination of Brugui\u00e8re. Contains Enyeart\u2019s essay, a chronology, and bibliography. The book reproduces work from the photographer\u2019s broad range of work, from early twentieth-century pictorialism, to his cut-paper and light abstractions from the 1920s, and advertising and solarized pictures from the 1930s. Laid into this copy is a folded poster for the related 1977 retrospective exhibition on Brugui\u00e8re organized by the Friends of Photography (Carmel, California), where Enyeart was the director. Near fine condition, with a remainder mark. $35<\/p>\n <\/p>\n Portrait of a middle-aged woman wearing fancy clothing and jewelry, toned brown. The cover is printed with the photographers\u2019 names and \u201cSan Francisco.\u201d After Brugui\u00e8re lost his studio in the 1906 San Francisco earthquake and fire he reestablished his portrait business, working for a time with Eisen, about whom nothing is known. Brugui\u00e8re then moved to New York in late 1918. Image sent upon request. Some scuffing to folder cover. $100<\/p>\n <\/p>\n Accompanied an exhibition of work by photographers from the United States, England, and five European countries, including some obscure figures. The brief sections examine pictorialism\u2019s relationship to symbolism, decadence, religion, classicism, abstraction, minimalism, and posterization. Near fine condition. $25<\/p>\n <\/p>\n This is the only monograph on Bullock, with a foreword by William Innes Homer. Covers Bullock\u2019s entire life and artistic output, as both a naturalist and pictorial photographer working around the turn of the twentieth century. Includes a bibliography and listing of the show\u2019s Bullock participated in between 1885 and 1939. John G. Bullock (1854-1939) was a prominent member of the Photographic Society of Philadelphia, was allowed into Stieglitz\u2019s elite Photo-Secession group, and was involved in the important Philadelphia Photographic Salons. Near fine condition. $35<\/p>\n <\/p>\n This issue of the art museum\u2019s Record<\/em> (volume 51, number 2) is fully devoted to its pictorial holding. The core of the collection is the work of Clarence H. White, but it also includes substantial groups by Paul L. Anderson, John G. Bullock, William B. Dyer, Gertrude K\u00e4sebier, and Robert S. Redfield. The essays, including one by Douglas R. Nickel, cover pictorialism, White, and Autochromes. A well-designed and important reference item. Near mint condition. $35<\/p>\n <\/p>\n This is a reprint of the original 1901 edition, issued during the heyday of the Photo-Secession, members of which provided most of the reproductions. There are chapters on commercial portraiture, landscapes, figure studies, and \u201cmethods of individual expression,\u201d featuring work by Gertrude K\u00e4sebier, Edward Steichen, Alfred Stieglitz, Clarence H. White, and others. This edition starts with a new introduction by photographer Thomas F. Barrow. Charles H. Caffin (1854-1918) was one of the few art critics who paid attention to creative photography at the turn of the twentieth century. Near fine condition, except for a few lightly bumped corners and a tear to the dustjacket. $25<\/p>\n <\/p>\n The Heart of the Storm: Northern California Pictorialism<\/em>, Malibu, California: J. Paul Getty Museum, 1994. Brochure, 8 \u00bd x 8 inches, 8 panels, 5 halftone illustrations. Includes essay by guest curator Michael G. Wilson and reproductions by Laura Adams Armer, Anne W. Brigman, William E. Dassonville, Arnold Genthe, and Emily Pitchford. Fine condition.<\/p>\n Atmospheric Photographs: California Pictorialism<\/em>, Monterey, California: Monterey Peninsula Museum of Art, 1996. Softcover, 10 \u00bc x 8 \u00bd inches, 8 pages, 8 halftone illustrations. Features text by curator Mary Murray and images by Francis Brugi\u00e8re, John Paul Edwards, Adelaide Hanscom, Karl F. Struss, and others. Fine condition.<\/p>\n High Lights, Shadings, and Shadows<\/em>, Los Angeles County Museum of Art, 1998. Brochure, 11 x 8 \u00bd inches, 4 panels, 6 halftone illustrations. Includes text by curator Tim B. Wride and reproductions by Imogen Cunningham, Forman Hanna, Kaye Shimojima, and others. Fine condition.<\/p>\n Lost & Found: Japanese American Photographs and California Pictorialist Photographs from the Dennis Reed Collection<\/em>, Santa Barbara Museum of Art, 2006. Softcover, 11 x 8 \u00bc inches, 12 pages, 17 halftone illustrations. This back-to-back catalog highlights the strengths of the Reed collection. Illustrating the collector\u2019s text are images by William Mortensen, Kentaro Nakamura, Shigemi Uyeda, and others. Fine condition. Group of four: $25<\/p>\n <\/p>\n This entire issue of the quality Swiss magazine is devoted to \u201cPictorialism, 1890-1914.\u201d Editor Allan Porter provides an overview and R. E. Martinez focuses on European pictorial photography. There are explanations of twenty-one types of printing processes and biographies of the twelve photographers who provide images, all in rich gravure and printed in black, brown, blue, and orange. Among those represented are Robert Demachy, Hugo Erfurth, Alexander Keighley, Heinrich K\u00fchn, and L\u00e9onard Misonne. The text pages feature nicely-designed Art-Nouveau flower motifs. Light rubbing to covers. $25<\/p>\n <\/p>\n III.<\/em> Establishing and Editing a Camera Club Bulletin<\/em>. This one deals with choosing an editor, methods of publication, name and format, content, and distribution. Features a two-page spread with the mastheads of seven newsletters, among them Light and Shade<\/em> (Pictorial Photographers of America), Flash<\/em> (Camera Club of Bozeman, Montana), and The Birdie<\/em> (Merced Camera Club, California).<\/p>\n VII.<\/em> Club Programming<\/em>. Covers planning, frequency, timing, sources, and ideas. This is the most extensive of the guides, featuring typical yearly schedules for clubs that met monthly, twice a month, and weekly.<\/p>\n This is a detailed and very instructive set of pamphlets about American camera club activities at the middle of the twentieth century, issued by the top national organization of amateurs and clubs. Most near fine condition, with a little browning. Set of seven: $75<\/p>\n Camera Notes<\/em> (1897-1903) was the most significant American photographic periodical before Camera Work<\/em> began in 1903. Edited for most of its six-year life by Alfred Stieglitz, it represented a critical phase in the campaign to legitimize photography as an artistic pursuit, running thoughtful articles as well as high-quality photogravure illustrations. Among the pictorialists represented were F. Holland Day, Rudolf Eickemeyer, Jr., Gertrude K\u00e4sebier, Edward Steichen, and Clarence H. White. This book is the only one that details the history and meaning of the magazine. In addition to the thorough essay, are full-color reproductions of all the photogravures and indexes to both the articles and halftone illustrations. Edition of 3,500. This copy accompanied by ephemera on the related museum exhibition: press release, set of 35mm slides of gravures, and set of installation photographs. Additionally, this copy signed by Peterson. Fine condition. $50<\/p>\n <\/p>\n This is the second edition of the paperback of the above, despite it stating \u201cFirst published as a Norton paperback in 1996.\u201d A softcover version of the above hardcover appeared in 1993 with the same cover design, in green with a reproduction of a Stieglitz image. This 1996 edition, by contrast, features a crouching nude by Charles I. Berg, printed in brilliant orange. Signed by Peterson. Fine condition. $25<\/p>\n <\/p>\n\n
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