This catalog, which is not timed with the anniversary of any major photographic event, comprises largely recent books on nineteenth-century photography and its practitioners. It commences, however, with two small sections, of books with actual photographs tipped in, and loose, original photographs, mostly the ubiquitous albumen print. I do have more travel pictures that did not make it into the catalog, so please let me know if you are after something in particular.<\/p>\n
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(Images supplied on request)<\/p>\n
\u00a0<\/strong><\/p>\n Henry Wadsworth Longfellow\u2019s short narrative poem about Mayflower pilgrims in early Colonial days. Brady\u2019s images are after illustrations by Ehninger, not made from life. 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. 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. 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. This title is an early example of a photographically illustrated book, published only twenty years after the announcement of the daguerreotype. Previous owner\u2019s inscription, endpapers rubbed, and covers worn along edges. $500<\/p>\n \u00a0<\/strong><\/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<\/em>. Brown made the photographs along the Skelton Beck stream at Saltburn-by-the-Sea in Yorkshire. The images are rich, idyllic, and usually unpeopled. 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 The 4-x-3-inch prints are mounted on stiff printed boards. Mild wear to cover edges and tips. $500<\/p>\n <\/p>\n One of Longfellow\u2019s earliest works (first published in 1839\u2014the year photography was invented), Hyperion<\/em> is a prose romance that follows an American traveling in Germany. Frith himself describes his \u201clong and delightful journey\u201d making the photographs for the book. 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. They depict bridges, cemeteries, castles, mills, cloisters, market places, and even a glacier. Francis Frith (1822-1898) was a top nineteenth-century English photographer, who ran Europe\u2019s largest photographic printing business for decades. He was most renowned for his mammoth-plate images of Egypt, made in the late 1850s. See: Goldschmidt and Naef, The Truthful Lens<\/em>, for a slightly earlier edition of Hyperion<\/em>. This one has an attractive binding, which shows minimal wear to the edges and tips, with one free endpaper (attractive marbled paper) detached. $750<\/p>\n <\/p>\n As the title indicates, a guidebook to York, England, featuring engravings and a fold-out map. The albumen print on the cover (2 \u00bd x 2 inches) is not credited, but the very first page is a full-page advertisement for \u201cFrith\u2019s Photographs of York,\u201d available at two locations in the city. The image is a straight-forward picture of the city\u2019s massive cathedral, with its spires reaching toward the heavens. Cover and first signature detached, pieces of cover and spine missing. $50<\/p>\n <\/p>\n This popular poem tells the tale of a Scottish farmer getting drunk and riding home on his horse. At a church he encounters the devil, ghosts, and witches, which he barely escapes. E. H. Miller made the hand-drawn illustrations and Gardner photographed them, producing 5-x-7-inch albumen prints, along with a frontispiece portrait (after an engraving) of author Burns. Alexander Gardner (1821-1882) excelled as an operator at Mathew Brady\u2019s studio, produced his important two-volume Gardner\u2019s Photographic Sketchbook of the War<\/em> (1866), and after the Civil War ran his own business, making portraits and illustrating literature, such as Tam O\u2019 Shanter<\/em>. While this copy is ex-library, the only marking is a well-designed label on the inside cover of colorful marbled paper. \u00a0Previous owner\u2019s name, with only tiny wear to cover edges and tips. $350<\/p>\n <\/p>\n Reverend Grosart selected and wrote about the work of Scottish poet Michael Bruce and provided a memoir. The uncredited albumen prints, about 4 \u00bc x 3 inches in size, picture Bruce\u2019s tombstone (frontispiece), a rock formation, trees, and village streets and building (all uncaptioned). Front and back hinges loose, with light wear to the covers. $250<\/p>\n <\/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. 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. Among Jones\u2019 subjects is Roseline Peck, the first woman settler, who arrived in 1837 with her husband. Most of the tipped-in albumen prints measure about 3 x 3 inches and are probably halves of stereo pairs. 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. Also noteworthy are views of Lake Mendota and Lake Monona, as downtown Madison is on an isthmus between the two bodies of water. Nathaniel P. Jones specialized in stereographs during the 1870s and was active from 1855 to about the turn of the twentieth century. Among the museums that own work by him is the Amon Carter Museum (Fort Worth, Texas). Binding a little loose, covers worn, and missing small piece at bottom of spine. $750<\/p>\n <\/p>\n The frontispiece of this issue of the magazine is a studio portrait by Landy of a baby, partially shrouded in lace and sitting on a sofa. In the article \u201cOur Picture,\u201d the editor proclaims that \u201cLandy\u2019s babies are known everywhere; laughing and crying, as well as the bull-dozing ones. This baby-making is quite a prominent part of his business.\u201d The photographer wrote a short text indicating that he charged more for photographs of children than adults, as they took more time and effort to produce. The magazine includes numerous articles, regular columns, and advertisements with distinctive period typography; the albumen-print frontispiece is the only illustration. James Landy (1838-1897) began his portrait business in New York and then moved to Cincinnati, Ohio, where he achieved a national reputation by the middle of the nineteenth century. Covers worn and missing a few small pieces. $100<\/p>\n <\/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, military, law, and medicine. Thompson Cooper provides brief biographical notes on each subject. 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. 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. 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<\/em>. See: George Eastman House, Imagining Paradise<\/em>. Occasional foxing, wear to cover edges and tips. $750<\/p>\n <\/p>\n This is a primer on operating a horse-drawn coach, written by the \u201cWell-known Whip of the West,\u201d who explains eight rules of \u201cdriving,\u201d including, most importantly, the use of the whip. The frontispiece is a studio portrait of a well-dressed driver with mutton-chops, in a top hat, holding a whip and straps (albumen print, 3 \u00bd x 2 \u00bd inches). Henry Maull (1829-1914) and John Fox (1832-1907) partnered during the 1870s and 1880s, making portraits of noted British subjects in their London studio. Previous owner\u2019s name, first signature loose, mild foxing and browning, wear and spotting to the cover. $150<\/p>\n <\/p>\n This is Gladstone\u2019s small guidebook to the Wales town of Hawarden. The frontispiece is a studio portrait of the author by Moffat, with a facsimile of Gladstone\u2019s signature. The other carbon print is of Catherine Gladstone, presumably the author\u2019s wife, by G. Watmough Webster, of Chester, showing her with a pen and book, also with her facsimile signature. The book includes hand-rendered illustrations of a few local sites and a fold-out map of Hawarden Park and the old castle. John Moffat (1819-1894) was a pioneering Scottish photographer, based in Edinburgh. He opened his first studio in 1853, was prominent in the Photographic Society of Scotland since its inception in 1856, and in 1864 made a successful photograph of William Henry Fox Talbot by magnesium light. Near fine condition. $100<\/p>\n <\/p>\n Captain Nares\u2019 account of the North Pole expedition of two English ships during the season of 1875-1876. In the preface he admits that they did not reach their goal and indicates that the photographs were made by paymaster F. Mitchell and engineer George White. 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. Only one crew member appears in the photographs, standing on a floeberg and peering up at large-scale \u201cpressed-up rubble ice.\u201d In addition to the photographic illustrations are woodcuts, diagrams, and fold-out maps. Mounts of each frontispiece browned (due to tissue guard, but seemingly not affecting the prints), some loose signatures, and covers worn. Two volume set: $1,250<\/p>\n <\/p>\n The subtitle of this book is \u201cA Birthday Text-Book of Literary Gems with Local Photographs.\u201d It features, for each day of the year, a short verse by the likes of Emerson and Longfellow and blank space to fill in the names and birth year of individuals. There are entries on most pages (four dates per page), with the oldest for a man who died in 1839. The four albumen prints (4 x 3 inches each) depict the cathedral of Sherbourne, England, from \u201cPoulton\u2019s Series.\u201d The frontispiece is an elevated view from afar, the second image shows the full structure frontally, and the two remaining ones place it in the context of the surrounding domestic and commercial buildings. English photographer Samuel E. Poulton (1819-1898), also a publisher of photographic prints, was active from the 1850s to 1890s, in London and elsewhere. A copy of the book in Worldcat.org provided the author\u2019s names and publication date, as they do not appear in this copy. An unusual item. Hinges a little loose, occasional foxing, and covers worn. $150<\/p>\n <\/p>\n 6 \u00be x 5 inches, 16 pages, one mounted albumen print.<\/p>\n This is a pamphlet of six scores by the Italian composer Gioachino Rossini. The cover, with busy typography, features a portrait by Rockwood, rendered as an oval albumen print (2 x 1 \u00bd inches). Rossini, in heavy dark attire, confronts the camera with one hand tucked into his suitcoat. George G. Rockwood (1832-1911) took up photography in St. Louis in about 1853, the year he produced the first carte-de-visite in this country. A few years later he moved to New York, where he enjoyed years of success as a portrait photographer, claiming to have photographed over 300,000 individuals, including Horace Greeley and Edgar Allan Poe. Light wear to covers. $100<\/p>\n <\/p>\n This is an extensive, heavily illustrated guidebook to the River Thames, from its source in Kemble to London, one hundred miles downriver. It features over thirty maps, scaled two inches to a mile, with nearly one hundred carbon prints of local scenes. The running text includes information about each area\u2014local inns, camping, and fishing. The frontispiece depicts Taunt\u2019s river boat, with his view camera on top and a seated woman. Preceding the title page, the first eight pages are devoted to the offerings of his photographic studio. A very successful handbook, first published with albumen prints in 1871. Professional photographer Henry W. Taunt (1842-1922) was based in Oxford, England, where he operated from 1868 to 1906. The Royal Geographical Society awarded him a fellowship for the cartography in A New Map of the River Thames<\/em>. See: George Eastman House, Imagining Paradise<\/em>. Occasional foxing and browning, covers worn. $500<\/p>\n <\/p>\n These cabinet-size cards picture two winter recreational scenes (after paintings) and ten images from life. Unfortunately, there are no identifying captions, but most of the subjects are certainly federal government buildings, judging from their size and stature. A very interesting harbor view shows large stacks of lumber, and there is an interior view of a library and a picture of a water fall on a river. William James Topley (1846-1930) initially worked for the well-known Canadian photographer William Notman, beginning in 1864. By about 1875, he had established his own studio, which he ran until the 1920s. The Library and Archives of Canada owns 150,000 of Topley\u2019s negatives, one of the country\u2019s most important visual records of the late nineteenth and early twentieth centuries. The prints here are in decent shape, but the covers are worn and the fabric binding is all but gone, rendering the cards loose. $250<\/p>\n <\/p>\n The typically long nineteenth-century title indicates the breadth of this handbook. The chapters cover photographic apparatus, emulsions, developers, wet collodion, dry plates, gelatin bromide, and printing. The albumen-print frontispiece pictures an unidentified stone building, probably related to a known individual, as two busts on pedestals are present. The quant, shingle-roof structure is backed by trees and a distinctive water tower. This title went through at least five editions and probably included the albumen print in only the first. Ellerslie Wallace (1819-1885) was a prominent Philadelphia physician, who frequently wrote articles on surgery for medical journals. The Amateur Photographer<\/em> appears to be his only photographic book, released the year before he died. Electrostatic copy of his New York Times <\/em>obituary laid in. Tiny creases in print, mount is tape reinforced on back, previous owner\u2019s label and signature, hinges a little loose, and rubbing to covers. $350<\/p>\n <\/p>\n Scott\u2019s influential nineteenth-century poem, set in Scotland over six days. Wilson\u2019s rich albumen prints (about 4 x 3 inches each, with tissue guards) are accompanied by specific lines from the poem and are primarily landscapes. They show woods, lakes, a waterfall, boathouse, and Stirling Castle. Listed in Gernsheim, Incunabula of British Photographic Literature, 1839-1875<\/em>. Rear hinge loose and covers worn. $350<\/p>\n <\/p>\n Another edition, with fewer images, which are uncredited. This selection pictures Doune Castle (frontispiece), Loch Katrine, Glenfinlas, Benvenue, and Loch Lubnaig. See: Goldschmidt and Naef, The Truthful Lens<\/em>. Front hinge loose and covers lightly worn. $250<\/p>\n <\/p>\n (Images supplied on request)<\/p>\n \u00a0<\/strong><\/p>\n Unmounted images of Egypt, each measuring about 8 x 10 inches. Subjects include a sailboat docked along the banks of the River Nile, the Island of Philae, and temples, ruins, and monuments at Dendera, Edfu, and Thebes. Beato\u2019s credit is scratched into the negative or inset, or both. Italian-born Antonio Beato (1825-1903) began working along the Nile in 1857 and five years later established a studio in Cairo. He relocated to Luxor in 1870, running his business for thirty years out of the prestigious Hotel Luxor. All but one print rich and detailed. Group of 13: $1,000<\/p>\n <\/p>\n Athens, Greece, depicted in prints that measure about 8 \u00bd x 10 \u00bd inches, on 11-x-14-inch mounts. Subjects include the Acropolis, Parthenon, Caryatides, Theatre of Bacchus, Arch of Adrian, Temple of Jupiter, Monument of Lysicrate, Hill of the Pnyx, and Tower of the Winds. Most have Constantine\u2019s identifying numbers inset in the image. Accompanied by a four-page catalog of about 150 prints offered by Constantin Athanassiou & Co., a rare early piece of nineteenth-century ephemera that relates directly to the photographs here (text in French). D. Constantine set up his Athens studio in 1858, becoming only the second professional photographer in the city, and remained active into the 1870s. He was the first photographer to work for the Hellenic Archaeological Society. All prints in very good condition, catalog with a few tears and folds. Set of 18: $1,500<\/p>\n \u00a0<\/strong><\/p>\n This is a nice portrait of a young man with a beard, wearing a coat and tall top hat. It is housed in a gold oval metal mat and an unusual octagonal-shaped case. Normal light wear to case, which is missing the front. $350<\/p>\n <\/p>\n Haynes\u2019 mounts tout his Yellowstone Park and Northern Pacific scenery. Two are from Yellowstone: \u201cHot Spring Cone,\u201d showing two fishermen, and \u201cBeeHive Geyser,\u201d with a small group of onlookers. The third card pictures Cape Horn on Oregon\u2019s Columbia River, showing a massive rock formation, with a man in rowboat in the foreground. Frank Jay Haynes (1853-1921) began as photographer in Moorhead, Minnesota, in 1876, securing the same year a contract with the Northern Pacific Railroad to photograph along its line, work that lasted three decades. In 1884, he obtained a lease from the U.S. Government to open a studio in Yellowstone National Park, and he served as the site\u2019s official photographer for over thirty years. Haynes ran a portrait studio in St. Paul, Minnesota, beginning in 1895, and retired about twenty years later. During his long and productive career, he pictured the landscape and people (including Native Americans) of much of the Northwest. Near fine condition. Group of three: $45<\/p>\n <\/p>\n Images made in a scenic 400-foot gorge, at the southern end of Seneca Lake, one of the Finger Lakes in upstate New York. They include: Cavern Cascade, Pluto Falls, Min-ne-ha-ha Falls, Central Cascade, and Rainbow Falls (in winter). The standout image is \u201cReflection in Cathedral,\u201d showing trees reflected in still, shallow water, framed by towering pines and a rocky fa\u00e7ade. This may have been Hope\u2019s best-selling picture, as it is the only one here with the title printed on the mount (all others have titles inserted in the image), and another print of it is in the collection of the Minneapolis Institute of Arts. James Douglas Hope (1846-1929) studied photography at Niagara Falls, and set up his studio in Watkins Glen around 1875. He worked extensively in the Watkins Glen gorge, when it was a private tourist resort and before it became part of a state park in the early twentieth century. All but one print, rich and in very good condition. Set of six: $2,500<\/p>\n <\/p>\n A nice group of Thurlow\u2019s \u201cColorado Views,\u201d all made in the vicinity of his home base of Manitou, on oversize (Imperial) cards. The subjects are: Rainbow Falls (in Summer and Winter), Garden of the Gods, Pike\u2019s Peak, Devil\u2019s Punch Bow, Seven Falls, Glen Eyrie, Navajo Spring, Bath of Venus, Fountain Cascade, Pillar of Jupiter, and the Flying Dutchman. Many of them feature distinctive rock formations, sometimes with a human figure, for scale and interest. Occasional handwritten notes on the backs of the mounts, giving the height of formations and personal impressions. James Thurlow (1831-1878) was an accomplished Colorado landscape photographer who was profiled in Stereo World<\/em> (vol. 10, no. 6). All prints rich and in good condition, except for one which is soiled. Set of 18: $350<\/p>\n \u00a0<\/strong><\/p>\n \u00a0<\/strong><\/p>\n What makes this piece interesting is the two-piece, circular gutta-percha case. The top screws on and off, and features a different design than the bottom. About the size of an Oreo cookie, and just as delicious, visually. $100<\/p>\n <\/p>\n This is a large studio tintype, of a man wearing a suit and ribbon tie. While the image is not remarkable, its frame is: a cut-out leather affair, with mohair inserts, suggesting tramp art. \u201cGeorge Miller\u201d is written on the back, presumably identifying the sitter. $150<\/p>\n <\/p>\n <\/p>\n This is the adventure of three Turkish brothers who ran a photographic studio in Constantinople from 1858 until the beginning of World War I. Kevork, Vi\u00e7en, and Hovsep Abdullah won the favor of Sultan Abd\u00fclaziz with their portraits and moved on to photograph other celebrities of their time. They also took their cameras out into the city\u2019s streets and countryside, documenting Turkish life for natives and tourists alike. In 1868, they opened a branch in Cairo, from which they produced thousands of images of Egypt. An extensive, unrivaled study of one of the leading professional studios in the Middle East during the nineteenth century, which includes full-size, color reproductions of twenty-two of their elaborately designed mounts. Near fine condition. $175<\/p>\n <\/p>\n 4 panels, c. 1895.<\/p>\n On his letterhead of Rathmore Lodge in London\u2019s fashionable South Kensington borough, the letter is dated February 18 and addressed to a Mrs. Clark. In it, Abney thanks her for her letter and discusses his books and travel plans to Ireland. Accompanied by Abney\u2019s 20-page article \u201cPhotography,\u201d extracted from the 1905 edition of The Encyclopedia Britannica<\/em>. Captain Sir William Abney (1843-1920) invented printing-out paper and wrote over twenty books on photographic technique. In 1876, he published the book Thebes and its Five Greater Temples<\/em>, with woodburytypes of Egypt, and he later served as president of London\u2019s Photographic Society. $50<\/p>\n <\/p>\n Read the subtitle and you\u2019ll understand the contents. Features two essays: \u201cEarly Photography in the Collection of the Cabinet des Estampes\u201d by Jean-Pierre Seguin, and \u201cThe Beginning of Photography as Art in France\u201d by Weston J. Naef. The catalogue section comprises biographic information and pictures with descriptions by nearly one hundred photographers. Stand-out names are: Eug\u00e8ne Atget, Edouard-Denis Baldus, Adolphe Braun, J. B. Greene, Gustave Le Gray, Etienne-Jules Marey, Nadar, and F\u00e9lix Teynard. Laid into this copy are two original reviews of the show, from Time<\/em> and the Christian Science Monitor<\/em>. Additionally, this copy is signed by essayist Naef. Near fine condition, in dustjacket with tiny edgewear. $95<\/p>\n <\/p>\n This is a narrative history of the Northern Italian city of Genoa, situated on the Mediterranean Sea and the birthplace of Christopher Columbus. Such books started to be written in great numbers in the middle of the nineteenth century, when thousands of Europeans embarked on their Grand Tours. The Alinari firm provided images of the city\u2019s highlights: the port, Columbus Monument, Palazzo Municipale, Cathedral of San Lorenzo, the Great Lighthouse, Staglieno Cemetery, and other spots. The plates are printed in rich photogravure and protected by tissue guards. Leopoldo Alinari (1832-1865) set up a photographic studio in Florence in 1852. Two years later his brothers Romualdo and Giuseppe joined, to become Frataelli Alinari, Fotografi Editori, which became one of the largest photographic establishments in all of Europe. Their eventual stock of 70,000 negatives remains active to this day. Dedication page wrinkled, minor edgewear, two tiny holes in back cover, and browning to spine. $50<\/p>\n <\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 West of the Rockies: A Traveling Exhibition<\/em>, Rochester: George Eastman House, c. 1965. Brochure, 8 \u00be x 3 \u00be inches 6 panels, one halftone illustration. Offers a traveling show of twenty-five photographs, for a monthly rental fee of $125. Includes work by Gardner, Haynes, Hillers, Jackson, Muybridge, O\u2019Sullivan, and Watkins.<\/p>\n Nineteenth Century Mammoth Plates of the American West<\/em>, Norfolk, Virginia: Chrysler Museum, 1979. Softcover, 8 \u00bd x 11 inches, 16 pages, 10 halftone illustrations. Exhibition catalog, with introduction by curator Brooks Johnson. Includes the work of F. Jay Hayes, William Henry Jackson, Eadweard Muybridge, and Carleton E. Watkins.<\/p>\n Wild Beauty: Photography of the Columbia River Gorge, 1865-1915<\/em>. Portland, Oregon: Portland Art Museum, 1984. Softcover, 10 x 6 \u00bd inches, 24 pages, 12 halftone illustrations. Exhibition catalog, with essay by curator Terry Toedtemeier. Features work by and biographies of Carleton E. Watkins, Isaac Davidson, F. Jay Haynes, William Henry Jackson, Benjamin A. Gifford, Lilly E. White, Oscar and Fred Kiser, and Edward S. Curtis.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The Eastern Wilderness: Photographs, 1850-1900<\/em>, Washington, D.C.: Tartt Gallery, 1990. Softcover, 7 x 10 \u00bd inches, 16 pages, 16 halftone illustrations. Small exhibition catalog from two commercial galleries\u2014Tartt and Gary Edwards Fine Art. The text by Jo Tartt, Jr., and Edwards cover \u201cPhilosophers in the Adirondacks,\u201d \u201cA Different View of the New Arcadia,\u201d and \u201cThe End of the Dream?\u201d Reproduces images by William James Stillman, A. J. Russell, and William Henry Jackson (panorama of the Hudson River at Dobbs Ferry). This copy signed and dated 1990 by Tartt.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Photography in Nineteenth-Century America<\/em>, Fort Worth, Texas: Amon Carter Museum, 1991. Invitation, with a color reproduction of an 1850 daguerreotype of a \u201cCalifornia forty-Niner,\u201d and press release for an exhibition of 150 objects.<\/p>\n Group of five: $25<\/p>\n This is an early history of Western professional photographers, working on government surveys and in their studios to make cartes-de-visite, stereocards, and full-size albumen prints. Among those profiled are William Henry Jackson, Timothy H. O\u2019Sullivan, and operators in California, Idaho, Montana, Portland, Seattle, Denver, and Salt Lake City. Near fine condition, in dustjacket with tiny edgewear and rubbing. $35<\/p>\n <\/p>\n in color), dustjacket.<\/p>\n This book examines nineteenth-century photography in Hokkaido, Japan\u2019s second largest island and the country\u2019s northernmost prefecture. It includes portraits, landscapes, and harbor, village, and city scenes. Features biographies of ten photographers and a timeline from 1839 to 1914. Text in Japanese. Near fine condition, in dustjacket with tiny edgewear. $35<\/p>\n <\/p>\n This is a reprint of the text and photographs that Barnard published under the same title in 1866, as a book with large albumen prints pasted in. Gerry Badger has written of the original that it \u201cis the first great landscape photobook, but it is of a wounded brutalized land\u2014gouged and scarred and broken. Its tone is stoically calm, yet bleak, and is all the more so for being so lucidly understated.\u201d George Barnard (1819-1902) worked for Mathew Brady during much of the Civil War but in 1864 joined Union General William Tecumseh Sherman on his \u201cMarch to the Sea\u201d through Tennessee and the Carolinas, which devastated Confederate troops and Southern cities. Rubbing and light wear to covers, with spot on back. $25<\/p>\n <\/p>\n The only critical biography on Barnard, this is a detailed and handsome production. Curator Davis covers the photographer\u2019s early work with the daguerreotype, time in Washington, D.C. with Mathew B. Brady (today better known, but not as skilled at landscapes as Barnard), important documentation of General Sherman\u2019s Civil War wins, and his late career, to 1902. This copy signed by Davis. Fine condition. $125<\/p>\n \u00a0<\/strong><\/p>\n An overview of photographs by David F. Barry (1854-1934), made between 1877 and 1934. Based primarily in Bismarck, North Dakota, and Superior, Wisconsin, Barry focused on Native American subjects such as Sitting Bull and Rain-in-the-Face, who called him the Little Shadow Catcher (Icastinyanka Cikala Hanzi in his native tongue). Near fine condition, in price-clipped dustjacket. $35<\/p>\n <\/p>\n This is an insightful examination of the Pre-Raphaelite painters use of the camera and the movement\u2019s influence on photographers in their subject matter and approach. Among the photographers covered are Julia Margaret Cameron, Lewis Carroll, Oscar G. Rejlander, and Henry Peach Robinson. Artists covered include William Holman Hunt, John Millais, and Dante Gabriel Rossetti. Near fine condition. $35<\/p>\n <\/p>\n This was the first substantial examination of the work of Henry Hamilton Bennett (1843-1908). Based in what is now the city of Wisconsin Dells, Bennett made a name for himself photographing the unique rock, cliffs, and caves of the Wisconsin River, and was primarily responsible for the public image of the dells in the late nineteenth century. A family-run business from the start, the H. H. Bennett studio is still in existence today. MOMA curator John Szarkowski proclaimed that his work \u201cwas a portrait of America discovering an identity with the wild world,\u201d and reflected an \u201cawakening to the poetic uses of the land.\u201d Covers lightly rubbed and a touch of edgewear. $25<\/p>\n <\/p>\n The Wisconsin Heritage of Photography: Bennett<\/em>, Milwaukee Art Center, 1970. Softcover, 7 \u00bd x 7 \u00bd inches, 28 pages, 15 halftone illustrations. Exhibition catalog with two short essays by museum director Tracy Atkinson and Arnold Gore and Saralee Fine. The images are primarily of the distinctive carved rocks at Wisconsin Dells and tourists enjoying them, but also includes a picture of Bennett with his wife and three children in one of the rooms of their house.<\/p>\n Tom Bamberger and Terrence L. Marvel, H. H. Bennett: A Sense of Place<\/em>, Milwaukee Art Museum, 1992. Softcover, 9 \u00bd x 8 \u00bd inches, 32 pages, 16 halftone illustrations. Features stereocards, panoramas (printed across two pages), and some romantic \u201cdell-scapes,\u201d with dramatic skies undoubtedly printed in from a second negative. This appears to be the latest publication on Bennett and, though not lengthy, probably the most analytical and reliable.<\/p>\n Pair: $25<\/p>\n <\/p>\n Preceding the \u201cMiss America\u201d pageant by two decades, this book is not about a contest, but rather the nature of American women. Black shows the hair styles and dress of his subjects, both individually and in groups. Photographed between Boston and Texas (though not identified), are youngsters, college-age girls, women at professions such as publishing editor, and even celebrates their new freedom not to marry, though the last chapter capitulates, being titled \u201cAnd so they were married.\u201d Alexander Black (1859-1940) was a magazine and newspaper writer who also produced a few books on photography. He developed the \u201cpicture play,\u201d a narrated presentation of projected photographic images that dissolved into one another, a rough predecessor to motion pictures. Light cover marks and sunning to spine and part of front cover. $35<\/p>\n <\/p>\n The entire issue of this quality Swiss magazine is devoted to Blanquart-Evrard (1802-1872). Not a photographer, but an early publisher of the work of major nineteenth-century operators, he is credited with helping to preserve the output of the likes of Maxime Du Camp, J. B. Greene, Henri Le Secq, Charles Marville, and Victor Regnault. He ran Imprimerie Photographique in Lille from 1851 to 1855, producing at least twenty albums and hundreds of prints used in other publications. This magazine features essays on Blanquart-Evrard by collector Isabella James and editor Allan Porter, along with 40 duotone illustrations and biographical notes on fifteen photographers. Tiny edgewear. $25<\/p>\n <\/p>\n Virtually the entire issue of the magazine is devoted to the Bonfils. Editor Allan Porter writes on \u201cF\u00e9lix, Lydie, and Adrien: The Travelling Photographer, 1867-1916,\u201d and a trio of scholars contribute the essay \u201cThe Photographers Bonfils of Beirut and Al\u00e8s.\u201d In 1867, F\u00e9lix Bonfils (1831-1885) established his studio in Beirut, Lebanon, which after his death was run by his wife and son as La Maison Bonfils. The firm, one of the most prolific in the Holy Land, pictured monuments, ruins, and people in ethnic attire. Near fine condition. $25<\/p>\n <\/p>\n Text about the Bonfils studio and each of the principals, including son Adrien (1861-1929) and wife Lydie Cabanis (1837-1919), and their successor A. Guiragossian (1871-1956). Lists the approximately 1,000 photographs in the collection of Harvard\u2019s Semitic Museum, and features a Bonfils family tree and three maps of the places they photographed throughout the Mediterranean. Compiled and edited by Ingeborg O\u2019Reilly, who has inscribed this copy. Near fine condition. $25<\/p>\n <\/p>\n A large-format book with Bonfils images from an archeology and anthropology museum collection. Includes the only color reproductions of Bonfils work known to me, with images from seven photochromes, a lithographic process that allowed hand tinting during the printing. They include Bedouin shepherds and Muslim women in Syrian costume; temples in Baalbek, Lebanon; an overview of the city of Beirut, Lebanon; the interior of a house in Damascus, Syria; and the north shore of the Dead Sea. Near fine condition, in lightly rubbed dustjacket. $75<\/p>\n <\/p>\n Carney E. S. Gavin, Bonfils and the Early Photography of the Near East<\/em>, offprint from Harvard Library Bulletin<\/em>, October 1978. Softcover, 10 \u00bc x 7 inches, 30 pages, 16 halftone illustrations. An early overview of the Bonfils firm and its relationship to others in the region, with descriptions and analysis of each of the 16 plates. With a hand-written letter from Ingeborg O\u2019Reilly, the photo-archivist at Harvard\u2019s Semitic Museum, where the original Bonfils photographs reside.<\/p>\n Remembrances of the Near East: The Photographs of Bonfils, 1867-1907<\/em>, Rochester: Eastman House, 1980. Softcover, 9 x 7 inches, 24 pages, 14 halftone illustrations. Small catalog for a show that the Eastman House traveled to New York\u2019s Jewish Museum and institutions in Chicago and Boston. Text by curator Robert Sobieszek and Carney Gavin of Harvard\u2019s Semitic Museum.<\/p>\n Pair: $25<\/p>\n \u00a0<\/strong><\/p>\n\n
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Original Photographs<\/strong><\/h4>\n
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Books & Ephemera<\/strong><\/h4>\n
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