My family plays a card game called Monte Carlo that uses poker hands of sets and runs. A set comprises three cards of the same denomination and a run is four consecutive cards of the same suit. This catalog features books, not cards, in sets and runs. The sets are usually books that were issued together, say in a slipcase, or over time as a distinctly related group, like the four Atget books from the Museum of Modern Art in the 1980s. The runs tend to be periodicals\u2014newsletters, magazines and annuals. I have also included multiple editions of some titles, if they are sufficiently different and of possible interest to the completist.<\/p>\n
<\/p>\n
The first volume features a selection of images and essays, edited with an introduction by Julia Van Haaften, and was published by the New York Public Library in 1989. It has 96 pages and 49 halftone illustrations of portraits, New York City, science studies, and American scenes. The second, with a matching design, has essays by Naohito Okude and Michiko Kasahara (text in both Japanese and English) and was published by the Tokyo Metropolitan Museum of Photography in 1990. The 14 reproductions are after prints in the museum\u2019s collection. While the New York Public Library catalog is common in the U.S., this boxed set is not. Near fine condition. $75<\/p>\n
<\/p>\n
This short-lived, London-based periodical was edited by Bill Jay, after he had worked at Creative Camera<\/em> for two years. It lasted twelve issues, all but the last one published in 1970. Writing some years after its demise, Jay remembered, \u201cI was in seventh heaven, collaborating with famous photographers. I was producing a magazine that I would want to buy, the only editorial policy that I ever had.\u201d Despite glowing letters from the likes of curator Peter C. Bunnell and historian Helmut Gernsheim, subscriptions never covered the magazine\u2019s expenses, forcing its early demise. Most issues focused on a pair of photographers.<\/p>\n No. 1. Bill Brandt and Eikoh Hosoe.<\/p>\n No. 3. Eug\u00e8ne Atget and Tony Ray-Jones.<\/p>\n No. 4. Lewis Hine and Les Krims.<\/p>\n No. 5. Imogen Cunningham and Emmett Gowin.<\/p>\n No. 6. George Eastman House collection (Gertrude K\u00e4sebier on the cover).<\/p>\n Group of five issues: $75<\/p>\n <\/p>\n Hardcover (black-stamped gray cloth with gelatin silver print affixed), 11 \u00bc x 8 \u00be inches, 134 pages, duotone illustrations. This copy is one of a special edition, with a silver print made from a copy negative on the cover, of Alvarez Bravo\u2019s image \u201cThe Daughter of the Dancers,\u201d showing a woman looking in a circular window in a patterned wall.\u00a0\u00a0 Near fine condition, with light surface scratch to print.<\/p>\n Softcover, 11 x 8 \u00bd inches. This is the first printing of the exhibition catalog. It is distinguished by a cover reproduction and Alvarez Bravo\u2019s name being tipped on to the cover. Features all of the photographer\u2019s best known images, like the 1935 \u201cPortrait of the Eternal,\u201d picturing a woman combing her hair in a shaft of light (on the cover). Introduction by museum director Arthur Ollman and essay by Nissan N. Perez. All text bilingual in Spanish and English. This copy signed by catalog and exhibition designer Joseph Bellows, with his business card laid in. Near fine condition.<\/p>\n Softcover, 11 x 8 \u00bd inches. This is the second printing, published by the University of New Mexico Press, Albuquerque. The cover design is the same, but is fully printed, without tipped-on elements. Near fine condition. This copy inscribed by Arthur Ollman.<\/p>\n Education packet. Folder with materials for educators at the museums that took the show on its tour.<\/p>\n Group of four: $250<\/p>\n <\/p>\n \u00a0<\/strong><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>Indisputably, America\u2019s premier photography periodical for decades, it began in 1952 under the editorship of Minor White, in Rochester, New York.<\/p>\n 3:2 (1955). Covers \u201cThe Family of Man\u201d and two other earlier exhibitions.<\/p>\n 4:2, 3, 4 (1956). Frederick Sommer and photographic education.<\/p>\n 5:1-4 (1957). Aaron Siskind, Walter Chappell, and others.<\/p>\n 6:3 (1958). Features Paul Caponigro\u2019s images of headstones.<\/p>\n 8:1-4 (1960). Stieglitz monograph, abstract photography, Lange\u2019s \u201cDeath of a Valley.\u201d<\/p>\n 9:1, 3, 4 (1961). Robert Frank, Walter Chappell, Wynn Bullock, and more.<\/p>\n 10:2-4 (1962). Includes the monograph \u201cFrederick Sommer: 1939-62 Photographs.\u201d<\/p>\n 11:1-4 (1964). Monographs on Barbara Morgan and Imogen Cunningham.<\/p>\n 12:1-4 (1965). Edmund Teske and Edward Weston (Grossman) monograph.<\/p>\n 13:1-4 (1967). Metzker, Uelsmann, Cartier-Bresson, and Caponigro monograph.<\/p>\n 14:1-4 (1968). W. Eugene Smith monograph and \u201cLight7<\/sup>\u201d exhibition.<\/p>\n 15:1-4 (1970). \u201cBe-ing Without Clothes\u201d show and Jerry Uelsmann monograph.<\/p>\n 16:1-4 (1971). Edward S. Curtis monograph, Nathan Lyons, and Emmet Gowin.<\/p>\n 17:1-4 (1972). \u201cOctave of Prayer\u201d show and Clarence John Laughlin monograph.<\/p>\n 18:1-4 (1973). F. H. Evans and Meatyard monographs and \u201cCelebrations\u201d show.<\/p>\n 19:1-4 (1974). \u201cThe Snapshot\u201d and Peter Henry Emerson monograph.<\/p>\n This is a lengthy run, with some hard-to-find early issues and 11 compete volumes. Most in very good condition, a few in original mailing envelopes and, thus, near fine. Group of 50 issues: $1,500<\/p>\n \u00a0<\/em><\/strong><\/p>\n After the 1975 death of founding editor Minor White, Michael E. Hoffman standardized its size and began giving each issue a sequential number, instead of the previous system of four issues to a volume. Numbers 78 to 81 are hardcovers. Many issues focus on specific topics and countries. Among the photographers given monographs (that often appeared simultaneously as hardcover books) were August Sander (#83-84, 1980), Josef Sudek (#117-118, 1990), Albert Renger-Patzsch (#131, 1993), and Paul Strand (#135, 1994). Issues 168 and 169 mark Aperture<\/em>\u2019s fiftieth anniversary, with many images and the four-part essay, \u201cVisions and Voices: A Celebration of Genius in Photography,\u201d by critic<\/p>\n <\/p>\n A well-designed, oversize quarterly published by Kodak for professional industrial photographers. Its editorial note proclaimed that the magazine \u201cturns with each issue to focus on a different phase in the cycle of production and marketing. Each time it brings into view some major business objective and shows how photography can aid in attaining it.\u201d Only fourteen issues were published, in the early 1930s. Most of the illustrations are accomplished modernist images of machinery and mass-produced products, dramatically lit and composed. Frustratingly, none of the photographers are credited, but among the identifiable pictures are Anton Bruehl\u2019s 1929 advertising shot of top hats lined up on shelves. It is likely that there are images here by the likes of Edward Steichen, Lejaren \u00e0 Hiller, and Harry K. Shigeta.<\/p>\n Light edgewear (as normal) and minor cover marks. Group of five: $150<\/p>\n <\/p>\n Published in Stockholm, Swedish Pictures of the Year<\/em> was an annual of creative photographs from Swedish contributors, first issued in 1933. Each one includes 80 rich photogravure illustrations, with technical information on the pictures. Most have a foreword by Carl-Julius Anrick and are softcovers, with the previous owner\u2019s name on the title page. They comprise competent images of the country\u2019s people, landscape, and built environment. The last one features a group of pictures showing a state visit by England\u2019s Queen Elizabeth in June 1956. Minor wear to covers and one dustjacket.<\/p>\n 1940, 1941, 1942, 1943, 1956\/57<\/em>.<\/p>\n Group of five: $50<\/p>\n <\/p>\n Volume I: Old France<\/em>, 1981.<\/p>\n Volume II: The Art of Old Paris<\/em>, 1982.<\/p>\n Volume III: The Ancien R\u00e9gime<\/em>, 1983.<\/p>\n Volume IV: Modern Times<\/em>, 1985.<\/p>\n The four-volume set that constitutes the most comprehensive study of the great Parisian photographer, based on MOMA\u2019s in-depth holdings. Includes intelligent essays by Hambourg and Szarkowski and extensive notes to the plates. Volume III features a fold-out chart with Atget\u2019s negative numbers and the dates and places of his pictures, made possible by the curators cracking his esoteric numbering code. Mint condition, each in shrink wrap. The set of four: $450<\/p>\n <\/p>\n 1964, New York: Atheneum Publishers. Hardcover (black and silver-stamped white paper over boards), 14 \u00bd x 11 inches, unpaginated, screen-gravure illustrations, slipcase. A simultaneous portrait, in words and photographs, of the United States during the troubled mid-1960s. Time<\/em> magazine characterized it as a \u201cchilling, engrossing masterpiece.\u201d It features many of Avedon\u2019s now iconic studio portraits, with a few gatefolds, of such figures as governor George Wallace, president Dwight D. Eisenhower, and Marilyn Monroe. But the book also includes groups of images he made of patients at a mental institution and people on the beach, both rendered, uncharacteristically, grainy and impressionistic. Tiny wear to top and bottom of spine, in original slipcase that has scratching, rubbing, and minor wear.<\/p>\n 1965, New York: Dell. Softcover, 9 \u00bd x 7 inches, unpaginated, halftone illustrations. \u00a0\u00a0\u00a0 With ephemera. This is a drastically reduced version of the original, above, smaller in size and much poorer in reproduction quality. The cover proudly proclaims, \u201cThe complete $12.95 volume for $1.50.\u201d While Dell obtained permission from the original publisher to issue this, they did not think to request Avedon\u2019s approval. In 1989, when I sent this copy to Avedon for his signature, he responded with a typed, signed letter stating, \u201cI cannot bring myself to sign your paperback of Nothing Personal<\/em>. It was done without my permission, terribly printed and engraved, with no foldouts for the wedding pictures. It hurts my heart every time I see it.\u201d A very revealing letter, laid in, with original envelope.<\/p>\n Pair: $350<\/p>\n <\/p>\n This set was published a few years after Avedon\u2019s death and accompanied an exhibition seen at both the Fraenkel Gallery and New York\u2019s Pace\/MacGill. Gallery owner Jeffrey Fraenkel observes that \u201cRichard Avedon knew a good photograph when he saw one. Though he was far more interested in making pictures than collecting them, he lived surrounded by photographs of every kind, from the exalted to the unknown.\u201d Laid in is a complimentary card from Fraenkel and the New York Times<\/em> review of the show at Pace\/MacGill, on original newsprint.<\/p>\n III. Peter Hujar. Comprises 8 portraits by Hujar, part of New York\u2019s artistic underworld during the 1980s.<\/p>\n Near fine condition, in original box. Set of five: $75<\/p>\n <\/p>\n Second edition, 1929. Hardcover (gold-stamped turquoise cloth), 12 \u00bd x 10 inches, 260 pages, 120 screen-gravure illustrations. Art Forms in Nature<\/em> was Blossfeldt\u2019s great contribution to Germany\u2019s New Objectivity. His close-up image of plants, sometimes presented in pairs and triptychs, make them look muscular and almost machine-made. Like the first edition, the plates, in rich gravure, are backed by blank pages. Introduction by Karl Nierendorf. Text in German.<\/p>\n Fifth edition, 1935. Hardcover (gray-stamped cream cloth), 12 \u00bd x 9 inches, 122 pages, 96 screen-gravure illustrations. Plates printed in green ink, back-to-back. Portion of original dustjacket laid in. Previous owner\u2019s name, cloth quite clean except for light wear to two tips and spine.<\/p>\n Pair: $750<\/p>\n <\/p>\n Volume I<\/em>, New York: Dodge, 1935. Softcover (spiral bound), 11 \u00be x 9 inches, unpaginated, 75 screen-gravure illustrations. Stated third edition. Compiled and edited by Heyworth Campbell, with an introduction by Dorothy Cocks. Includes rich full-page gravures by the likes of Fred P. Peel, Frank R. Fraprie, Lejaren \u00e0 Hiller, William Rittase, and Ruth Bernhard. Light edgewear and surfacing cracking to front cover.<\/p>\n Volume 4<\/em>, New York: Dodge, 1938. Softcover (spiral bound), 11 \u00be x 9 inches, unpaginated, 92 illustrations printed by \u201csheet-fed copperplate gravure.\u201d Features images, often bleeding off the page, by Harry K. Shigeta, John Everard, Wynn Richards, Arnold Genthe, Stephen Deutch, and others. Compiled and edited by Heyworth Campbell, with a text by Dudley Lee. Covers quite clean, with minor edgewear.<\/p>\n Both have order blanks bound in. Pair: $250<\/p>\n <\/p>\n Four hardcover plays by Charles Rann Kennedy illustrated by Boughton. All were published by Harper Brothers (New York), feature the same elaborate embossed cover design created by the Decorative Designers, and measure 8 \u00bc x 5 \u00bd inches.<\/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. Group of four: $35<\/p>\n <\/p>\n During the late 1920s and thirties Madeline Brandeis wrote and illustrated approximately twenty children\u2019s books in her series, \u201cThe Children of All Lands,\u201d about subjects largely in Europe. In each, she described and photographed the everyday life of a single child and his or her friends and family members. Her goal was to educate American children about their counterparts across the Atlantic, in simple prose and accessible images. It seems that these books were printed in large numbers and were popular. According to her obituary in the New York Times<\/em> (June 29, 1937), Brandies died at the young age of 39, from injuries suffered in an automobile accident. The series was then continued by another author.<\/p>\n These hardcover books have cloth spines, printed paper over boards, and dustjackets. They were published by Grosset and Dunlap (New York), measure about 8 \u00be x 7 inches, run about 200 pages, and include about 40 halftone illustrations. They often have an inscription and lightly worn edges and dustjackets.<\/p>\n The Little Indian Weaver<\/em>, 1928.<\/p>\n The Little Swiss Wood Carver<\/em>, 1929.<\/p>\n Little Jeanne of France<\/em>, 1929.<\/p>\n The Wee Scotch Piper<\/em>, 1929.<\/p>\n Little Anne of Canada<\/em>, 1931.<\/p>\n The Little Mexican Donkey Boy<\/em>, 1931.<\/p>\n Little Tony of Italy<\/em>, 1934.<\/p>\n Carmen of the Golden Coast<\/em>, 1935.<\/p>\n Little Rose of the Mesa<\/em>, 1935.<\/p>\n The Little Spanish Dancer<\/em>, 1936.<\/p>\n Little John of New England<\/em>, 1936.<\/p>\n Little Pepito of Central America<\/em>, 1941, by Gladys Shaw Erskine.<\/p>\n Group of twelve: $35<\/p>\n <\/p>\n This was the longest lasting English annual of photography, beginning in 1861 and preceding Photograms of the Year<\/em> by over thirty years. Among its noticeable features were tables, formularies, and extensive bodies of advertising pages, making it a key resource for research on equipment, processes, and photographic studios and businesses (facilitated by an index to advertisers). During the 1920s it featured photogravure frontispieces; in the 1940s gravure plates by the likes of Marcus Adams, F. J. Mortimer, and Julian Smith; during the 1950s articles like \u201cThe Importance of Colour Photography in Daily Life and Education;\u201d and in the 1960s text on subjects such as the professional, flash photography, and \u201cnarrow-gauge\u201d cinematography. Hardcovers (gold-stamped green cloth), 7 \u00bd x 5 \u00bc inches, up to 800 pages.<\/p>\n 1922, 1923, 1924, 1925, 1940, 1944, 1945, 1946, 1947 1948, 1949, 1950, 1951, 1952, 1953, 1954, 1956, 1958, 1961.<\/p>\n Very good condition or better. Run of 19 issues: $350<\/p>\n <\/p>\n The long-lasting quality Swiss periodical, printed in rich screen gravure and edited by Allan Porter. The issues were often theme-based, with well-designed text pages on colored stock and printed in letterpress. Issued in numerous language editions, these are all in English. These issues include portfolios by Judy Dater, Ren\u00e9 Burri, Paul Caponigro, Gis\u00e8le Freund, Jeanloup Sieff, John Pfahl, and others. With ephemera.<\/p>\n 1968 (1 issue); 1969 (2 issues); 1970 (2 issues); 1971 (6 issues); 1972 (4 issues); 1973 (1 issue); 1978 (1 issue). Laid in is an invoice letter, dated 1971, for a year of the magazine, at $14, along with a cancelled check for that amount from a California subscriber.<\/p>\n Very good condition. Group of 17 issues: $100<\/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: $35<\/p>\n <\/p>\n One<\/em>, 1968. Unpaginated, screen gravure illustrations. Stated first printing. Features the work of primarily photojournalists who were the focus of the early years of New York\u2019s International Center of Photography, which was founded by Cornell Capa, the brother of fellow photographer, Robert. Includes work by Werner Bischof, Robert Capa, David Seymour (\u201cChim\u201d), Andr\u00e9 Kert\u00e9sz, Leonard Freed, and Dan Weiner, richly reproduced in gravure. Also present are biographies and notes by the photographers and others. This copy signed by Marco Bischof (son of Werner) and Freed. A few bumps to cloth, in price-clipped dustjacket that has minor folds.<\/p>\n Two<\/em>, 1972. Unpaginated, screen gravure and color halftone illustrations. Stated first printing. While comprising fewer pages than the former, this one includes work by more photographers. They are Bruce Davidson, Ernst Haas, Hiroshi Hamaya, Donald McCullin, Gordon Parks, Marc Riboud, W. Eugene Smith, and Roman Vishniac. In addition to notes on every single plate, it includes information about the newly formed International Fund for Concerned Photography, of which Capa was the director. This copy signed by Riboud. Near fine condition, in dustjacket that is rubbed, chipped, and with a short tear.<\/p>\n Set of two: $95<\/p>\n <\/p>\n New York: Henry Holt and Co., 1933. Hardcover (silver-stamped red cloth), 11 x<\/p>\n 8 \u00bd inches, 96 pages, screen-gravure illustrations. This is the playful tale of a terrier puppy and its youthful transgressions. It pictures Dashenka with various predictable props, like a shoe. The text includes a short chapter on how to photograph a puppy and fairy-tales to make her sit still. The book was \u201cwritten, drawn, photographed, and endured\u201d by Capek (1890-1938), a leading Czech author, who was known for his science fiction and introducing the word \u201crobot.\u201d It went through many printings, this being the first English one, issued the same year as the initial Czech edition. Covers worn.<\/p>\n London: George Allen and Unwin Ltd., 1949. Hardcover (printed paper over boards), 11 x 8 \u00bd inches, 76 pages, screen-gravure illustrations, dustjacket. This is the third impression of Dashenka<\/em>, issued in England. Near fine covers in near fine dustjacket.<\/p>\n Prague: Albratros, 1976. Hardcover (printed paper over boards), 10 \u00bd x 8 inches, unpaginated, screen-gravure illustrations. This is the fifth Czech edition, and, indicative of the book\u2019s popularity, was printed in an edition of 75,000 copies. Surprisingly, it features the richest gravures of the three offered here. Near fine condition.<\/p>\n Group of three: $75<\/p>\n <\/p>\n Tenth Annual Exhibition<\/em>, Washington, D.C.: Capital Camera Club, 1901. Softcover (string ties), 7 \u00bd x 5 \u00bd inches, unpaginated, 12 halftone illustrations. Catalog of nearly 275 photographs presented at the Corcoran Gallery of Art. Charles E. Fairman, a director of the club, is the most well-known of the exhibitors. Lists the club\u2019s officers and all its members, among them honorary member Frances Benjamin Johnston. Covers chipped, with a fold and light soiling.<\/p>\n Eleventh Annual Exhibition<\/em>, Washington, D.C.: Capital Camera Club, 1902. Softcover, 8 \u00bc x 5 inches, 40 pages, 12 halftone illustrations. Catalog for 200 photographs shown at the Corcoran Gallery of Art. Many of the reproductions are by women photographers and there is one of an old man with a cane by Will H. Towles, who went on to become a nationally prominent portrait photographer. Missing small pieces along bottom of front cover.<\/p>\n Eighteenth Annual Exhibition<\/em>, Washington, D.C.: Capital Camera Club, 1909. Softcover, 9 x 6 inches, 32 pages, 9 halftone illustrations. Catalog for 166 photographs, once again hung at the Corcoran. While most of the exhibitors were members of the club, a few out-of-town pictorialists contributed, such as Pittsburgh\u2019s O. C. Reiter. The reproductions feature mostly still lifes, portraits, and landscapes. The foreword stated that the Capital Camera Club \u201cstands as one of the two oldest art organizations in the District of Columbia, and as one of the foremost photographic societies in the county. Its members till the field of the beautiful for the sole reward that consciousness of work well done may bestow.\u201d Light edgewear to cover.<\/p>\n Early camera club catalogs like these, which hold a bounty of information, are rare. Group of three: $300<\/p>\n <\/p>\n This non-profit photography organization presented exhibitions and ran workshops in the scenic upstate New York village of Woodstock. It was headed by the sister team of Colleen and Kathleen Kenyon, and early on included Howard Greenberg on its board, before he became a photography dealer and decamped for New York. Its publication was first called the Center Quarterly<\/em> and subsequently the Photography Quarterly<\/em>. Like other similar publications, it commenced as a newsletter and grew in size, always heavily covering the organization\u2019s own activities, along with paying attention to matters elsewhere in the field.<\/p>\n Vol. 3, 1982 (1 issue); Vol. 4, 1983 (1 issue); Vol. 5, 1984 (2 issues); Vol. 8, 1986<\/p>\n (1 issue); Numbers 42, 46, 54, 57, 60, 67, 69, 70, 72 (1990-1998).<\/p>\n Group of 14 issues: $35<\/p>\n <\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>First edition, 1979. This diminutive and little-known item features an original color print by Christenberry on the cover, showing part of a boarded-up building on Beale Street in Memphis, before the area was revived. According to Christenberry, the first and second editions were each of about 500 copies. The inside cover gives biographical information on the photographer. Robert Sargent (1912-2006), a major District of Columbia poet, was friends with Christenberry and read at the photographer\u2019s drawing and painting classes for many years. One corner lightly bumped and tiny bend to one corner of photograph.<\/p>\n Second edition, 1987. Features a different image on the cover. Near fine condition.<\/p>\n Hand-written card from Christenberry (6 \u00be x 5 inches) which discusses the book and the poet Sargent. Dated July 7, 1998, in original envelope.<\/p>\n Group of three: $150<\/p>\n Many copies, some with auction results. Please inquire.<\/p>\n <\/p>\n First edition, New York: Larry Clark, 1983. 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. Near fine condition.<\/p>\n Third edition, Tokyo: Taka Ishii Gallery, 1997. The only Japanese edition, it features about ten extra pictures and Clark\u2019s 23-page autobiographical text in Japanese. Edition of 1,000 copies. Fine condition.<\/p>\n Pair: $1,000<\/p>\n <\/p>\n Published by the Polaroid Corporation (Cambridge, Massachusetts) for \u201cthose interested in Polaroid instant photography.\u201d As a well-produced promotional piece, subscriptions were complimentary, indicative of the financial success of the company during its heyday. Covers new Polaroid products and topics such as non-photographic uses of sonar technology, computer graphics, space-schuttle videoprints, and photomicrography.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Includes images by Danny Lyon, Sheila Metzner, David Hockney, Bill Burke, Philippe Halsman, William Christenberry, Lucas Samaras, and others.<\/p>\n Vol. 11, 1980 (2 issues); Vol. 12, 1981 (1 issue); Vol. 13, 1982 (2 issues); Vol. 14, 1983 (3 issues).<\/p>\n Group of eight issues: $75<\/p>\n <\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>Published by Light Work, a non-profit, artist-run photography organization on the campus of Syracuse University, headed by Jeffrey Hoone. The issues are often monographs that accompanied exhibitions at Light Work\u2019s Robert B. Menschel Photography Gallery. However, some include images by more than one photographer, with articles on their work or other issues. They started out as newsletters, but around number 60 came to measure about 10 x 9 inches and run up to 48 pages. Photographers given full issues include Andrea Modica, Fazal Sheikh, Bill Arnold, Nathan Lyons, Toby Old, Peter de Lory, and Linda Connor.<\/p>\n Numbers 20, 28-31, 33, 37, 39, 40, 42, 43, 45, 47-53, 55, 57-78, 110-124, 130, 131, 134, 137, 139-145, 147-161, 173 (1979-2013). Accompanied by 18 issues of a related small publication from the Menschel Gallery, with its own numbering system.<\/p>\n Most in near fine condition. Group of 102 issues: $300.<\/p>\n <\/p>\n This is a little-known but important early periodical of creative work, with Aperture<\/em> among its few companions at the time. Thomas M. Hill, Jr., first issued it in Oberlin, Ohio; it continued under the Community Press (Culpeper, Virginia), and was finally edited by photographer\/professor Carl Chiarenza in Boston. The issues in the first three volumes generally measured about 9 x 6 inches. The last three volumes were most consistent in their size (8 x 9 inches) and the quality of the writing and images; these are also the issues most frequently seen. With an original shipping envelope, dated July 1964.<\/p>\n Vol. 1, 1960 (2 issues). Covers the Museum of Modern Art\u2019s exhibition \u201cThe Sense of Abstraction,\u201d with images by Frances Brugui\u00e8re, Alvin Langdon Coburn, Syl Labrot, Moholy-Nagy, Naomi Savage, Val Telberg, and others. Includes a signed letter from the editor and other ephemera.<\/p>\n Vol. 2, 1961 (2 issues). Covers the Eastman House show \u201cSeven Contemporary Photographers,\u201d with a foreword by director Beaumont Newhall. Among the contributors were Ralph Eugene Meatyard, Ray K. Metzker, and Don Worth.<\/p>\n Vol. 3, 1962 (4 issues). Includes an entire issue on Bruce Davidson\u2019s two series \u201cGang\u201d and \u201cClown.\u201d Also features reproductions by George Krause and an article on \u201cSocialist Realism in Photography\u201d by Sergei Morozov.<\/p>\n Vol. 4, 1963 (4 issues). Includes one issue devoted to Jerome Liebling (signed by him) and Paul Caponigro, and one on John Brook and Lee Friedlander. Also runs the text from a symposium on photographic style with remarks by John Szarkowski, Walter Rosenblum, and Gordon Parks.<\/p>\n Vol. 5, 1964-1967 (4 issues). Features portfolios of images by Dave Heath, Jerry Uelsmann, Duane Michals, Charles Harbutt, Marie Cosindas, and others. Among those contributing text are Robert Sobieszek, Beaumont Newhall, and Robert Heinecken.<\/p>\n Vol. 6, 1967-1968, (2 issues). Number one is devoted entirely to the photographs of Charles Sheeler, with an essay by Charles W. Millard III. The last issue solely addresses \u201cThe Concerned Photographer,\u201d Cornell Capa\u2019s project on humanitarian photographers. It includes text by him and reproductions of work by Werner Bischof, Robert Capa, Leonard Freed, Andre Kert\u00e9sz, David Seymour, and DanWeiner.<\/p>\n These eighteen issues comprise the magazine\u2019s full run; they vary in condition, from good to near fine. Set of 18: $650<\/p>\n <\/p>\n First edition, New York: Simon and Schuster, 1955. Softcover, 7 \u00bc x 5 inches, 98 pages,141 screen-gravure illustrations. This life-affirming little book comprises a fictional, first-person account by Hughes about a black woman and her fellow Harlem residents. Innovatively, the text begins on the front cover and continues inside, in short personal bursts. DeCarava\u2019s images are equally inviting, starting with the cover image of a youngster making direct eye contact with the reader. Presented in high-quality gravure, they show the rich, human fabric of the community. This copy signed by DeCarava on the inside cover. Covers darkened and edgeworn.<\/p>\n Second edition, New York: Hill and Wang, 1967. Hardcover (gold-stamped turquoise cloth), 8 \u00bc x 5 \u00be inches, 96 pages, 141 halftone illustrations. Issued in a slightly larger format than the first and with the nearly identical sequencing of images and text. However, the pictures are reproduced in halftone and occasionally vary in their size and placement on the page. Near fine condition. This copy signed by DeCarava.<\/p>\n Pair: $550<\/p>\n <\/p>\n Boston: Little, Brown, 1910. Hardcover (gold-stamped blue cloth with mounted reproduction), 8 x 5 \u00bd inches, 398 pages, 32 halftone illustrations. This is the \u201crevised and corrected edition\u201d of the 1892 first, which did not have illustrations by Demachy. Dodd\u2019s charming travelogue through the French countryside is interspersed with 24 of Demachy\u2019s soft, evocative landscape and rural images, made especially for the book. The cover features a very painterly image by him of a stand of trees that also appeared as a photogravure in Camera Work<\/em>. The leading French pictorialist around 1900, Robert Demachy (1859-1936) was most revered for his images of female nudes. He was a cofounder of the Photo-Club de Paris, exhibited extensively in photographic salons, and championed the gum-bichromate process, which allowed hand manipulation of the image during development. Wear to spine and cover, front hinge a little lose, and previous owner\u2019s stamp and notation.<\/p>\n New York: G. P. Putnam\u2019s Sons, 1929. Hardcover (red-stamped blue cloth),<\/p>\n 9 x 6 \u00bc inches, 356 pages, 19 halftone illustrations (1 in color), dustjacket. Stated first printing of this edition. This is a curious Demachy item, as it includes reproductions of drawings<\/em>, not photographs, by him. After years as the top French pictorialist, Demachy gave up photography to pursue drawing at the outbreak of World War I, for unknown reasons. His crayon drawings (and pastel frontispiece) are competent renditions of specific scenes in the text. Demachy receives credit on both the front of the dustjacket and title page. Mild internal foxing, in a dustjacket that is chipped, torn, and faded on the spine.<\/p>\n Pair: $50<\/p>\n <\/p>\n This is the catalog raisonne of Dine\u2019s photographs to date, compiled by Stephanie Wiles. Volume I: Heliographs; Vol. 2: Digital Prints; Vol. 3: Polaroids, Chromogenics, and Gelatin Silver Prints; Vol. 4: Text. Includes essays by Wiles, Andy Grundberg, and Marco Livingstone. Co-published with the Davison Art Center, Wesleyan University (Middletown, Conn.) and the Maison Europ\u00e9enne de la Photographie (Paris). Mint condition, in shrink wrap in slipcase, with original printed cardboard shipping box.<\/p>\n $250<\/p>\n <\/p>\n\n
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