You may have known me as the associate curator of photographs at the Minneapolis Institute of Arts. However, in the Fall of 2011 I resigned from that position, after more than thirty years at the museum, to pursue writing independently in the history of photography and selling out-of-print photography books. This, my first catalog, is a general selection from my existing stock. I anticipate issuing about three catalogs a year, usually on particular themes and movements, such as nineteenth-century photography, pictorialism, and the Clarence H. White School. I, of course, am always interested in hearing about your specific interests and about books you may wish to sell.<\/p>\n
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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 same year, the Century Company published a more elaborate edition, with twice as many illustrations and thicker paper. Both editions sport an attractive Art-Nouveau cover design of plants. C. Yarnall Abbott (1870-1938) was prominent in the Photographic Society of Philadelphia and also a member of Alfred Stieglitz\u2019s Photo-Secession. One of his images from Madame Butterfly<\/em> appeared as a halftone in the April 1905 issue of Camera Work<\/em>. The edges and tips of the cover are lightly worn. $50<\/p>\n <\/p>\n A standard selection of classic straight photographs by one of the few household names in fine photography. Edited by Liliane De Cock, with a foreword by Minor White. This copy signed in ink by Adams on the half-title page. Top and bottom of the spine and one corner are bumped, dust jacket has minor creases. $125<\/p>\n <\/p>\n This large-scale book includes an introduction by Adams, a foreword by Wallace Stegner, and many high-quality illustrations. A full-page sheet pasted in between the frontispiece and title page indicates that this copy is from a \u201cspecial edition prepared for Time-Life Books subscribers with the signature of the photographer,\u201d signed by Adams in ink. Laid into this copy are two pieces of ephemera on Adams books and posters published by the New York Graphic Society. The front and rear hinges have been reinforced by thin strips of archival paper but show no signs of separating, the slipcase shows minor wear at a few corners and has a few spots. $500<\/p>\n <\/p>\n Features photographs by Adams of California\u2019s Yosemite and other Western national parks, dating from the 1920s through 1960s, in their classic visual bravura. Includes an autobiographic foreword by Adams and an easy by author\/conservationist Paul Brooks. Label on the front free endpaper indicates this copy is from a \u201cspecial edition prepared for Time\/Life subscribers with the signature of the photographer,\u201d signed by Adams in ink. The upper and lower edges of the covers are slightly sunned, the dust jacket is lightly rubbed and has a few minor creases. $150<\/p>\n <\/p>\n Revelaciones<\/em> was the catalog for a traveling exhibition, presented at eight American museums. It includes an introduction by MPA director Arthur Ollman, an essay by Nissan N. Perez, and a chronology of the artist; all text bilingual in both English and Spanish. Signed by Joseph Bellows, the designer, who also indicates the book was printed in an edition of 2,500 copies. A subsequent printing did not have the cover illustration tipped-on. This copy is accompanied by a press packet for the show. Fine condition. $50<\/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. $25<\/p>\n <\/p>\n Most comprise about 80 pages and measure approximately 11 \u00bd x 9 \u00bd inches. A long, uninterrupted run of one of the most important and long-lasting photographic periodicals ever published. After the 1975 death of founding editor Minor White, Michael E. Hoffman standardized its size and the magazine continues to this day as a high-quality quarterly.<\/p>\n Beginning with #77, which features the work of Josef Koudelka, the magazine was issued by number, rather than by volume. Numbers 78 to 81 are hardcovers. Many subsequent 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 R. H. Cravens. The last issue offered here, #175, highlights photographs by Donna Ferrato, Rosemary Laing, Elaine Reichek, Doug and Mike Starn, and Paolo Woods.<\/p>\n All in very good to fine condition. The run of 98 issues: $950<\/p>\n <\/p>\n This \u201cSpecial Edition for The Museum of Modern Art\u201d is the first printing, which includes the image \u201cTwo girls in identical raincoats, Central Park, N.Y.C,\u201d replaced in later printings by another picture. The book is one of the most important twentieth-century monographs on a photographer and Aperture has kept it in print nearly continuously over the last forty years. Edited and designed by Doon Arbus and Marvin Israel, it is an understated masterpiece. It features fifteen pages of quotations by Arbus and virtually all of her iconic square-format images of the unusual individuals she sought out and encountered on the street, including the highly-recognizable pair of twin girls on the cover. The cover has indentations, is rubbed, and lightly edge worn. $250<\/p>\n <\/p>\n Texts by Arbus and the essay \u201cThe Magazine Years, 1960-1971\u201d by curator Thomas W. Southall. The book covers Arbus\u2019s lesser known commercial photographs, commissioned by magazines such as Esquire<\/em>, Harper\u2019s Bazaar<\/em>, and the Sunday Times Magazine<\/em> of London. In addition to reproductions of magazine pages that featured her work, it also has a bibliography of her known contributions. Mint condition, in shrink wrap. $75<\/p>\n <\/p>\n This little-known exhibition catalog reproduces ten of Arbus\u2019s pictures, among them \u201cA young Brooklyn family going for a Sunday outing,\u201d and \u201cPuerto Rican woman with a beauty mark.\u201d Each is accompanied by brief general comments by the photographer about her thoughts and process. Also included are listings of her principal exhibitions and publications and the nearly one-hundred photographs in the show. Bilingual text in Spanish and English. Fine condition. $75<\/p>\n <\/p>\n Reproduces a single body of work by Arbus, made 1969-71, during the last years of her life. Here, she turned her camera on residents of homes for the mentally challenged, primarily young women and often in Halloween costume. According to the New York Times Book Review<\/em>, \u201cTheir participation in Arbus\u2019s theater of the human grotesque is simultaneously emotionally touching and ethically disturbing, which gives this long-awaited, elegantly designed book a relevance Arbus herself could not have imagined.\u201d Includes an afterward by Doon Arbus, the photographer\u2019s daughter. Mint condition, in shrink wrap. $75<\/p>\n <\/p>\n The entire front of the record sleeve reproduces Arbus\u2019s 1967 image \u201cPatriotic young man with a flag, N.Y.C.\u201d As was common among punk bands, Hellnation undoubtedly used the image without permission, as the Arbus estate is very controlling and the photographer is not credited. This Kentucky trio called itself \u201ckings of the motherfuckin\u2019 thrash,\u201d and, indeed, the record comprises nearly thirty short, fast, and furious songs that are nearly indistinguishable from one another. Mint condition, in shrink wrap. $25<\/p>\n <\/p>\n Volume I: Old France<\/em>, 1981. Hardcover (gold-stamped maroon cloth), 12 x 10 \u00bd inches, 180 pages, 120 halftone illustrations, dust jacket.<\/p>\n Volume II: The Art of Old Paris<\/em>, 1982. Hardcover (gold-stamped maroon cloth), 12 x 10 \u00bd inches, 192 pages, 192 halftone illustrations, dust jacket.<\/p>\n Volume III: The Ancien R\u00e9gime<\/em>, 1983. Hardcover (gold-stamped maroon cloth), 12 x 10 \u00bd inches, 188 pages, 119 halftone illustrations, dust jacket.<\/p>\n Volume IV: Modern Times<\/em>, 1985. Hardcover (gold-stamped maroon cloth), 12 x 10 \u00bd inches, 188 pages, 116 halftone illustrations, dust jacket.<\/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: $750<\/p>\n <\/p>\n Avedon\u2019s first book, designed by Alexey Brodovitch, with comments by Truman Capote. It includes a small section of street photographs he made in Italy in 1946, but comprises primarily studio portraits, some of which appeared in Harper\u2019s Bazaar<\/em>. Printed in high-quality gravure. The book has a one-inch split at the bottom of the spine and a previous owner\u2019s bookplate, parts of the glassine are missing, and the slipcase has edge wear and stains. $400<\/p>\n <\/p>\n This is the catalog for one of Avedon\u2019s earliest museum exhibitions, when he was considered largely a fashion photographer and not yet accepted by the art world. Comprised primarily of portraits, it was installed on walls painted silver and served as the major summer show for the Minneapolis Institute of Arts in 1970. The catalog\u2019s complete contents, all present here, are: a translucent sheet with a statement by Avedon about his pictures of the Chicago Seven (a late addition to the show); ten reproductions of portraits, varying in size from 9 x 6 \u00bd inches (George Wallace) to 9 x 11 \u00bc inches (Generals of the Daughters of the American Revolution); a ten-page pamphlet with an introduction by the museum\u2019s director and curator Carroll T. Hartwell, text by Avedon, and biographical and bibliographical information on the photographer; and a folded sheet measuring 27 x 26 inches, with 240 thumbnail images of the pictures in the show. While elegantly designed by Marvin Israel, the contents do not fill the depth of the folder, so copies of this catalog are invariably flattened and in poor shape. This one is in fine condition, in a protective sandwich of boards. $95<\/p>\n <\/p>\n Among the images are foldout portraits of the Mission Council, Andy Warhol and members of the Factory, the Chicago Seven, and Igor Stravinsky. Includes an essay by Harold Rosenberg. This copy boldly signed and dated 1995 by the photographer. Fine condition, in a lightly rubbed dust jacket. $350<\/p>\n <\/p>\n Seventy-three portraits reproduced on pages 51-96, most of them one per page. Rolling Stone<\/em> commissioned Avedon to cover America\u2019s bicentennial presidential election, but he made portraits of a broad group of men and women that constituted the country\u2019s political leadership. Among the figures included are Jerry Brown, Jimmy Carter, Cesar Chavez, Lady Bird Johnson, Barbara Jordan, Henry Kissinger, George Meany, Ronald Reagan, Donald Rumsfeld, and George Wallace. The only text accompanying the pictures are dense biographies of the sitters. Newsprint browned (as normal), with light ink offset and one crease to front cover. $75<\/p>\n <\/p>\n This book, with an essay by Harold Brodkey, was published in conjunction with a retrospective of Avedon portrait and fashion photographs at the Metropolitan Museum of Art. This copy boldly signed by the photographer on the front free endpaper. Previous owner\u2019s blindstamp in the front free endpaper, in a slightly rubbed jacket. $750<\/p>\n <\/p>\n This folded poster was for a show at the museum, presented March 5 to May 4, 1980. One side features large images of Loulou de La Falaise, Marcel Duchamp, and President Dwight D. Eisenhower, while the other is a collage of over twenty portrait and fashion images. Fine condition. $75<\/p>\n <\/p>\n Avedon\u2019s pictures of everyday people against his signature seamless white backdrop, made 1979-1984. This copy boldly signed and dated 1995 by the photographer on the front free endpaper. The glassine is lightly rubbed, the book is in fine condition. $500<\/p>\n <\/p>\n This massive, one-and-a-half-inch thick tome, is virtually all visual, with most of the pictures bleeding off the edge of the pages and sometime crossing the gutter. Modest captions are relegated to the rear, where there is also an index to the subjects. Fine condition. $200<\/p>\n <\/p>\n This book was produced on the occasion of a traveling exhibition organized by the Whitney Museum of American Art, New York. It was edited by Mary Shanahan and has essays by Jane Livingston and Adam Gopnik. The Minneapolis Institute of Arts was the last of five venues and this copy is accompanied by five pieces of ephemera related to the showing there, including a twelve-page pamphlet. This copy inscribed by Avedon. Fine condition, in opened shrink wrap. $300<\/p>\n <\/p>\n Baltz\u2019s assessment of the wholesale construction of a development of new homes outside of Salt Lake City. He reveals a wasteland that once it was covered with residential and commercial buildings only \u201cincreased the sense of starkness and desolation.\u201d A key body of work and book from the \u201cNew Topographics\u201d movement. Gus Blaisdell provides the essay \u201cSkeptical Landscapes.\u201d Printed in an edition of 3,000 copies. Laid into this copy is a small, folded poster announcing the book and a 1981 show of the work at Casetlli Photographs, New York. Back corner of the lower spine very lightly bumped. $500<\/p>\n <\/p>\n The book is filled with full-bleed color photographs by Beard of his richly collaged diary pages. While they feature his distinctive handwriting, there is an overabundance of visual material, such as newspaper clippings, and photographs, plus three-dimensional objects placed on the pages before he photographed them. Includes two short essays and an artist\u2019s chronology, in Japanese. The copyright page states, \u201cCatalogue for show \u2018Diary,\u2019 From a Dead Man\u2019s Wallet: Confessions of a Bookmaker.\u201d Laid into this copy are a few pieces of ephemera from the publisher. Fine condition. $650<\/p>\n <\/p>\n A dense book, issued without a dust jacket, of Beard\u2019s photographs and collages of people and African wildlife. Texts by Peter T. Tunney, David Fahey, and Anthony Haden-Guest. Laid into this copy is a large, undated announcement for a show by the same name, at the New York gallery, The Time is Always Now. Fine condition. $300<\/p>\n <\/p>\n This slender volume, part of the series \u201cBritain in Pictures,\u201d features Beaton\u2019s take on historic and contemporary British photography. He includes work by nineteenth-century figures such as William Henry Fox Talbot, Roger Fenton, and Julia Margaret Cameron; the art photographers O. G. Rejlander and Henry Peach Robinson; World War II combat pictures, and, shamelessly, some of his own portraits. The images are printed in high-quality gravure, except for the color halftones. Minor edge wear to the book and dust jacket. $25<\/p>\n <\/p>\n Beaton\u2019s extensive documentation of the decade-long renaissance of creative impulses after World War II. His photographs, drawings, and writing covers world renowned figures in art, literature, dance, theater, music, philosophy, and politics. Many text pages are printed on heavy, colored paper. The dust jacket has two small tape stains and the original price cancelled. $45<\/p>\n <\/p>\n The subtitle, in classic nineteenth-century fashion, describes the book\u2019s subject in detail: \u201cAn album on the Saint-Gaudens Memorial on Boston Common honoring black and white men together who served the Union cause with Robert Gould Shaw and died with him July 18, 1863.\u201d An elegant book, with text printed by the Stinehour Press and rich halftone illustrations by Meriden Gravure. Includes the text of Frederick Douglass\u2019s 1863 call \u201cMen of Color, to Arms,\u201d an essay by Lincoln Kirstein, and a list of the regiment members. According to Eakins Press, this book inspired the 1989 film \u201cGlory.\u201d Laid into this copy is an eight-page pamphlet for a 1976 exhibition of palladium prints on the subject. Fine condition. $50<\/p>\n <\/p>\n This tribute to San Francisco\u2019s cable cars features bits of text by Van, a young cable car gripman, and Bernard\u2019s documentary work on the subject. The author, whose full name was Melvin Van Peebles, went on to success as a black film actor and director. The title of the book came from his lines, \u201cA cable car is a big heart with people for blood. The people pump on and off.\u201d Bernhard shot the cable cars from both the inside and out, and included Melvin in a few of her pictures. Laid into this copy is a copy of a 1957 letter from the mayor of San Francisco, George Christopher, thanking Peebles and Bernhard for sending him a copy of the book, plus an original 1993 letter to Bernhard, that she returned to the sender with the following handwritten comments, \u201cYes it was my first published book!,\u201d and \u201cMelvin Van Peebles\/now of Hollywood, Ca\/well known film director\/father of Mario Peebles of Films.\u201d Tiny edge wear to dust jacket. $95<\/p>\n <\/p>\n Published five years after Bischof\u2019s death at less than forty, this is an early overview of his work. It features his documentary photographs, in both black-and-white and color, from India, Japan, New York, Mexico, Peru, and elsewhere. Among them is an image of a Peruvian boy walking and playing the flute, perhaps his most recognizable picture. The text is by Manuel Gasser and the illustrations are printed in high-quality gravure. Swiss photojournalist Werner Bischof (1916 -1954) was a prominent member of the Magnum photo agency. This copy is signed on the title page by Bischof\u2019s son, Marco. Corners lightly bumped, in a dust jacket that is lightly edge worn and chipped. $65<\/p>\n <\/p>\n Foreword by Miriam Mafai, with a short passage from Bischof\u2019s diary. Bischof\u2019s photographs show the destruction and rebuilding efforts in Germany, France, and other European countries, between 1945 and 1950. Werner Bischof (1916 – 1954) was a leading photojournalist and member of the Magnum photo agency during his short life. This copy is signed on the title page by Bischof\u2019s son, Marco. Fine condition. $45<\/p>\n <\/p>\n This, Bloch\u2019s second artist\u2019s book, comprises straightforward photographs of the aftermath of a major earthquake that struck Mexico City on September 19, 1985. Most of the pictures are people less, but the text is heart-wrenchingly personal, written in the voice of a child or adult not fully fluent in English. One page begins with the text, \u201cThe groun trembelt an shook an bildings sweyd like Alamo trees and walls fell over an floors caved in.\u201d Bloch was born in Mexico City in 1946, took a Ph.D. in biophysics from Harvard University, and has worked as an artist in Minnesota and Paris. Terremoto<\/em>, issued without a dust jacket, was printed in an edition of 400 copies; this one is numbered and signed by Bloch. Fine condition. $50<\/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 end paper 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. Previous owner\u2019s inscription, one-inch tear to the top of both hinges, light edge wear to the cloth, the price-clipped dust jacket has light edge wear, chipping, and tears. $75<\/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 end paper 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 end paper. Light edge wear to the cloth, the price-clipped dust jacket has light edge wear, chipping, and tears. $75<\/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 haunting grounds. The original plastic coating is separating from the dust jacket in a few areas. $50<\/p>\n <\/p>\n This is one of five plays by Kennedy for which Boughton provided illustrations, between 1908 and 1917. The Terrible Meek<\/em> is the shortest of them, being a one-act play for three voices, performed in darkness. Edith Wynne Matthison, Kennedy\u2019s wife, played a peasant woman and is the subject of Boughton\u2019s portrait. 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 the April 1906 issue of Camera Work<\/em>, most of them picturing nude women and children. The book\u2019s elaborate embossed cover was created by the Decorative Designers. Lacks the rare dust jacket. The spine is lightly sunned and worn at the top and bottom, as are the tips. $25<\/p>\n <\/p>\n The \u201cbiography of a business,\u201d namely the Commercial Solvents Corporation. This Indiana company (established in 1917) initially converted Midwestern grains into solvents and subsequently pioneered the development of acetone and butanol. The book covers fermenters, methanol, alcohol, dry ice, and other chemicals. Bourke-White is credited on the front of the dust jacket, but nowhere else in the book. Printed in high-quality gravure, her pictures are visually dynamic and rich in tonalities, sometimes spreading across two pages. Laid into this copy is a card imprinted \u201cWith the compliments of the board of directors of Commercial Solvents Corporation.\u201d Fine condition, in a lightly chipped and torn dust jacket. $45<\/p>\n <\/p>\n A biography of the famous Civil War and portrait photographer by Komroff, a photographer in his own right. From the series \u201cBritannica Bookshelf: Great Lives for Young Americans.\u201d Fine condition. $25<\/p>\n <\/p>\n During the late 1920s and thirties Madeline Brandeis wrote approximately twenty children\u2019s books in her series, \u201cThe Children of All Lands Stories,\u201d about subjects largely in Europe. In each, she followed the everyday life of a single child and his or her friends and family members. In addition, Brandies made photographs of the children on her travels, about forty of which ended up illustrating each book. Her hope 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.<\/p>\n The Wee Scotch Piper<\/em>, New York: Grosset and Dunlap, 1929. Hardcover (blue cloth and paper over boards), 8 \u00be x 6 7\/8 inches, 160 pages, halftone illustrations, dust jacket. Covers worn, dust jacket scratched, torn, worn, and missing small pieces, previous owner\u2019s name on front free end paper and jacket.<\/p>\n Little Anne of Canada<\/em>, New York; Grosset and Dunlap, 1931. Hardcover (blue cloth and paper over boards), 8 5\/8 x 5 5\/8 inches, 176 pages, halftone illustrations, dust jacket. Covers worn, dust jacket worn, torn, and chipped, inscription on front free end paper.<\/p>\n The Little Mexican Donkey Boy<\/em>, New York: Grosset and Dunlap, 1931. Hardcover (blue cloth and paper over boards), 8 5\/8 x 5 5\/8 inches, 224 pages, halftone illustrations, dust jacket. Covers worn, price-clipped dust jacket worn, chipped, and missing a small piece, inscription on front free end paper.<\/p>\n The group of three: $25<\/p>\n <\/p>\n Includes an introduction by Cyril Connolly and notes on the photographs by Marjorie Beckett. Features five groups of Brandt\u2019s graphically strong images, dating from the 1930s to 1960s; \u201cLondon Before the War,\u201d \u201cNorthern Towns During the Depression,\u201d \u201cBlack-out Nights of the London Blitz,\u201d \u201cPortraits,\u201d and \u201cLandscapes and Nudes.\u201d They are rendered in high-quality gravure and include a small group of rather unusual color images of biomorphic rocks shot close up. Very light bumping to a few corners, in a dust jacket that is lightly stained, creased, torn and tape repaired. $400<\/p>\n <\/p>\n The catalog for a traveling exhibition. Includes Ehrens\u2019s 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. Brigman was known for her dreamy figure studies from the early twentieth century, but the book also includes more modernist work by her from the 1920s and thirties. Fine condition. $45<\/p>\n <\/p>\n The important modernist collaboration between author Lance Sieveking, who experimented with new forms of literary and dramatic expression, and photographer Brugui\u00e8re. The text, set in letterpress, deals with jealously, ruin, and death, three fundamental crises in human experience. Brugui\u00e8re\u2019s avant-garde photographs consist primarily of his dramatically lit cut-paper abstractions, but there are also composite images of figures, including the cover image of a man\u2019s face with a couple superimposed on his forehead. This was Sieveking\u2019s personal copy, as the front free end paper has \u201cPlease return to Lance Sieveking,\u201d presumably in his hand (and, thus, a signature). It also has a 1975 inscription from the author\u2019s son, Paul, when he gave the book to a friend. Additionally, page 99 features the author\u2019s pencil-written comment that the publisher got him to delete the word \u201cbitch\u201d from the book. A very significant copy, given its provenance, inscriptions, and the presence of the very rare dust jacket. Foxing throughout, effecting the plates minimally, light wear to the cloth, with a sunned spine, the dust jacket is edge worn, torn, and missing a 2-x-5-inch piece on the back. SOLD<\/p>\n <\/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 theater, 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. $50<\/p>\n <\/p>\n This elegant book features text by the photographer\u2019s daughter, Barbara, and notes by Bullock on some of the images. His somewhat mystical pictures, of figures, landscapes, and still lifes, are grouped by decade, from the 1940s to 1970s. Published a year before his death in 1972, it remains the classic book on Bullock. Laid into this copy is a 1978 brochure from Light Impressions, offering the last copies. Fine condition, in lightly rubbed jacket. $300<\/p>\n <\/p>\n This book, diminutive in size but large in message, poses the question \u201cI wonder why some people don\u2019t like me?\u201d It then proceeds to present accessible images of things the speaker admires, such as God, rain, apples, babies, and lambs. Only upon seeing the last picture\u2014of a young black girl\u2014does the reader get the anti-racist message of the book. Burden (1908 -1989), a writer, filmmaker, and photographer, was associated for many years with Aperture, which named its gallery after him. Minor shelf wear, in a price-clipped dust jacket with a tiny tear. $25<\/p>\n <\/p>\n Published the same year as his more famous title, I Want to Take Picture<\/em>, this one is more traditional, being made up of straightforward, large-format portraits. Burke\u2019s rural subjects, primarily from the American South, gaze back at him unflinchingly. Includes a preface by critic Andy Grundberg and an autobiographical essay by writer Raymond Carver. Laid into this copy is an announcement for a 2011 show by Burke, signed by him. Mint condition, in opened shrink wrap. $95<\/p>\n <\/p>\n This book represents a pioneering body of work, in which Burson and her collaborators combine multiple faces into a single portrait, using early computer technology. Among the resulting generic composites are a movie star, businessman, president, assassin, and newborn. One image, titled \u201cMankind,\u201d combines Asian, Caucasian, and Black faces, weighed according to their proportion to the world population. Includes an essay by William A. Ewing and Jeanne A. McDermott. This copy signed by Burson. Fine condition. $65<\/p>\n <\/p>\n This is a conceptual bookwork, made up primarily of his mundane color photographs of American and Mexican pop culture items. Among the pictures of plastic Jesus babies and graffiti, Byrne intersperses text on topics such as \u201cPower Tools and Piss\u201d and \u201cBizarro World.\u201d Since most of the photographs are two-page spread and bleed off the page, captions are relegated to the rear of the book. This copy inscribed by Byrne. Fine condition. $75<\/p>\n <\/p>\n There are five sections of plates; Eleanor and Barbara (wife and daughter); signs, windows, and other urban details; people on the street; miscellaneous pictures; and landscapes. Includes a statement by Callahan and a bibliography of exactly one hundred entries. Published without a dust jacket in an edition of 1,500, this is still the most desirable book on Callahan. Laid into this copy is the New York Times<\/em> obituary for Callahan (March 18, 1999, on original newsprint). The endpapers are glue stained (as normal) and there are a few minor marks on the slipcase. $1,750<\/p>\n <\/p>\n This oversize book, issued without a dust jacket, features Callahan\u2019s color cityscapes and landscapes, primarily from Europe and the United States. Includes a foreword by Jonathan Williams and an afterword by critic A. D. Coleman. This copy has a cardboard shipping box from the Eastman House. Fine condition. $275<\/p>\n <\/p>\n\n
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