{"id":98,"date":"2015-01-05T16:28:46","date_gmt":"2015-01-05T16:28:46","guid":{"rendered":"http:\/\/christianapeterson.keithtaylorphoto.com\/?page_id=98"},"modified":"2024-01-26T20:26:09","modified_gmt":"2024-01-26T20:26:09","slug":"catalog-8","status":"publish","type":"page","link":"https:\/\/christianapeterson.com\/catalog-8\/","title":{"rendered":"Catalog 8 – Reference, Technical & Collections"},"content":{"rendered":"

This catalog brings together three somewhat related groups of photographic books. The first section, of reference books, includes histories, indexes, anthologies, and other titles that one is not likely to read cover to cover. Rather, these publications tend to be pulled off the shelf when one is searching for reliable information about an individual, movement, or period of photography. The technical section features books on photographic processes, equipment, working methods, and other issues of technique. And the last group of books addresses collections of photographs. These comprise both private holdings and institutional collections, along with some catalogs that accompanied exhibitions of photographs based in particular cities. As always, some of these items are signed and contain related pieces of ephemera.<\/p>\n

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REFERENCE<\/h4>\n

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  1. AMERICAN ANNUAL of PHOTOGRAPHY<\/em>.<\/strong> Christian A. Peterson, Index to the American Annual of Photography<\/em>, Minneapolis: author, 1996. Softcover, 9 \u00be x 7 \u00bc inches, 148 pages.<\/li>\n<\/ol>\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. Mint condition. $10<\/p>\n

     <\/p>\n

      \n
    1. American Bicentennial Photography and Film Project, 1975<\/em>.<\/strong> Hearing Before the Subcommittee on Employment, Poverty, and Migratory Labor, of the Committee on Labor and Public Welfare, United States Senate, Ninety-Fourth Congress<\/em>, Washington, D.C.: U.S. Government Printing Office, 1975. Softcover, 9 x 6 inches, 234 pages, halftone illustrations.<\/li>\n<\/ol>\n

      This unusual item comprises the official transcript of public hearings and a bill introduced by Minnesota Senator Walter Mondale to fund the National Endowment for the Arts to the tune of $5,000,000 to \u201cemploy photographers and film makers to make portraits of life throughout America during the bicentennial year.\u201d The hearing, convened on September 29, 1975, included prepared statements and a question-and-answer period. Much attention was given to the importance of the government-funded Farm Security Administration (F.S.A.) photograph of the 1930s. Among the expert witnesses who testified were photography curators James Enyeart (Lawrence, Kansas), Ted Hartwell (Minneapolis), and John Szarakowski (New York). Includes a lengthy appendix of supporting materials.<\/p>\n

      Near fine condition. $25<\/p>\n

      3. ASSOCIATION of INTERNATIONAL PHOTOGRAPHY ART DEALERS. Membership Directory & Illustrated Catalog. Softcovers, 9 x 6 inches, unpaginated, halftone illustrations (some in color).
      \nEvery year this group, known as AIAPD, presents a fair in New York, where thousands of original photographic prints are available for sale. Its annual catalog lists all its members, features information on those exhibiting, includes advertisements from related businesses, and sports an extensive index to the photographers represented.
      \nOffered here are the years 1991, 1992, 1993, 2000, 2005 (25th anniversary), 2008, 2011, 2013. Group of 8. $50<\/p>\n

      4. AUCTION CATALOGUES.
      \nContemporary Photography, Vintage Photographs, Books and Periodicals, Equipment, Rochester,
      \nNew York: George Eastman House, October 1-20, 1977. Softcover, 8 \u00bd x 5 \u00bd
      \ninches, 88 pages, halftone illustrations, 525 lots.
      \nContemporary Photographs, Rochester, New York: George Eastman House, October 14,
      \n1978. Softcover, 9 \u00be x 6 \u00bc inches, unpaginated, halftone illustrations. Ranging
      \nfrom Robert Adams to Myron Wood, there are 300 lots, with prices realized written
      \nin for most of them.
      \nFine Photographs, San Francisco: Butterfield & Butterfield, October 15, 1987. Softcover,
      \n11 x 8 \u00bd inches, unpaginated, halftone illustrations, 350 lots.
      \nPhotographs, London: Bloomsbury, May 22, 2008. Softcover, 11 \u00be x 8 \u00bc inches, 160 pages,
      \nhalftone illustrations (some in color), 230 lots.
      \nGroup of 4. $25<\/p>\n

      5. BONI, Albert. Photographic Literature, 1960-1970: An International Bibliographic Guide to General & Specialized Literature on Photographic Processes; Techniques; Theory; Chemistry; Physics; Apparatus; Materials & Applications; Industry; History, Aesthetics, etc., Hastings-on-Hudson, New York: Morgan & Morgan, 1972. Hardcover (gold-stamped blue cloth), 10 \u00bd x 7 inches, 536 pages, unillustrated, dustjacket.
      \nAs the lengthy subtitle of this volume indicates, this is an exhaustive study of the subject. It features over 20,000 publications under 2,900 main subject headings and includes an author index of 6,000 names. Given the explosion of photography books published since this was issued in 1972, an update is unthinkable. In fact, Boni preceded this book with another guide covering the pre-history of photography through the 1950s. Tiny wear to tips and a gouge to top of back cover, in dustjacket that is torn and missing a small piece. $50<\/p>\n

      6. CAMERA WORK. Jonathan Green, \u201cCamera Work:\u201d A Critical Anthology, Millerton, New York: Aperture, 1973. Hardcover (gold-stamped black cloth),
      \n12 \u00bc x 9 \u00bc inches, 376 pages, halftone illustrations (some in color), dustjacket.
      \nThis essential reference work remains the most comprehensive book on Alfred Stieglitz\u2019s seminal quarterly, published between 1903 and 1917. In addition to Green\u2019s essay, the book includes reprints of over one hundred articles from Camera Work (organized in four chronological sections), biographies of contributing artists, authors, and photographers, a bibliography, and five indices to the periodical. Near fine condition, in a dustjacket that is lightly rubbed and scratched (as usual, due to delicate metallic gold ink). $75<\/p>\n

      7. CONTEMPORARY PHOTOGRAPHERS, New York: St. Martin\u2019s Press, 1982. Hardcover (gold-stamped black cloth), 12 \u00bc x 9 \u00bc inches, 838 pages, halftone illustrations, dustjacket.
      \nEdited by George Walsh, Colin Naylor, and Michael Hel, a weighty book that includes detailed information on 650 photographers, some of them recently deceased. Each entry comprises a biography, list of individual and group shows, names of museums that own their work, and often comments by the photographers. It is truly international in scope, beginning with the American James Abbe and ending with Piet Zwart of the Netherlands. Tiny edgewear, in lightly rubbed dustjacket. $75<\/p>\n

      8. CHRISTIE\u2019S. 150 Years of Photography: Tuesday, April 25, 1989, New York: Christie\u2019s, 1989. Hardcover (silver-stamped black cloth), 10 \u00bc x 8 inches, 288 pages, 684 halftone illustrations (some in color), dustjacket.
      \nChristie\u2019s celebrated photography\u2019s sesquicentennial with this auction catalog. Naturally, it covered the medium\u2019s full history, beginning with lots by inventor William Henry Fox Talbot and ending with contemporary photographers like Sandy Skoglund and Jan Grover. The cover features a modernist self-portrait by Pierre Dubreuil; the most pricey lot was a photomontage by El Lissitzky, which fetched nearly $64,000. Laid in is the list of results and a complimentary sheet from Claudia Gropper, the photo expert at Christie\u2019s. Near fine condition, in dustjacket with tiny wear and small indentations. $25<\/p>\n

      9. CHRISTIE\u2019S. Auction catalogues.
      \nMost measure about 10 \u00bd x 8 \u00bc inches, comprise 400 lots, and black-and-white and color halftone illustrations.
      \n1998: October 5.
      \n1999: October 4, October 5.
      \n2004: April, 27, October 15.
      \n2010: April 15 (General), April 15 (Baio Collection).
      \nGroup of 7. $35<\/p>\n

      10. COLNAGHI, P. & D. Photography: The First Eighty Years, London: P. & D. Colnaghi & Co., 1976. Softcover, 9 \u00be x 7 \u00bc inches, 262 pages, halftone illustrations.
      \nThis is an early, important sales catalog, offering 431 items. They are arranged chronologically in the following sections: Pre-Photographic Material; Early Photographic Papers; Daguerreotypes; Early English Photography; French Photography; British Pictorial, Genre and Landscape Photography; British Portrait Photography; Miscellaneous Books, Albums and Ephemera; Italian Photography; Turkish and Greek Photography; American Photography; Canadian Photography; English Topographical and Documentary Photography; Sun Artists; the Naturalists; and the Photo-Secession. Among the offerings were a copy of Talbot\u2019s Pencil of Nature, prints by Atget for $1,200, portraits by Cameron for less than $1,000, Gardner\u2019s Photographic Sketchbook of the War, a complete set of Muybridge\u2019s Animal Locomotion, and platinum prints by Peter Henry Emerson for $1,600. Well-researched text and descriptions by Valerie Lloyd, with price list laid in. Covers rubbed and lightly worn. $35<\/p>\n

      11. CZECH Photography. Peter Balajka, editor, Encyklopedie \u010cesk\u00fdch a Slovensk\u00fdch Fotografu, Prague, Czech Republic: ASCO, 1993. Hardcover (black-stamped yellow cloth), 9 \u00bd x 6 \u00be inches, 456 pages, halftone illustrations, dustjacket. Signed.
      \nThis is an extensive biographical encyclopedia of Czech and Slovak photographers, the first of its kind. Spanning the entire history of photography, it features over 600 entries, from Ludov\u00edt Absolon to Peter Zupn\u00edk, and about 700 reproductions. Also included is a section on photography clubs, a chronology, and bibliography. In addition to Balajka, the contributors are Vladim\u00edr Burgus, Anton\u00edn Dufek, and four other scholars. Though the text is in Czech, it is still a valuable reference tool. This copy signed and dated by the editor. Fine condition. $100<\/p>\n

      12. DAVAL, Jean-Luc. Photography: History of an Art, New York: Rizzoli, 1982. Hardcover (gold-stamped green cloth), 13 \u00bd x 9 \u00be inches, 270 pages, dustjacket, cardboard slipcase.
      \nA history of the medium from a Swiss viewpoint; the book was originally published in Geneva, in French. Part of a series that also addressed drawings, paintings, and other arts, and as a consequence, draws on examples from other media, especially beginning in the 1960s. Fine condition. $50<\/p>\n

      13. DEALER CATALOGS.
      \nDuring the 1980s, many private photography dealers and galleries issued catalogs of selections from their inventory. Many of those below include inserted price lists, sometimes giving now surprisingly low figures. As is often said, read them and weep.
      \nBenteler Galleries. Photography: Europe 1, Houston, 1981. Softcover, 11 x 8 \u00bd inches, 76 pages, 52 halftone illustrations.
      \nEhlers, Carol\/Allan Frumkin Gallery. 1981 Catalogue of Recent Acquisitions, Chicago, 1981.
      \nSoftcover, 9 x 5 \u00be inches, 24 pages, 21 halftone illustrations.
      \nFamily Album. The Family Album Catalog: Rare and Contemporary Photography, Westport,
      \nConnecticut, c. 1975. Softcover, 11 x 8 \u00bd inches, 96 pages, 560 halftone images.
      \nFreidus, Robert. Catalogue: Robert Freidus Gallery, New York, 1979. Softcover, 10 x 6 \u00be
      \ninches, 32 pages, halftone illustrations.
      \nFrumkin, Allan. Photographs and Photographic Material From 1840-1972, Chicago, 1973.
      \nSoftcover, 11 x 8 \u00bd inches, 24 pages, halftone illustrations.
      \nGraphics International. 19th and 20th Century Prints\/Photographs\/Drawings, Washington,
      \nD.C., 1972. Softcover, 11 x 8 \u00bd inches, unpaginated, 150 halftone illustrations.
      \nHalsted Gallery. 1977 Catalogue: The Halsted 831 Gallery, Birmingham, Michigan, 1977.
      \nSoftcover, 11 x 8 \u00bd inches, 66 pages, halftone illustrations.
      \nHawkins, G. Ray. Photo Bulletin: Volume 1, Number 9, Los Angeles, 1979. Tabloid
      \n(newsprint), 17 \u00bd x 11 \u00bd inches, 16 pages, halftone illustrations.
      \nHawkins, G. Ray. Photo Bulletin: Volume 5, Number 1, Los Angeles, 1982. Softcover, 11 x
      \n8 \u00bd inches, 24 pages, 39 halftone illustrations.
      \nHawkins, G. Ray. Photography Auction One, Los Angeles, 1983. Softcover, 11 x 8 \u00bd inches,
      \n32 pages, halftone illustrations.
      \nHawkins, G. Ray. Photography Auction Fifteen, Santa Monica, California, 1995. Softcover,
      \n11 x 8 \u00bd inches, 48 pages, halftone illustrations.
      \nHertzmann, Paul M. Twentieth Century American Photographs and Books, San Francisco,
      \n1981. Softcover, 11 x 8 \u00bd inches, 32 pages, 58 halftone illustrations.
      \nKoch, Robert. 1981-82 Catalogue: 19th & 20th Century Photographs, Berkeley, California,
      \n1981. Softcover, 11 x 8 \u00bd inches, 56 pages, 153 halftone illustrations.
      \nKicken, Rudolf. Katalog 6: Photographic Masterpieces, A Personal Selection, K\u00f6ln, Germany,
      \n1981. Softcover, 10 \u00bc x 7 \u00bd inches, 64 pages, halftone illustrations.
      \nLee Gallery. Farm Security Administration Photographs From thee 1930\u2019s, Winchester,
      \nMassachusetts, 1997. Softcover, 11 x 8 \u00bd inches, 16 pages, 40 halftone illustrations.
      \nLehr, Janet. Catalogue, New York, c. 1980. Softcover, 10 \u00bc x 8 inches, 40 pages, 100
      \nhalftone illustrations.
      \nLehr, Janet. Catalogue 3, New York, c. 1980. Softcover, 11 x 8 \u00bd inches, 46 pages, 191
      \nhalftone illustrations.
      \nLight Gallery. Light: Contemporary Photographs, New York, 1976. Softcover, 11 x 8 \u00bd
      \ninches, 88 pages, halftone illustrations.
      \nLight Gallery. Light, New York, 1981. Softcover, 10 x 8 inches, 96 pages, halftone
      \nillustrations (some in color).
      \nPhotocollect. Photographs: Selections, Fall 1990, New York, 1990. Softcover, 11 x 8 \u00bd
      \ninches, 12 pages, 44 halftone illustrations.
      \nSander Gallery. Catalogue I: 20th Century Photography, Washington, D.C., 1979. Softcover,
      \n10 \u00bc x 7 \u00bc inches, 80 pages, 105 halftone illustrations (some in color).
      \nSchoelkopf, Robert. Photography Catalogue Number One, New York, c. 1975. Softcover, 11
      \nx 8 \u00bd inches, 32 pages, 122 halftone illustrations.
      \nSmith, Andrew. Catalog No. 1: The American West: 1870-1930, Albuquerque, 1980.
      \nSoftcover, 10 x 8 inches, 20 pages, halftone illustrations.
      \nVisual Studies Workshop. Print Sale Catalog, Rochester, New York, c. 1980. Softcover,
      \n8 \u00bc x 5 \u00bc inches, 24 pages, halftone illustrations.
      \nWeston Gallery. Catalog 1978: The Weston Gallery Incorporated, Carmel, California, 1978.
      \nSoftcover, 11 x 8 \u00bd inches, 80 pages, 166 halftone illustrations (some in color).
      \nWitkin Gallery. Catalogue IX: Fine Daguerreotypes and Books, New York, 1979. Softcover,
      \n11 x 8 \u00bd inches, 44 pages, 41 halftone illustrations.
      \nGroup of 26: $250<\/p>\n

      14. EPSTEIN Collection. A Catalogue of the Epstean Collection on the History and Science of Photography and Its Applications Especially to the Graphic Arts, New York: Columbia University Press, 1937. Hardcover (gold-stamped blue cloth and paper over boards), 9 \u00be x 6 \u00bc inches, unpaginated, line illustrations.
      \nThis is the catalog for the collection of photography books that Edward Epstean donated to Columbia. It comprises 1,418 entries in the following categories: General, Theoretical Foundations, Aesthetics, History, Technical Evolution, Equipment and Apparatus, Practice, Applications, Motion Pictures, Photomechanical Reproduction, and Color Photography. Previous owner\u2019s small bookplate, and wear to tips and spine.
      \nWith: Authors and Short Title Index: Epstean Collection, New York: Columbia University, 1938. Softcover, 9 \u00bc x 6 inches, 32 pages, unillustrated. Spine browned and small piece missing from cover.
      \nPair: $125<\/p>\n

      15. FRANK, Robert. Stuart Alexander, Robert Frank: A Bibliography, Filmography, and Exhibition Chronology, 1946-1985, Tucson: Center for Creative Photography, University of Arizona, 1986. Softcover, 11 x 8 \u00bd inches, 208 pages, unillustrated.
      \nTo my knowledge, this is the most extensive bibliography on any photographer\u2014one, who, of course, is worthy of it. Alexander gives us precisely 2,300 entries, arranged by year, and five very useful indexes. The yearly citations are arranged by the following categories: Books by Frank, Books that Include Frank, Films, Video, One-man Exhibitions, Group Exhibitions, Annuals, Periodicals, and Other. Near fine condition. $35<\/p>\n

      16. FRIEDMAN, Joseph S. History of Color Photography, Boston: American Photographic Publishing Company, 1944. Hardcover (gold-stamped red cloth), 9 \u00bd x 6 \u00bd inches, 516 pages, line illustrations, dustjacket.
      \n\u201cThis monumental work records all the accumulated data of color photography from the days of the earliest theorizers and experimenters down to the year 1944. It explains in the fullest detail the many theories that have been propounded, and gives the history of the great variety of procedures by which different people have attempted to make them commercially available. Dr. Freidman\u2019s long training and experience have specially fitted him for the stupendous task of finding and arranging in an orderly sequence the records of both the achievements and the disappointments of all past and present workers in this field.\u201d Near fine condition, in price-clipped dustjacket with a little wear, chips, and small tears. $35<\/p>\n

      17. GERNSHEIM, Helmut and Alison. The History of Photography, From the Camera Obscura to the Beginning of the Modern Era, New York: McGraw-Hill, 1969. Hardcover (gold-stamped black cloth), 11 \u00be x 8 \u00be inches, 600 pages, 390 halftone illustrations, dustjacket.
      \nThe Gernsheim\u2019s massive history up until about 1910, published in the year of Alison\u2019s death. Long considered authoritative on nineteenth-century photography, it covers the medium\u2019s prehistory, invention, and then numerous formats, processes, and movements, ending with pictorialism around World War I. Previous owner\u2019s blindstamp on the title page and a small tape-repaired tear on the front of the dustjacket. $300<\/p>\n

      18. GERNSHEIM, Helmut. The Origins of Photography, New York: Thames & Hudson, 1982. Hardcover (silver-stamped black cloth), 11 \u00bc x 10 inches, 280 pages, 191 duotone illustrations, dustjacket, slipcase.
      \nGernsheim\u2019s in-depth study of the earliest years of the medium, beginning with its prehistory and going only until the 1850s. He covers heliography, the daguerreotype, and the calotype in Great Britain, Europe, America, and other countries. Among the photographers given much attention are the inventors Bayard, Daguerre, Ni\u00e9pce, and Talbot. This was the first installment in an anticipated revision of Gernsheim\u2019s entire 1969 History. Mint condition, in shrink wrap. $125<\/p>\n

      19. GERNSHEIM, Helmut. The Rise of Photography, 1850-1880: The Age of Collodion, New York: Thames & Hudson, 1987. Hardcover (silver-stamped black cloth), 11 \u00bc x 10 inches, 286 pages, 236 duotone and color illustrations, dustjacket.
      \nThis volume continues where the above one left off, at the middle of the nineteenth century, when wet-collodion negatives and albumen paper were invented. A perfect match to produce rich and finely detailed images, they represent much of the century\u2019s photography\u2014a true golden age. Major photographers of this period were Julia Margaret Cameron, Nadar, Carleton Watkins, Francis Frith, and Mathew Brady. Near fine condition, in dustjacket with tiny dents and folds. $125<\/p>\n

      20. GOLDSCHMIDT, Lucien, and Weston J. Naef. The Truthful Lens: A Survey of the Photographically Illustrated Book, 1844-1914, New York: Grolier Club, 1980. Hardcover (gold stamped black cloth with leather strip on spine), 11 \u00bc x 8 \u00be inches, 244 pages, 172 halftone illustrations, slipcase.
      \nThis handsome production, issued without a dustjacket, was the first major investigation of the subject. It covers nearly two hundred publications that were illustrated with salt, albumen, and other original photographic prints. After essays by book dealer Lucien Goldschmidt and museum curator Weston Naef, the section of reproductions is organized by subjects such as portraits, still lifes, and landscapes. The catalogue includes detailed entries on such outstanding publications as Talbot\u2019s Pencil of Nature (1844), Tenyard\u2019s Egypte et Nubie (1858), Gardner\u2019s Photographic Sketchbook of the War (1866), Emerson\u2019s Life and Landscape on the Norfolk Broads (1886), Curtis\u2019s set, The North American Indian (1907-1930), Stieglitz\u2019s periodical Camera Work (1903-1917), and Coburn\u2019s New York (1910). This is a very important scholarly work and an essential reference for understanding both photographically illustrated books and nineteenth and early-twentieth-century photography in general. The text is letterpress printed and the book was issued in a limited edition of 1,000 copies. Mint condition, in slipcase, shrink wrap, and original shipping carton. $350<\/p>\n

      21. GREEN, Jonathan. American Photography: A Critical History, 1945 to the Present, New York: Harry N. Abrams, 1984. Hardcover (silver-stamped black cloth), 12 x 9 \u00bc inches, 248 pages, halftone illustrations (some in color), dustjacket.
      \nGreen goes beyond just the photographs of the forty-year period he covers, to investigate the importance of exhibitions, curators, critics, news media, magazines, books, and the other arts. Among the fifteen chapters are entire ones devoted to \u201cThe Family of Man\u201d exhibition, Aperture magazine, Robert Frank\u2019s book The Americans, \u201cThe Painter as Photographer,\u201d and \u201cPhotography as Printmaking.\u201d A wide-ranging and culturally significant work. Fine condition. $35<\/p>\n

      22. GREENOUGH, Sarah, and Joel Snyder, David Travis, and Colin Westerbeck. On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, Washington, D.C.: National Gallery of Art, and the Art Institute of Chicago, 1989. Hardcover (silver-stamped brown cloth), 10 x 12 \u00bc inches, 510 pages, 387 halftone illustrations, dustjacket. Signed.
      \nOne of the more substantial publications to celebrate the sesquicentennial of photography in 1989. The curators divided up the medium into four sections, about which they wrote: \u201cInventing Photography, 1839-1879\u201d by Snyder, \u201cThe Curious Contagion of the Camera, 1880-1918\u201d by Greenough, \u201cEphemeral Truths, 1919-1945\u201d by Travis, and \u201cBeyond the Photographic Frame, 1946-1989\u201d by Westerbeck. This copy signed on the title page by Sarah Greenough and David Travis. Near fine condition, in a sunned dustjacket. $75<\/p>\n

      23. HALL-DUNCAN, Nancy. The History of Fashion Photography, New York: Alpine, 1979. Hardcover (silver and blind-stamped maroon cloth), 12 \u00bc x 9 \u00bc inches, 240 pages, 195 halftone illustrations (some in color), dustjacket.
      \nCovering over a century of photography, this was the first systematic history of fashion photography. It addresses the genre\u2019s beginnings and its machinations related to pictorialism, modernism, realism, and surrealism. Haute couture designer Yves Saint Laurent provided the preface and costume historian Robert Riley the foreword. Among the seventy photographers with richly detailed profiles are Diane Arbus, Richard Avedon, Cecil Beaton, Baron Adolf de Meyer, Hiro, Horst P. Horst, Sarah Moon, Martin Munkacsi, Helmut Newton, Irving Penn, Edward Steichen, and Deborah Turbeville. Near fine condition. $35<\/p>\n

      24. HISTORY of PHOTOGRAPHY. History of Photography: A New Microfilm Collection, Woodbridge, Connecticut: Research Publications, 1978. Folder, 11 x 8 \u00bd inches, with five lose items.
      \nThis is a promotional piece for an extensive microfilm series that comprised 2,100 monographs and pamphlet titles and close to 125 periodicals. It claimed that the project was \u201cthe most comprehensive collection of materials for research and study of the history, technology, and aesthetics of photography, ranging from the purely technical, theoretical tracts on the physics of photography to rare photographs made by some of the pioneers in the field.\u201d Among the prolific authors represented are Peter Henry Emerson and Edward L. Wilson. Such magazines as Photographische Mitteilungen and the American Amateur Photographer are included. The lose items are a typed and signed letter from the publisher, an order form, a reply postcard, an envelope, and an 8-inch sample piece of microfilm. Indicative of the vastness of the set was its price of $12,350.
      \nYou can have this little prospectus for just $10.<\/p>\n

      25. JENKINS, Reese V. Images & Enterprise: Technology and the American Photographic Industry, 1839-1925, Baltimore: Johns Hopkins University Press, 1975. Hardcover (yellow and white-stamped black cloth), 10 \u00bc x 7 \u00bc inches, 372 pages, halftone illustrations, dustjacket.
      \nThe first comprehensive history of the American photographic industry, utilizing manuscript sources of firms like Scovill and Anthony and individuals like George Eastman. \u201cThe study exemplifies how technology, science, and business are related within a broad historical context. For the student of technical and business history, it fosters an understanding of the historic circumstances that sometimes favored technical innovation and at other times favored organizational or business creativity.\u201d Includes technical, financial, and personnel information about many companies, like Agfa and Kodak. Four of the five chapters cover periods up to 1910: daguerreotype, collodion, gelatin plate, and amateur roll-film. Demonstrating the book\u2019s usefulness, it was reprinted a few years later. Near fine condition, with a few short tears to dustjacket. $50<\/p>\n

      26. JUSSIM, Estelle. Visual Communication and the Graphic Arts: Photographic Technologies in the Nineteenth Century, New York: R. R. Bowker, 1974. Hardcover (copper and metallic pink-stamped tan cloth), 11 \u00bc x 8 \u00be inches, 364 pages, 121 halftone illustrations, dustjacket.
      \nThis is a detailed and insightful history of the close relationship of photography, photomechanical processes, and the graphic arts in the nineteenth century, by renowned professor Jussim, a communications theorist and art historian. She examines the time when photography was new and how it significantly altered the way other imagery was reproduced. Pressmen became skilled partners in innovated graphic art forms, as \u201cphotography led to a new \u2018code,\u2019 a new medium through which to express unique messages of truth, beauty, and reality.\u201d Entire chapters are devoted to the illustrators Howard Pyle, William Hamilton Gibson, and Frederic Remington. Near fine condition. $50<\/p>\n

      27. KAHMEN, Volker. Art History of Photography, New York: Viking Press, 1974. Hardcover (gray-stamped black cloth), 10 x 7 \u00bd inches, 232 pages, 370 illustrations (some in color), dustjacket.
      \nOriginally published in Germany, the book has a European perspective and includes more artists who used the camera than other similar tiles of the period. Among them are Bruce Nauman and Klaus Rinke. Kahmen\u2019s text is printed in letterpress and, subsequently, is separated from the plate section. Very good condition, in chipped and torn dustjacket. $35<\/p>\n

      28. KODAK. The Kodak Museum: A Permanent Exhibition Illustrating the History of Photography and Some of its Applications in Science, Art, and Industry, Harrow, Middlesex, England: Kodak Limited, 1947. Softcover (gold-stamped purple felt), 9 \u00bd x 6 inches, 90 pages, halftone illustrations (some in color).
      \nThis publication, with a distinctive felt cover, catalogs the museum displays at Kodak\u2019s large plant in England. The frontispiece pictures a model of the entire plant and a floor plan of the museum. Among the 25 sections of displays are daguerreotypes, cameras, motion pictures, radiology, and applied photography. Near fine condition. $25<\/p>\n

      29. KURUTZ, Gary F. California Books Illustrated with Original Photographs, 1856-1890, Los Angeles: Dawson\u2019s Book Shop, 1996. Softcover, 9 \u00bc x 6 \u00bc inches, 36 pages, 6 halftone illustrations.
      \nThis is a nicely designed item on the subject, with the text in elegant letterpress. The checklist of ninety books, by Robert Bothamley, comprises books published in California, periodicals and illustrated directories, and books about California issued outside of the state. The reproductions include sheet music, a business card, frontispieces, and the half-title page of G. R. Fardon\u2019s San Francisco Album, the first photographically illustrated book printed in California. A very useful reference, printed in an edition of only 100 copies. Fine condition. $50<\/p>\n

      30. LECUYER, Raymond. Histoire de la Photographie, Paris: Baschet, 1945. Hardcover (silver-stamped brown cloth and paper over boards), 15 \u00bc x 11 \u00bd inches, 456 pagers, screen-gravure, halftone, and color illustrations.
      \nThis substantial volume covers the social and technical aspects of photography in depth but also features the work of artistic masters such as Eug\u00e8ne Atget and Robert Demachy. Among the special plates are a simulated negative, portraits by Hill and Adamson, and stereoscopic images (printed in two colors), most of them tipped-in. Lacking the stereo viewer, edges worn, and spine separating. $350<\/p>\n

      31. LIFE. \u201cLife\u201d Exhibitions: 1949-50, New York: Life, 1949. Softcover, 9 x 6 inches, 48 pages, halftone illustrations.
      \nThis catalog offered no-cost traveling exhibitions to museums, school, libraries, churches, and study groups. Described are 28 shows, including a group of seven on the history of Western culture. Among the others are \u201cMemorable LIFE Photographs,\u201d chosen by Edward Steichen, five shows of work by Dmitri Kessel, and \u201cPeople of India\u201d by Margaret Bourke-White. A few internal ink markings and spin chipped. $25<\/p>\n

      32. LIGHT Gallery. Light, New York: Light Gallery, 1981. Softcover, 10 x 8 inches, 96 pages, halftone illustrations (some in color). Signed.
      \nThis is a well-designed and nicely printed catalog on the photographers the gallery represented. Thirty-one contemporary photographers are featured (from Adams to Winogrand), each with a page of text on his or her work and information on their education, awards, exhibitions, and collections. This copy is signed by five of those included: Linda Connor, Frank Gohlke, James Henkel, Roger Mertin (now deceased), and Arnold Newman (also deceased). Includes a chronological list of all the gallery\u2019s exhibitions, beginning in 1971. A desirable record of one of the most important early galleries of photography. Mild wear and crease to spine. $75<\/p>\n

      33. LYONS, Nathan. Photographers on Photography, Englewood Cliffs, New Jersey: Prentice Hall, 1966. Hardcover (silver-stamped gray cloth), 9 \u00bc x 6 \u00bc inches, 190 pages, 62 halftone illustrations, dustjacket.
      \nIn this well-known, early anthology, Lyons presents essays by 23 leading photographers. He selected them to best represent each one\u2019s individual philosophy and contribution to the development of contemporary photographic expression. Arranged alphabetically by photographer, they arch from Berenice Abbott to Minor White. Among the texts are Henri Cartier-Bresson\u2019s introduction to his book The Decisive Moment and \u201cHow I Came to Photograph Clouds\u201d by Alfred Stieglitz. Previous owner\u2019s wet stamp (twice), otherwise near fine condition, in laminated dustjacket. $35<\/p>\n

      34. MAGNUM. William Manchester, In Our Time: The World as Seen by Magnum Photographers, New York: American Federation of the Arts, 1989. Hardcover (gold-stamped black cloth), 13 \u00bc x 9 \u00be inches, 456 pages, duotone illustrations (some in color), dustjacket. Signed, with ephemera.
      \nThis is still the most comprehensive study of the Magnum photo agency. It began as a Paris collective in 1947, organized by Robert Capa, Henri Cartier-Bresson, and a few others, with the intent to harbor more editorial control over the use of their photographic images. It includes essays by Manchester, Jean Lacouture, and Fred Ritchin, along with selected biographies and a bibliography and chronology of Magnum. This copy signed by longtime member photographers Leonard Freed and Marc Riboud. Near fine condition.
      \nThe ephemera consists of the following:
      \nPromotional folder, with press release and numerous printed items relating to the
      \naccompanying exhibition at the Minneapolis Institute of Arts.
      \nMinneapolis Star Tribune Sunday Magazine, May 1990. The cover and nearly the entire
      \n20-page newsprint issue is devoted to the above show.
      \nPress copy prints (8-x-10-inch gelatin silver prints) for the above showing: 32 installation
      \nviews, and individual images by Bruce Davidson, Josef Koudelka, Inge Morath, Gilles
      \nPeress, Marc Riboud, George Rodger, and two others. Total of 40 photographs.
      \nTwo reviews of the show at the International Center of Photography, both by Andy
      \nGrundberg. New York Times, November 10, 1989, on original newsprint.
      \nImpressive group of items. $150<\/p>\n

      35. MATHEWS, Oliver. Early Photographs and Early Photographers: A Survey in Dictionary Form, New York: Pitman, 1973. Hardcover (gold-stamped blue cloth), 10 x 7 \u00bd inches, 200 pages, 252 halftone illustrations, dustjacket.
      \nAfter a brief introduction, Mathews covers the origins and prehistory of photography, provides a chronology (from 1558 to 1907) and brief biographical information on about 250 photographers, describes numerous photographic processes, and then addresses the modern market for early photographs (with some recorded prices). Near fine condition, in dustjacket that is rubbed and browned and wrinkled along the top. $25<\/p>\n

      36. MOHOLY, Lucia. A Hundred Years of Photography, 1839-1939, Harmondsworth, England: Penguin, 1939. Softcover, 7 x 4 \u00bd inches, 190 pages, 35 halftone illustrations, dustjacket.
      \nA rudimentary but early history of photography, published on the centennial of the medium. Most of the illustrations are of nineteenth-century work, but include portraits by Cecil Beaton and, unapologetically, the author. Except for the small section of images, the pages are on newsprint, which are darkened and fragile, as is usual. Prague-born Lucia Moholy (1894 -1989), the first wife of L\u00e1szl\u00f3 Moholy-Nagy, was an historian, writer, and photographer. The unusually nice paper covers are browned and lightly worn at two corners, the rare dustjacket is browned, worn, torn, and chipped, with the front flap separated. $50<\/p>\n

      37. MRAZKOVA, Daniela. Masters of Photography, New York: Exeter Books, 1987. Hardcover (gold-stamped white cloth), 11 x 9 \u00bd inches, 264 pages, screen-gravure and color illustrations, dustjacket.
      \nThe book is divided into eleven photographic disciplines, such as Art, Social, Journalism, Propaganda, and Humanistic, each with an essay and about ten photographers. Mrazkova is Czech, which accounts for the healthy dose of Europeans whom are little known to us over here. For example, in the section \u201cPhotography as Modern Language,\u201d she includes Lorenzo Merlo, Roman Cieslewicz, Vilhelm Mikhailovski, Leszek Szurkowski, and Masaki Nakayama. Near fine condition. $35<\/p>\n

      38. NEWHALL, Beaumont. Photography: 1839-1937, New York: Museum of Modern Art, 1937. Hardcover (silver-stamped black cloth), 10 x 7 \u00be inches, 228 pages, 95 halftone illustrations, dustjacket.
      \nThis is the first state of Newhall\u2019s history, a book which has gone through five editions, eventually becoming one of the medium\u2019s standard references. This one accompanied an exhibition at the Museum of Modern Art, where Newhall was the librarian, preceding the establishment of a curatorial department of photographs. He covers such aspects as aesthetics, science, photojournalism, technique, and motion pictures. The plates include work by nineteenth-century figures like Daguerre, Talbot, and Cameron, and his contemporary section features Abbott, Adams, Evans, Man Ray, Weston, and others. I never understood why Newhall and the museum couldn\u2019t wait another two years and make this a true centenary of the invention of photography. Light edgewear, in the rare dustjacket that is worn, chipped, and missing pieces. $125<\/p>\n

      39. NEWHALL, Beaumont. Photography: A Short Critical History, New York: Museum of Modern Art, 1938. Hardcover (silver-stamped black cloth), 10 x 7 \u00be inches, 220 pages, 95 halftone illustrations, dustjacket.
      \nNewhall revised the text of the above slightly, but the main changes are the elimination of the checklist, seen in the above, and the addition of a biographical section of over one hundred photographers. This edition was dedicated to Alfred Stieglitz, who still had eight years to live, making clear today just how long ago this thing was written. Miniscule wear to tips, in the rare price-clipped dustjacket that has edgewear, creases, and chips. $125<\/p>\n

      40. NEWHALL, Beaumont. The History of Photography, from 1839 to the Present Day, New York: Museum of Modern Art, 1949. Hardcover (black-stamped gray cloth), 10 \u00bc x 7 \u00be inches, 256 pages, halftone illustrations, dustjacket.
      \nThe third edition of Newhall\u2019s history, rewritten and redesigned. He includes less technical material, and photographers such as Arnold Newman, W. Eugene Smith, and Weegee make their first appearance. The last chapter is on color photography, but the only color image is a 1946 waterfront scene by Edward Weston, presented as the book\u2019s frontispiece. Near fine condition, in a dustjacket with a little wear and loss. $50
      \n41. NEWHALL, Beaumont. The History of Photography, from 1839 to the Present Day, New York: Museum of Modern Art, 1964. Hardcover (gold-stamped blue cloth), 11 \u00bc x 8 \u00bd inches, 216 pages, screen-gravure illustrations, dustjacket.
      \nOn to the fourth state of the book, the one dear to the generation who came of age during photography\u2019s resurgence as an art form, starting in the 1970s. In this \u201crevised and enlarged edition,\u201d the pictures begin to dominate and the selection and printing quality has improved; they are now rendered in rich gravure. Not surprisingly, Newhall heavily emphasizes straight and documentary photography, and the last chapter, on recent trends, features images by Robert Frank, Harry Callahan, Aaron Siskind, and Minor White. Near fine condition, in dustjacket that is browned at the edges and missing a few small pieces on the back. $25<\/p>\n

      42. NEWHALL, Beaumont. Beaumont Newhall, Rochester, New York: George Eastman House, 1971. Softcover, 11 x 8 \u00bc inches, 40 pages, one halftone illustration.
      \nThis is an exhaustive bibliography of writings by Newhall, produced shortly after he retired as director of the Eastman House. It lists an amazing 632 pieces by him, made up of books, catalogs, articles, bibliographies, and reviews of literature, divided by those categories and listed chronologically. Light rubbing and tiny edgewear. $35<\/p>\n

      43. NUDES. Peter Lacey, The History of the Nude in Photography, New York: Bantham, 1964. Softcover, 7 x 4 \u00bc inches, 216 pages, screen-gravure illustrations.
      \nWhile not a scholarly publication, this little, thick book covers a lot of ground visually, in rich gravure. After a short introduction, Lacey presents the work of about two dozen photographers, with commentary on each. Among them are Delacriox, Muybridge, the Photo-Secessionists, Weston, Brandt, Callahan, Clergue, and Bernhard. Lesser-known figures include Charles Schenk, Ferenc Berko, Rene Groebli, Marvin Newman, Frank Horvat, J. Frederick Smith, and Robert Wilson. Light cover wear. $25<\/p>\n

      44. OUTERBRIDGE, Paul, Jr. Elaine Dines and Graham Howe, Paul Outerbridge: A Singular Aesthetic: Photographs and Drawings, 1921-1941: A Catalogue Raisonn\u00e9, Santa Barbara, California: Arabesque Books, 1981. Hardcover (tan cloth with mounted reproduction and mat, and black-stamped mounted board on spine), 12 \u00bc x 9 \u00bd inches, 240 pages, 564 halftone illustrations (some in color), printed acetate jacket.
      \nAn ambitious project, this is one of the few catalog raisonn\u00e9s for a photographer. It includes an introduction by Dines and Howe, a 1940 essay by Outerbridge on the color carbro process, a selected bibliography, and, most importantly, every image by him known at the time. Featured are his modernist ink drawings, delicate platinum prints, and color nude and advertising images. The challenging cover image shows a nude woman wearing only a mask and gloves with metal fingertips. Limited edition of 1,500 copies. Near fine condition, in a rubbed jacket. $550<\/p>\n

      45. OUTERBRIDGE, Paul, Jr. Elaine Dines and Graham Howe, Paul Outerbridge: A Singular Aesthetic: Photographs and Drawings, 1921-1941: A Catalogue Raisonn\u00e9, Laguna Beach (California) Museum of Art, 1981. Softcover, 11 \u00be x 9 inches, 240 pages, 564 halftone illustrations (some in color).
      \nThis is the softcover version of the above, without the elaborate cover. It accompanied a traveling exhibition organized by the museum. Near fine condition. $75<\/p>\n

      46. PARR, Martin, and Gerry Badger. The Photobook: A History, Volume I, New York: Phaidon, 2004. Hardcover (printed paper over boards), 11 \u00bd x 10 inches, 320 pages, color halftone illustrations, dustjacket. Ephemera.
      \nAfter Andrew Roth\u2019s groundbreaking book on the subject a few years earlier (see below), this was the next important contribution, soon followed by its companion volume. Parr and Badger are compassionate collectors with deep understanding of the communicative resonance of the best photobooks. More than just collections of pictures, the best examples stand as artistically and culturally important objects in their own right. Among the photographers highlighted here are William Henry Fox Talbot, Walker Evans, Larry Clark, and Nobuyoshi Araki. Topics include the modernist photobook, the \u201cstream-of-consciousness\u201d photobook, and the Postwar Japanese photobook. Laid into this copy is a full-page review of the book in the New York Times, on original newsprint. Near fine condition. $250<\/p>\n

      47. PHOTO BOOK CATALOGS.
      \nBefore the Internet significantly altered the book business in the 1990s, many booksellers, both private and those with open shops, periodically issued catalogs of their photography holdings. They usually contained detailed descriptions of the books\u2019 contents and their importance, and remain informative and useful today. Also included here are catalogs from publishers of photography books.
      \nAlmagre. Catalog 7 (1985), 22 (1989), 27 (1991), 32 (1992), 37 (1994), 42 (1995), 50
      \n(1998).
      \nAperture. Spring 1989, 1990, Fall 1991, 40th Anniversary (1992-93), Fall 1993,
      \nFall 1994, 1995, 1996, Fall 1997, Spring 1998, Spring 1999, Fall 1999, Spring 2000.
      \nArno Press. Literature of Photography (c. 1980), Sources of Modern Photography (1980).
      \nArs Libri. Catalog 18 (1979), 83 (1993).
      \nBaltimore Book Company. Catalog 272 (1992), 293 (1996).
      \nBauman Rare Books. Photobooks (c. 2010).
      \nBickerstaff & Barclay. Catalog 855 (1985), 87-6 (1987).
      \nBookman\u2019s Weekly. Photographica issues, 1993, 1996.
      \nCahan, Andrew. Catalog 34 (1992).
      \nCalifornia Book Auction Galleries. Catalog 285 (1989).
      \nLa Chambre Claire (Paris). Catalog 4-90 (1990), 3-91 (1991), June-Sept. 1992.
      \nCollected Image. Czech Books (1990).
      \nCollectors Editions (Carol S. Fruchter). Catalog 15 (1983), 21 (1984), 33 (1991), 44
      \n(1997), Signed & Inscribed Photographic Book Collection (1999).
      \nDaiter, Stephen. Catalog 1 (1989), 2 (1989), 4 (1991), 5 (1992), 6 (1993), 6 \u00bd (1994).
      \nDawson\u2019s Book Shop. Catalog 15 (1992).
      \nDean, Robert. Catalog 1 (c. 1985), 2 (c. 1985).
      \nDistributed Art Publishers (D.A.P.). Spring 1995, Fall 1996, Fall 1997, Fall\/Winter 2005-
      \n2006.
      \nFeldstein, Henry. Catalog 12 (1987), 14 (1988), 15 (1988), 16 (1989), 17 (1990), 18
      \n(1992), 19 (1994), 20 (1995).
      \nFinch, Simon (London). Catalog 2002.
      \nFriends of Photography. Untitled Series (1993).
      \nHertzmann, Paul M., and Margolis & Moss. Second Chance (c. 2010).
      \nInternational Center of Photography. 1992\/93, 1993\/94, 1994\/95.
      \nKehayoff Verlag (Munich, Germany). Fall 1999.
      \nKowasa (Barcelona, Spain). 2-92 (1992).
      \nLight Impressions. Spring\/Summer 1990, Spring\/Summer 1991, Fall\/Winter 1991,
      \nSpring\/Summer 1994.
      \nKingston & Rose. Catalog 1 (1988).
      \nLevart, Herb. Catalog 29 (c. 1980).
      \nMautz, Carl. Books on Photography (c. 1995), Books on Photography (1998), Fall\/Winter
      \n2001, Winter\/Spring 2002-2003.
      \nMuns, J. B. Catalog 151 (1993), 154 (1994), 180 (2002).
      \nNazraeli Press. Catalog II (1992), Spring 1994, Spring 1999, Spring 2000, Fall 2000,
      \nSpring\/Summer 2001, Summer 2002, Summer 2003, Winter\/Spring 2003,
      \nWinter\/Spring 2004.
      \nOzanne, Denis (Paris). Photographie (2006).
      \nPajerski, Fred & Elizabeth. Catalog 1 (1984), 2s, 2t, 2u, 2v, 3, 4, 6, 7, 8, 9, 10, 11, 12, 13,
      \n14, 15, 17, 18, 19, 20, 21, 22, 24, 25, 26, 27, 28, 29, 33, 52 (1999).
      \nPhoto-Eye. 1985, Fall 1993, Winter 1993\/94, Summer 1994, Fall 1994, Holiday 1994,
      \nSpring 1995, Fall\/Winter 1995, Spring 1996, Fall 1997, Winter 1998, 1998
      \nTechnical Catalog, 1998 Nude Catalog, Spring 1999, Winter 1999, 20th Anniversary
      \n(1999), Winter 2000, Spring 2000, Summer 2000, Holiday 2001.
      \nPhoto-Eye Booklist. 6:3 (1985), 7:1 (1986), 7:3 (1986), 7:4 (1986), 8:3 (1987), 9:1 (1988),
      \n9:2 (1988), 9:3 (1988), 9:4-5 (1988), 10:1-2 (1989), 10:3 (1989), 10:4 (1989),
      \n11:1 (Winter 1989-90), 11:2 (1990), 11:3 (1990), 11:5 (1990), 12:3 (1991),
      \n13:4 (1992), 13:5 (1993), 14:1 (1993), Monographs (1994), 17: 3 (1995).
      \nPhotographer\u2019s Bookshelf. Catalog 5 (1976).
      \nPowerHouse. Fall 1998, Fall 1999, Fall 2000.
      \nRose, Stephen T. Catalog 7 (1982), 9 (1991), 10 (1991), 11 (1992), 12 (1992), 13 (1992),
      \n14 (1993), 15 (1993), 16 (1994), 19 (1995), 20 (1995), 21 (1995), 22 (1996), 23 (1996), 25 (1997), 26 (1997), 29 (1998), 31 (1999), 32 (2000).
      \nSadow, Arnold. Catalog 22 (1987), 23 (1988).
      \nScalo. Fall 1996.
      \nTwin Palms Publishers. Autumn 1998\/Spring 1999, Winter-Spring 2005,
      \nAutumn\/Spring 2005-2006, Autumn\/Winter 2008-2009.
      \nUniversity of New Mexico Press. 1990\/91, 1991\/92, 1993\/94, Art &Photography (1995).
      \nWood, Charles B. Catalog 49 (1982), The Photograph and the Book III (1994), IV (1997).
      \nWorldwide Books. Photography Exhibition Catalogues (1977).
      \nA substantial group of 216 catalogs. $500<\/p>\n

      48. PHOTOGRAPHY FAIRS.
      \nCatalogs for two fairs of photography dealers. They comprise primarily
      \nprofiles of the dealers exhibiting and advertising for related businesses.
      \nChicago Photographic Print Fair 1990. Softcover, 8 \u00bd x 5 \u00bd inches, unpaginated, halftone
      \nillustrations. This was the fair\u2019s first year. Laid in is an announcement for the show
      \nand an admission ticket.
      \nChicago Photographic Print Fair 1993. Softcover, 8 \u00bd x 5 \u00bd inches, unpaginated, halftone
      \nillustrations.
      \nChicago Photographic Print Fair 1994. Softcover, 8 \u00bd x 5 \u00bd inches, unpaginated, halftone
      \nillustrations.
      \nPhoto L.A. 1993. Softcover, 9 x 6 inches, unpaginated, halftone illustrations. This copy
      \ninscribed and dated by the catalog\u2019s designer, Susan Silton.
      \nPhoto L.A. 1994. Softcover, 9 x 6 inches, unpaginated, halftone illustrations.
      \nGroup of five: $25<\/p>\n

      49. PHOTOMECHANICAL PROCESSES. David A. Hanson and Sidney Tillim. Photographs in Ink, Teaneck, New Jersey: College Art Gallery, Fairleigh Dickinson University, 1996. Hardcover (gold-stamped green cloth), 13 \u00bd x 9 \u00be inches, 84 pages, 32 halftone illustrations (some in color), dustjacket.
      \nThis is an elegant, oversize exhibition catalog that includes an essay on the history and technique of various photomechanical methods of reproducing photographs. The full-color plates reproduce halftones, photogravures, collotypes, woodburytypes, photo-lithographs, and other processes. The book was printed in an edition of 700 copies and includes a CD-ROM of the entire show. This copy signed by Hanson. Fine condition. $100<\/p>\n

      50. PHOTO-SECESSION. Catalogue 6: Photo-Secession, Washington, D.C.: Lunn Gallery\/Graphics International, 1977. Softcover, 11 x 8 \u00be inches, 158 pages, halftone illustrations.
      \nThis is a handsome sales catalog of Photo-Secession material from one of the earliest successful photography galleries, run by Harry H. Lunn, Jr. It includes sections on Paul B. Haviland, Heinrich K\u00fchn, and the collection of Joseph T. Keiley, with text by Peter Galassi, who went on to become curator of photographs at the Museum of Modern Art, New York. Work is offered by Alvin Langdon Coburn, Robert Demachy, Gertrude K\u00e4sebier, Edward Steichen, Alfred Stieglitz, Clarence H. White and others. An early, little-known reference on the Photo-Secession. Near fine condition. $25<\/p>\n

      51. PICTORIAL PHOTOGRAPHERS of AMERICA. Christian A. Peterson, Index to the Annuals of the Pictorial Photographers of America, Minneapolis: author, 1993. Softcover, 8 x 5 \u00bc inches, 44 pages, unillustrated.
      \nDuring the 1920s, the Pictorial Photographers of America published five hardbound annuals, covering their activities and reproducing work by its members. This index, of over 600 entries, covers every signed article, photographic reproduction, and office holder in Pictorial Photography in America. Included are citations on such major figures as Alvin Landon Coburn, Gertrude K\u00e4sebier, Paul Outerbridge, Jr., Edward Weston, and Clarence H. White. The vast majority of entries, however, are for lesser-known American pictorialists whose work is indexed nowhere else. Of the edition of 250 copies only fifteen remain. Mint condition. $10<\/p>\n

      52. PICTORIAL PHOTOGRAPHY. Christian A. Peterson, An Annotated Bibliography of Pictorial Photography: Selected Books from the Library of Christian A. Peterson, Northfield, Minnesota: Gould Library, Carleton College, 2004. Softcover, 11 x 8 \u00bd inches, 44 pages, unillustrated.
      \nThis little-known item contains entries on about 250 pictorial publications, nicely described by the collector. It includes books from as early as the 1880s, when naturalistic photography was laying the groundwork for pictorialism, and titles from as late as the 1960s, when a few skilled workers remained devoted to the tenets of pictorial photography. Most of the titles, however, were published between 1900 and 1940, the period during which Alfred Stieglitz\u2019s Photo-Secession reigned and a sizeable subsequent generation of pictorialists expanded the parameters of the movement. The selection comprises monographs, aesthetic treatises, salon catalogs, periodicals, and ephemera. Published on the occasion of a related exhibition at Carleton College. Edition of only 150 copies. Mint condition. $10<\/p>\n

      53. POLLACK, Peter. The History of Photography: From the Earliest Beginnings to the Present Day, New York: Harry N. Abrams, 1958. Hardcover (gold and blue-stamped black cloth), 11 \u00bc x 9 inches, 624 pages, halftone illustrations (some in color). dustjacket.
      \nThe former curator of photographs at the Art Institute of Chicago presents his take on the history in this substantial volume. It is heavy on pictures, including more than 600 reproductions. Pollack divides his text into four sections: \u201cThe Beginnings,\u201d \u201cMasters of the Nineteenth Century,\u201d \u201cMasters of the Modern Era,\u201d and \u201cPhotography Today\u201d (meaning around the 1950s). Tiny wear to tips, in laminated dustjacket that is rubbed and torn. $75<\/p>\n

      54. POLLACK, Peter. The History of Photography: From the Earliest Beginnings to the Present Day, New York: Harry N. Abrams, 1958.
      \nAnother copy, not the first edition, with a slightly different dustjacket but seemingly the same internally. Hinges a little lose, previous owner\u2019s name, in rubbed and mildly worn dustjacket. $50<\/p>\n

      55. POLLACK, Peter. The History of Photography: From the Earliest Beginnings to the Present Day, New York: Harry N. Abrams, 1977. Hardcover (white and blind-stamped black cloth), 11 \u00be x 9 inches, 176 pages, 257 screen-gravure and color illustrations, dustjacket.
      \nThis is the \u201cconcise edition,\u201d shorter but printed in much better quality gravure. Pollack maintains the same four sections, but expands the contemporary one, now including two-page investigations of the likes of Bruce Davidson, Gordon Parks, and Lucien Clergue. Near fine condition, in dustjacket that is rubbed and missing a piece at the bottom of the spine. $35<\/p>\n

      56. ROSEMBLUM, Naomi. A World History of Photography, New York: Abbeville, 1984. Hardcover (silver and blind-stamped black cloth), 11 \u00bd x 9 inches, 670 pages, 803 duotone and color illustrations, dustjacket. Signed.
      \nThis was a welcome addition to the standard histories, as Rosenblum, wife of the photographer Walter, paid attention to many more countries and women (surprise!) than Newhall and Gernsheim did. It is a masterful balance of facts, analysis, movements, individuals, and technique. As a result it was frequently used for college courses and remains highly recommended today. This copy signed by Rosenblum. Near fine condition. $100<\/p>\n

      57. ROTH, Andrew. The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, New York: PPP Editions, 2001. Hardcover (gray-stamped gray cloth), 12 x 9 \u00be inches, 308 pages, halftone illustrations (some in color), dustjacket.
      \nAn important scholarly study of the subject, handsomely designed and printed. It begins with The North American Indian (volume one, 1907) by Edward S. Curtis and ends with David LaChapelle\u2019s LaChapelle Land (1996). Among the other photographers represented are Edward Weston, Walker Evans, William Eggleston, Larry Clark, and Susan Meiselas. Features essays by Richard Benson, Jeffrey Fraenkel, Daido Moriyama, and others. Mint condition, in shrink wrap. $500<\/p>\n

      58. SEARS, ROEBUCK and Company. Cameras, Photographic Supplies, Chicago: Sears, 1909. Softcover, 11 x 8 \u00bd inches, 72 pages, halftone illustrations
      \nCatalog of largely Conley Cameras, which were sold only by Sears. But it includes other equipment, such as studio backdrops and motion-picture projectors. Covers and page edges heavily worn. $10<\/p>\n

      59. SNELLING, Henry H. The History and Practice of the Art of Photography, Hastings-on-Hudson, New York: Morgan & Morgan, 1970. Hardcover (blind and gold-stamped green cloth), 7 \u00bd x 4 \u00be inches, 144 pages, 29 line illustrations.
      \nOriginally published in 1849, this is a reprint with an introduction by Beaumont Newhall. The full subtitle of the original was \u201cThe Production of Pictures Through the Agency of Light, Containing all the instructions necessary for the complete practice of the daguerreian and photogenic art, both on metallic plates and on paper.\u201d Henry H. Snelling (1817-1897) was first initiated to photography in 1847 when he started working for Edward Anthony, a daguerreotype pioneer, for whom he designed equipment. In 1851 he began to edit and publish the monthly Photographic Art Journal and he wrote two books beside the current title, which went through at least four editions during his lifetime. Tiny edgewear. $25<\/p>\n

      60. SIPLEY, Louis Walton. A Half Century of Color, New York: Macmillan, 1951. Hardcover (blue, red, gold, and silver-stamped black cloth), 10 \u00bc x 8 inches, 216 pages, halftone illustrations (some in color), dustjacket. With ephemera.
      \nThe groundbreaking history of color photography by Dr. Sipley, the director of Philadelphia\u2019s American Museum of Photography. Features innovative fashion pictures by the likes of Erwin Blumenfeld, Horst P. Horst, and Edward Steichen. Sipley covers the invention and development of many color processes, but also devotes much text to methods of photomechanical reproduction in color. Pioneering photographers, engravers, and printers all receive his attention. The book includes many color inserts, such as a five-panel fold out comparing letterpress, offset lithography, and gravure, and an actual Pavelle color print, found in an envelope between pages 158 and 159 (sometimes missing). Laid into this copy is the 24-page catalog for a show of the same title that was presented at four American venues. Near fine, in price-clipped dustjacket with the price cancelled and a few creases. $75<\/p>\n

      61. SOTHEBY\u2019S. Auction catalogues.
      \nMost measure about 10 \u00bd x 8 \u00bc inches, feature 400 lots, which are illustrated in color and black and white.
      \n1982: November 9.
      \n1983: November 9.
      \n1984: November 5.
      \n1985: November 12.
      \n1992: October 15 & 16.
      \n1998: October 7.
      \n2008: April 8.
      \nGroup of 7. $35<\/p>\n

      62. STIEGLITZ, Alfred. Sarah Greenough, Alfred Stieglitz: The Key Set, Washington, D.C.: National Gallery of Art, and Harry N. Abrams, New York, 2002. Hardcovers (black-stamped tan cloth), 12 \u00be x 10 inches, 1,012 pages, 1,642 duotone illustrations (some in color), 2 volumes in slipcase.
      \nHands down, the most comprehensive visual guide to Stieglitz\u2019s work. It reproduces the over 1,500 photographs by him owned by the National Gallery, given by his widow, Georgia O\u2019Keeffe, as the \u201ckey set\u201d of his photographs. Greenough\u2019s introduction describes periods in Stieglitz\u2019s life and is followed by the pictures in chronological order, dating from 1886 to 1937. Mint condition, in shrink wrap and original shipping carton. $300<\/p>\n

      63. STORY, Alfred A. The Story of Photography, New York: D. Appleton, 1904. Hardcover (leather spine and tips and marbled paper over boards), 7 \u00be x 5 inches, 172 pages, 1 halftone and 38 line illustrations.
      \nCleverly titled to reference the author\u2019s name, this book is a history and technical guide to nineteenth-century photography. Story covers inventors Ni\u00e9pce, Daguerre, and Talbot, equipment, processes, and photography\u2019s relationship to the telegraph and art. He ends his text by quoting art photographer Henry Peach Robinson: \u201cThe unthinking goose-quill of the poet was no more in itself able to write than the unthinking camera of the photographer is to make pictures; but both are mighty instruments in the hands of mighty men.\u201d Hinges loose, covers worn, missing spine and heavily tape-repaired. $25<\/p>\n

      64. SWANN GALLERIES. Auction catalogues.
      \nMost measure about 9 \u00bd x 6 \u00bd inches, contain about 300 lots, feature color and black-and-white halftone illustrations, and have sales results laid in.
      \n1977: April 14, December 8.
      \n1978: April 20, December 14.
      \n1991: April 15.
      \n1996: February 29, April 24.
      \n1999: April 27.
      \n2000: April 3, June 15.
      \n2010: May 20, October 19, December 9.
      \n2011: March 24, May 19.
      \n2012: February 28, December 11.
      \n2013: October 17.
      \n2014: February 27, April 17.
      \nGroup of 20. $100<\/p>\n

      65. SWEETMAN, Alex. Photographic Book to Photobookwork: 140 Years of Photography in Publication, Riverside, California: California Museum of Photography, 1986. Softcover, 9 \u00be x 8 \u00bd inches, 32 pages, halftone illustrations.
      \nPublished as an issue of the CMP Bulletin, this was one of the first investigations into the phenomenon of the photobook. Sweetman\u2019s essay comprises four sections: \u201cPhotographs Pasted Into Books,\u201d \u201cInk Photographs,\u201d \u201cVisual Revolution: The Twentieth Century,\u201d and \u201cPhotobookworks.\u201d Printed in an edition of 1,400 copies, with a commissioned cover by Todd Walker. Of special note are tipped-in examples of an actual albumen print, photogravure, and collotype. Fine condition, in original protective wrap. $35<\/p>\n

      66. SZARKOWSKI, John. The Photographer\u2019s Eye, New York: Museum of Modern Art, 1966. Softcover, 9 x 8 \u00bd inches, 156 pages, screen-gravure illustrations.
      \nCurator Szarkowski\u2019s influential investigation of \u201cwhat photographs look like and why they look that way.\u201d He provides a short introduction and five groups of photographs from the previous hundred years. \u201cThe Thing Itself\u201d includes work by Maxime Du Camp and Julia Margaret Cameron; \u201cThe Detail\u201d has pictures by Eug\u00e8ne Atget and Walker Evans; \u201cThe Frame\u201d features work by Jacques Henri Lartigue and Elliott Erwitt; \u201cTime\u201d includes photographs by Eadweard Muybridge and Harold Edgerton; and \u201cVantage Point\u201d presents pictures by Bill Brandt, Robert Frank, and Lee Friedlander, all of them in rich gravure. Light rubbing and wear to covers. $25<\/p>\n

      67. SZARKOWSKI, John. Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art, New York: Museum of Modern Art, 1973. Hardcover (gray-stamped black cloth), 11 x 9 \u00bc inches, 216 pages, 100 screen-gravure illustrations, dustjacket. Ephemera.
      \nSzarkowski\u2019s revered examination of photographs by Berenice Abbott, Gary Winogrand, and 98 others. Laid in is the New York Times Book Review extensive seven-page (yes, 7 pages) coverage of the book (on original newsprint), by Susan Sontag (an important item in its own right). Near fine condition, in dustjacket that is sunned on spine (as is usual). $35<\/p>\n

      68. TALBOT Circle. Sun Pictures: The Harold White Collection of Historical Photographs From the Circle of Talbot, New York: Hans P. Kraus, Jr., 1987. Softcover, 11 x 8 \u00bd inches, 40 pages, 36 duotone illustrations.
      \nThis is an attractive dealer\u2019s catalog, well printed by the Meriden-Stinehour Press in an edition of 1,000 copies (cover image is tipped-on). Features work by Hill & Adamson, Captain Henry Brewster, Reverend Calvert Jones, and others working with the paper negative (calotype). Price list laid in. Near fine condition. $25<\/p>\n

      69. TAUSK, Peter. Photography in the 20th Century, London: Focal Press, 1980. Hardcover (black-stamped gray cloth), 9 \u00bc x 6 inches, 344 pages, 285 halftone illustrations (some in color), dustjacket.
      \nTausk was a Czech professor and the first edition of this title appeared in German. Consequently, Czech and European photographers and movements are examined in more depth than most American histories. For example, he covers the New Objectivity, the Bauhaus, Subjective Photography, \u201cMagic Realism,\u201d and the relationship between photography and Op Art and Pop Art. The small section of color plates includes images by Hans Watzek, Heinz Hajek-Halke, Keld Helmer-Peterson, Robert Heinecken, Josef Sudek, Neal Slavin, and Tausk himself. Tiny wrinkles to top and bottom of spine, in dustjacket that is also wrinkled. $50<\/p>\n

      70. WARHOL, Andy. Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonn\u00e9, New York: Abrams, 2006. Hardcover (printed paper over boards), 11 \u00bc x 9 \u00bc inches, 320 pages, halftone illustrations, dustjacket.
      \nThis is a complete investigation of the 472 \u201cscreen tests\u201d made by Warhol from 1964 to 1966, of friends, colleagues, and acquaintances. It constitutes a veritable who\u2019s who of the 1960s avant-garde. Among those included are Marcel Duchamp, Allen Ginsberg, Bob Dylan, Susan Sontag, and Lou Reed. Foremost Warhol film scholar Angell provides an essay and details on the clips. Two bumped corners, in dustjacket that is torn and lightly worn. $35<\/p>\n

      71. WEST, Larry J., and Patricia A. Abbott. Antique Photographic Jewelry: Tokens of Affection and Regard, New York: West Companies, 2005. Hardcover (printed and padded paper over boards), 12 \u00bc x 9 \u00bc inches, 256 pages, halftone illustrations (some in color), dustjacket, gilded edges. Signed.
      \nThis is a large-format and in-depth study of photographic jewelry, certainly authoritative. The text covers all aspect of the subject: portrait miniatures; American folk art; decorative, functional, and commemorative uses; domestic and European differences; accessories; privacy; the industry; and identification, collecting, and research. Apparently produced in a very limited number of copies; this one is warmly inscribed by West. Fine condition, in opened shrink wrap. $350<\/p>\n

      72. WESTERBECK, Colin, and Joel Meyerowitz. Bystander: A History of Street Photography, Boston: Little, Brown and Company, 1994. Hardcover (silver-stamped green cloth), 11 \u00bc x 9 inches, 430 pages, halftone illustrations (some in color), dustjacket.
      \nCurator\/critic Westerbeck and photographer Meyerowitz team up to craft an unprecedented history of one of the medium\u2019s most vital genres. They cover time periods and masters of street photography, divided into four sections; Eug\u00e8ne Atget and the Nineteenth Century, Cartier-Bresson and Europe in the Twentieth Century, Walker Evans and America Before World War II, and Robert Frank and America Since the War. The project coalesced over fifteen years, and the last chapter comprises a conversation between the collaborators. Mint condition, in shrink wrap. $125<\/p>\n

      73. WHAT IS PHOTOGRAPHY: 150 Years of Photography, Prague, Czechoslovakia: M\u00e1nes, 1989. Softcover, 11 \u00be x 8 \u00be inches, 392 pages, halftone illustrations (some in color). Signed.
      \nThis publication accompanied the largest Czech exhibition to mark the sesquicentennial of photography. Not surprisingly, it features a healthy portion of Eastern European work and also documents an ancillary show on \u201cCzechoslovak Photography, 1945-1989.\u201d This section comprises nearly 150 mostly living Czech photographers, many of them still new to us Westerners today. There are five main essays including \u201cModern Photography on the March\u201d by Daniela Mr\u00e1zkov\u00e1, the lead curator. This copy signed by her. A little-known book outside of Europe, with bilingual text in Czech and English. Covers lightly rubbed and a little worn along top of back. $75<\/p>\n

      74. WHITE, Mus. From the Mundane to the Magical: Photographically Illustrated Children\u2019s Books, 1854-1945 and Beyond, Los Angeles: Dawson\u2019s Book Shop, 1999. Hardcover (copper-stamped blue cloth), 11 \u00bd x 8 \u00be inches, 270 pages, 58 halftone illustrations. Signed
      \nIndisputably the authoritative book on the subject. White, the wife of Los Angeles photography collector\/dealer Stephen, provides an essay and details 1,373 titles, plus nearly 150 that appeared in series. Elegantly printed in letterpress and issued without a dustjacket. This copy signed by White. Near fine condition. $175<\/p>\n

      75. WITKIN, Lee D., and Barbara London. The Photograph Collector\u2019s Guide, Boston: New York Graphic Society, 1979. Hardcover (silver-stamped maroon cloth), 11 \u00bc x 8 \u00be inches, 438 pages, halftone illustrations (some in color), dustjacket. Signed.
      \nThis was one of the earliest authoritative reference books for serious photography collectors, co-written by the pioneering gallery owner Lee Witkin. It addresses the \u201cart of collecting,\u201d photographic processes, care and restoration, portfolios, and other related topics. It has extensive lists of museums, galleries, and little-known photographers and daguerreotypists. The core of the book, however, are its capsule biographies of leading figures, each of which includes a bibliography, example of their signature, and data about the availability and price of their work. This copy signed by Witkin. One corner bumped, in a dustjacket that has one tear and creases on the front. $100<\/p>\n

      76. WITKIN Gallery. Lee D. Witkin, A Ten Year Salute: A Selection of Photographs in Celebration: The Witkin Gallery, 1969-1979, Danbury, New Hampshire: Addison House, 1979. Softcover, 11 x 8 \u00bc inches, 200 pages, halftone illustrations (some in color). Ephemera.
      \nThe bulk of this anniversary publication comprises full-page reproductions of about 150 photographs, with short texts. It includes some nineteenth-century work, by the likes of Muybridge and Timothy H. O\u2019Sullivan, but primarily twentieth-century material by Weston, Abbott, Evans, and others, plus contemporary pieces. Features a chronological list of all the gallery\u2019s exhibitions. Most entertaining is a section of snapshots of photographers at the gallery, with commentary by figures such as Les Krims, Paul Caponigro, Ansel Adams, Elliott Erwitt, W. Eugene Smith, and Andr\u00e9 Kert\u00e9sz. Laid in is a mailed announcement for the gallery\u2019s 1969 Christmas Show-Sale, with prints priced at \u201cUnder $50\u201d and \u201cOver $50.\u201d Rubbed covers with minor edgewear. $35<\/p>\n

      TECHNICAL
      \n77-126<\/p>\n

      77. ABBOTT, Berenice. A Guide to Better Photography, New York: Crown, 1941. Hardcover (maroon-stamped brown cloth), 10 \u00bc x 7 \u00be inches, 182 pages, 71 halftone illustrations, dustjacket.
      \nAbbott covers all the standard technical topics, from equipment to film, paper, and chemistry, along with color photography, \u201cstraight\u201d photography, and documentary work. The reproductions include historical work by the likes of Matthew Brady and Eug\u00e8ne Atget, along with work by contemporaries of hers such as Margaret Bourke-White, Consuela Kanaga, Barbara Morgan, and Ansel Adams. Cloth browned, in worn dustjacket. $25<\/p>\n

      78. ADAMS, Ansel. Making a Photograph: An Introduction to Photography, London: Studio, 1935 (fourth impression, 1948). Hardcover (gold-stamped red cloth), 10 x 7 \u00bd inches, 96 pages, 34 halftone illustrations, dustjacket.
      \nAdams presents his theories and techniques in six chapters: Equipment, Materials, Practical Theory, Aesthetic Considerations, Making a Photography, and Types of Photography. There is a foreword by Edward Weston and diagrams for laying out one\u2019s darkroom. Perhaps most striking are the tipped-in reproductions that are so well printed they closely resemble glossy gelatin silver prints. Many of them are Adams\u2019s own known images such as \u201cFrozen Lake and Cliffs,\u201d but also include Dorothea Lange\u2019s \u201cWhite Angel Breadline.\u201d Foxing to endpapers, in dustjacket that is torn, chipped, and missing small pieces. $25<\/p>\n

      79. ADAMS, Ansel. Polaroid Land Photography Manual: A Technical Handbook, New York: Morgan & Morgan, 1963. Hardcover (black-stamped brown cloth),
      \n9 \u00bc x 6 \u00bc inches, 192 pages, 76 halftone illustrations, dustjacket.
      \nReportedly the first book linking the Polaroid Land System to serious and professional photographers. Adams covers his famous Zone System of exposure and development, explains the qualities and uses of all Polaroid materials, and includes a complete technical data section. While most of the reproductions illustrate the text, there is a special section with higher-quality images by the likes of Philippe Halsman, Paul Caponigro, Minor White, Adams, and others. Near fine condition, in price-clipped dustjacket that has tiny edgewear and small missing pieces. $25<\/p>\n

      80. ADAMS, Ansel. The Negative: Exposure and Development, Hastings-on-Hudson, New York: Morgan & Morgan, 1968, fifth printing. Hardcover (black-stamped gray cloth), 9 \u00bc x 6 inches, 120 pages, halftone illustrations, dustjacket.
      \nThe new, revised edition of a popular book used by many at the time and part of a series of six on basic photo techniques. \u201cIn this volume Ansel Adams intentionally re-evaluated sensitometric terms in a language which the non-scientific student will understand.\u201d Previous owner\u2019s name and some underlining to text, in price-clipped, rubbed, and torn dustjacket. $10<\/p>\n

      81. BURBANK, W. H. The Photographic Negative, New York: Scovill Manufacturing Company, 1888. Hardcover (black and gold-stamped brown cloth), 9 \u00bc x 6 inches, 198 pages, halftone and line illustrations.
      \nRegard the subtitle to outline the book\u2019s contents: \u201cA Practical Guide to the Preparation of Sensitive Surfaces by the Calotype, Albumen Collodion, and Gelatin Processes, on Glass and Paper, with Supplemental Chapters on Development Etc., Etc.\u201d Tissue-guarded frontispiece and two examples of \u201cMoss-Type\u201d engraving. Covers worn. $125<\/p>\n

      82. CAMERA CLUB GUIDES. PSA Camera Club Guides, Philadelphia: Photographic Society of America, c. 1940s. Softcovers, 9 x 6 inches, 4-12 pages each, mostly unillustrated.
      \nI. So You Want to Start a Camera Club? Covers such topics as organization, by-laws, officers, meeting places, dues, programs, and exhibitions.
      \nII. Planning a Club Publicity Program. Addresses mailing lists, club bulletins, publicity releases, postcards, deadlines, and radio and television. Includes a sample news release from the Stamford (Connecticut) Camera Club.
      \nIII. Establishing and Editing a Camera Club Bulletin. 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 (Pictorial Photographers of America), Flash (Camera Club of Bozeman, Montana), and The Birdie (Merced Camera Club, California).
      \nIV. Camera Club Competitions. Details the six basic steps in running contests: collecting the prints and slides, display for judging, judging, scoring, compilation, and return of entries.
      \nV. The Guest Speaker: How to Make the Most of Him. Covers choosing the speaker, publicity, technical arrangements, handling the speaker, and running the program. Includes a specimen news release from the Stamford (Connecticut) Camera Club.
      \nVI. Drafting a Club Constitution and by-Laws. Largely given over to samples of both, which include aims, meetings, membership, officers, committees, finances, and elections.
      \nVII. Club Programming. 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.
      \nThis 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

      83. CARTES-DE-VISITE. William C. Darrah, Cartes de Visite in Nineteenth Century Photography, Gettysburg, Pennsylvania: W. C. Darrah, 1981. Hardcover (gold-stamped red leatherette), 11 \u00bc x 8 \u00be inches, 222 pages, 448 halftone illustrations, dustjacket.
      \nNineteenth-century expert Darrah\u2019s exhaustive study of one of the most popular photographic formats during the late nineteenth century. His essay covers the background and development of the carte and the business of photography. While the vast majority of cartes-de-visite were portraits, he includes a section on about seventy-five other subjects, from advertising to zoology. One corner bumped. $50<\/p>\n

      84. CERAMIC PHOTOGRAPHY. Recipes for Ceramic Photography, To be Burnt Into Porcelain or Glass, Chicago: D. M. Campana, c. 1875. Softcover, 7 \u00be x 5 \u00bd inches, 32 pages, 12 line illustrations.
      \nThis booklet gives instructions on printing photographic images onto porcelain and glass, a little remembered fad during the nineteenth century. It covers chemistry, technique, and methodology. The process was used largely for portrait work and, undoubtedly, many of the finished products did not last long, due to their breakability. Tear to spin and light cover wear. $10<\/p>\n

      85. CLICH\u00c9-VERRE. Elizabeth Glassman and Marilyn F. Symmes, Clich\u00e9-Verre: Hand-Drawn, Light-Printed: A Survey of the Medium from 1839 to the Present, Detroit Institute of Arts, 1980. Softcover, 11 x 9 \u00bc inches, 212 pages, halftone illustrations. Author signature laid in.
      \nThe exhibition catalog for a show of clich\u00e9s-verre spanning a century and a half. This hybrid of printmaking and photography usually features a hand-rendered image on a transparent base that is then used like a negative to make a print on light sensitive paper. Among the nineteenth-century artists featured here are Jean-Baptiste-Camille Corot, Eug\u00e8ne Delacroix, and Jean-Fran\u00e7ois Millet; twentieth-century contributors include Brassa\u00ef, Man Ray, Henry Holmes Smith, and Frederick Sommer. Laid into this copy is a 1985 letter from Marilyn Symmes, signed by her. Miniscule edge wear. $35<\/p>\n

      86. COLOR PHOTOGRAPHY. Paul Wolff, My Experiences in Color Photography, New York: Grayson, 1948. Hardcover (silver-stamped green cloth), 10 \u00bd x 9 inches, 152 pages, 54 color halftone illustrations, dustjacket.
      \nThough the text is not extensive, the book claims to be an \u201cadvanced course\u201d in color photography. The six and eight-color plates are rich and highly accomplished for the time, making the book also an \u201coutstanding achievement\u201d of modern color printing (produced in Germany). Among the technical points covered by Dr. Wolff are the miniature camera, film, exposure, macrophotography, and various appropriate subjects. Jacob Deschin, the photography editor of the New York Times, contributed the preface. Previous owner\u2019s bookplate, light marks to cover, in dustjacket with tiny edgewear and a few tears. $35<\/p>\n

      87. COLOR PHOTOGRAPHY. Alexander Liberman, The Art and Technique of Color Photography, New York: Simon and Schuster, 1951. Hardcover (gold-stamped brown and black cloth), 13 x 10 inches, 226 pages, 195 color and 195 screen-gravure illustrations, dustjacket.
      \nThis important book comprises work by seventeen leading color photographers, all on the staffs of the Cond\u00e9 Nast publications Vogue, Glamor, and House & Garden. They are each give their own section, in which they write about color, their intentions, and the problems encountered. Included are Irving Penn, Horst P. Horst, Cecil Beaton, Gjon Mili, John Rawlings, Herbert Matter, and Erwin Blumenfeld. Most of the color images appear full-page, and a back section, with small gravure black-and-whites, gives technical information. Light fading to top edges, in dustjacket that has mild edgewear and a few tears. $250<\/p>\n

      88. COLOR PHOTOGRAPHY. Eliot Elisofon, Color Photography, New York: Viking Press, 1961. Hardcover (blue and red-stamped blue cloth), 12 \u00bc x 9 \u00bc inches, 156 pages, halftone illustrations (most in color), dustjacket.
      \nLife photographer Elisofon delves into color in chapters such as \u201cColor Versus Black and White,\u201d \u201cTime of Day and Weather,\u201d \u201cSpecial Effects,\u201d \u201cLighting,\u201d \u201cComposition,\u201d and \u201cEquipment and Techniques.\u201d He provides most of the images, but in the final section, titled \u201cAn Appreciation,\u201d he presents work by Edward Weston, Henri Cartier-Bresson, Gordon Parks, Irving Penn, Robert Capa, William Kline, and others, most of it black-and-white. Two tiny bumps, in dustjacket that is laminated, chipped, and tape repaired. $50<\/p>\n

      89. Comment Obtenir de Bonnes Photographies, Paris: Kodak, c. 1900. Softcover, 8 \u00bc x 5 \u00bc inches, 152 pages, halftone illustrations.
      \nThis guide for amateur photographers translates as \u201cHow to Obtain Good Photographs.\u201d It is rather extensive, covering equipment (Kodak, of course), posing, lighting, developing, printing, and other topics. Text in French. Covers worn. $10<\/p>\n

      90. CRAWFORD, William. The Keepers of Light: A History & Working Guide to Early Photographic Processes, Dobbs Ferry, New York: Morgan & Morgan, 1979. Hardcover (printed paper over boards), 9 \u00bd x 7 \u00bd inches, 324 pages, 250 halftone illustrations (some in color).
      \nThis was a popular and widely used book, still sought after today. Its strength was the explanations and instructions on the following alternative processes: salt print, ambrotype, cyanotype, platinum, palladium, kallitype, carbon, carbro, gum, oil, bromoil, photogravure, collotype, and woodburytype. Near fine condition, with lightly rubbed covers. $35<\/p>\n

      91. DMITRI, Ivan. How to Use Your Candid Camera, New York: Studio, c. 1940s. Hardcover (red-stamped cream cloth), 11 x 8 \u00bd inches, unpaginated, 56 screen-gravure illustrations, dustjacket.
      \nThis is photojournalist Dmitri\u2019s very simple explanation of how to handle a Leica, a camera he had only recently begun using. After his foreword, there are a mere eight pages of instruction, on shutter speed, aperture, focus, and loading the camera. The vast bulk of the book comprises the rich gravure reproductions, each presented full-page, after a 35mm contact-size illustration from the same negative, which is accompanied by technical information. The subjects include animals, boats, planes, landscapes, and figures studies. Cloth darkened, in dustjacket that is worn, torn, chipped, and missing pieces. $25<\/p>\n

      92. DUDLEY, A. S. Cash and the Camera, Philadelphia: A. S. Dudley, 1912. Softcover, 9 \u00bd x 6 \u00bc inches, 54 pages, unillustrated. Ephemera.
      \nAccording to the printed letter that is laid in, \u201cThis book contains the condensed working laws of success in photography\u2014it tells how to save as well as MAKE MONEY WITH YOUR CAMERA. If you don\u2019t get these facts from this book, where are you going to get them?\u201d It covers equipment, darkroom work, and how to sell photographs and win competitions. Especially helpful is another laid in piece, with near forty publishers and magazines listed, with their addresses and interests. Light wear and one tear to cover. $25<\/p>\n

      93. EDGERTON, Harold E., and James R. Killian, Jr. Flash! Seeing the Unseen by Ultra High-Speed Photography, Boston: Hale, Cushman & Flint, 1939. Hardcover (brown-stamped cream cloth), 11 \u00bc x 8 \u00bd inches, 204 pages, halftone illustrations, dustjacket.
      \nThis was the first book on the subject, revealing extraordinary stop-action images to the general public. It predicted that \u201cthe invention and perfection of the Edgerton stroboscope will have far-reaching effects on our everyday lives\u2014as in the case of the microscopes and the telescope. For whereas these latter instruments make visible things too small or too far away to be within the range of vision, so the stroboscope makes visible to us things too fast for the human eye to see.\u201d Previous owner\u2019s name and date, in dustjacket that is worn, torn, and chipped. $125<\/p>\n

      94. EDGERTON, Harold E. Handbook of High-Speed Photography, West Concord, Massachusetts: General Radio Company, 1963. Softcover, 8 \u00bd x 5 \u00bd inches, 56 pages, halftone illustrations.
      \nAn instructional manual on high-speed photography, with text by William E. O\u2019Neel. He covers the electronic stroboscope, flash delay, photoelectric pickoff, exposure, lighting techniques, and single and multiple-flashes. Edgerton contributed the foreword and most of the photographs, including the cover image of a bubble drop. Light browning to spine and one corner with faint crease. $35<\/p>\n

      95. EDGERTON, Harold E., and James R. Killian, Jr. Moments of Vision: The Stroboscopic Revolution in Photography, Cambridge, Massachusetts: MIT Press, 1979 (second printing). Hardcover (white-stamped black cloth), 9 \u00bd x 11 \u00bd inches, 178 pages, halftone illustrations (some in color), dustjacket. Signed.
      \nThe text, by Killian, provides a biographical sketch of the engineer\/photographer, describes the earliest developments of stroboscopy and the many applications of Edgerton\u2019s techniques, and notes the influence of his photography on modern art. The images picture drops and splashes, bullets, animals, sports, atomic expositions, and underwater and nighttime subjects. This copy inscribed by Edgerton in the year of publication. One corner bumped, in dustjacket that is torn, chipped, and edgeworn. $75<\/p>\n

      96. EDGERTON, Harold E. Seeing the Unseen: Dr. Harold Edgerton and the Wonders of Strobe Alley, Rochester, New York: George Eastman House, 1994. Softcover (spiral bound), 10 \u00bc x 10 \u00bd inches, 88 pages, halftone illustrations.
      \nThe main essay is a biography of Edgerton by Douglas Collins, covering his early years, work during World War II, and extensive time at the Massachusetts Institute of Technology. Edited by Roger Bruce, there are also contributions by James L. Enyeart and Joyce E. Bedi. The book features gatefolds and numerous sidebars, such as one on the Rapatrionic shutter and fellow motion photographer Gjon Mili. Ends with a tear-out postcard of Edgerton\u2019s iconic color image of a bullet piercing an apple and a CD with a selection of additional images.<\/p>\n

      97. FRAPRIE, Frank R. Portrait Lighting by Daylight and Artificial Light, Boston: American Photographic Publishing Company, 1935. Hardcover (gold-stamped red cloth), 9 \u00bd x 6 \u00bc inches, 120 pages, 120 halftone illustrations.
      \nFraprie (American, 1874-1951) was the most influential author\/publisher of American pictorial photography from 1910s to the 1940s, when he wrote many books and countless articles. He edited both the monthly American Photography and the American Annual of Photography, which were widely read in America and Europe. This treatise on portrait lighting includes many bird\u2019s-eye diagrams, showing the placement of the subject, lights, and camera. Minor wear to tips and edges. $25<\/p>\n

      98. FRAPRIE, FRANK R., and Walter E. Woodbury. Photographic Amusements, Including Tricks and Unusual or Novel Effects Obtainable with the Camera, Boston: American Photographic Publishing Company, 1931 (tenth edition). Hardcover (black and gold-stamped red cloth), 9 \u00bc x 6 \u00bc inches, 272 pages, 178 halftone illustrations.
      \nAmong the darkroom antics covered are double exposures, bas-reliefs, fotomontages, creating artificial mirages, photographing electricity and the invisible, and printing on apples, eggs, and fabrics. Images by L\u00e1szlo Moholy-Nagy, Frances Brugui\u00e8re, and other modernists are featured. Covers worn.<\/p>\n

      99. FRAPRIE, FRANK R., and Florence C. O\u2019Connor. Photographic Amusements, Including Tricks and Unusual or Novel Effects Obtainable with the Camera, Boston: American Photographic Publishing Company, 1937 (eleventh edition). Hardcover (orange-stamped black cloth), 11 x 8 \u00be inches, 248 pages, 250 halftone illustrations.
      \nThis revised and enlarged edition, with a new coauthor, is biger in scale and possibly the final edition of this venerable title. Includes hilarious table-top images of grasshoppers smoking, driving, and canoeing. Among the advertising pictures are those of eggs cracking themselves over a bowl and skulls with human eyes. An entertaining and instructive publication. Near fine condition. $25<\/p>\n

      100. GOOD, Raymond A. Fundamentals and Fascinations of Fotography, no place: author, 1970. Softcover (plastic spiral binding), 8 \u00bd x 5 \u00bd inches, 48 pages, line illustrations. Signed.
      \nThis self-published little item was apparently used by Good in teaching a 13-part course in basic photography. Among his topics were composition, portraiture, travelogs, motion pictures, and offset printing. This copy inscribed by Good. Light wear and spots to covers. $10<\/p>\n

      101. HALSMAN, Philippe. Halsman on the Creation of Photographic Ideas, New York: Ziff-Davis, 1961. Hardcover (white-stamped black cloth), 7 \u00bc x 7 \u00bc inches, 96 pages, 32 halftone illustrations, dustjacket.
      \nHalsman\u2019s fifth book, a little instruction manual on making, rather than taking, photographs. He explains his rules of the direct approach, unusual techniques, missing features, compounded features, and the literal method. Then, he outlines ways to stimulate the making of creative photographs; by brainstorming, memory, knowledge, object, the photograph itself, and self-stimulation. At the time of this book, Halsman\u2019s pictures had appeared on the cover of Life magazine 87 times\u2014more than any other photographer. Minor edge wear to the dustjacket. $25<\/p>\n

      102. How to Make Photographs and Descriptive Price List, New York: Scovill & Adams Company, 1889. Softcover, 9 x 6 inches, 124 pages, line illustrations.
      \nDated January 1889, as if it was a magazine, this item begins with seven pages on the basic photographic steps of exposing the film, processing the negative, and making a print. The vast bulk of it comprises descriptions, prices, and promotions of Scovill\u2019s own photographic equipment, from tripods to printing trays. The final pages include advertisements for a few American photographic periodicals. Covers work, torn, and separated. $10<\/p>\n

      103. ICA Camera Company.
      \nManuel de Photographie \u00e0l\u2019Usage des D\u00e9butants, Saint Maur, France: Ica, c. 1900. Softcover, 6 x 4 inches, 32 pages, line illustrations. General instructions, in French, for amateur photographers.
      \nInstruction pour le Maniment de l\u2019Appareil Icarette III, Saint Maur, France: Ica, c. 1900. Softcover, 5 \u00bd x 4 inches, 8 pages, 4 line illustrations. Instruction manual, in French, for the Icarette III, a medium-format camera.
      \nPair: $10<\/p>\n

      104. ILES, George. Flame, Electricity, and the Camera, New York: Doubleday & McClure, 1900. Hardcover (gold, red, and black-stamped green cloth), 9 \u00bc x 6 inches, 398 pages, 115 halftone illustrations (1 in color).
      \nThe subtitle of this exhaustive book sums up its goal to cover \u201cMan\u2019s Progress from the First Kindling of Fire to the Wireless Telegraphs and the Photography of Color.\u201d Iles devotes chapters to such topics as metal, batteries, the telegraph, the telephone, and six on photographic subjects, like the dry plate, color photography, and photographing the sky. The color frontispiece of a butterfly breaks down the four printing plates used to produce a full-color image. George Iles (1852-1942) wrote and edited many books; this one went through twenty-five editions, this being the first. Front hinge slightly cracked and tiny wear to tips. $35<\/p>\n

      105. KRAUS, H. Felix. Use of Photographs in Layout, New York: M. L. R. Publishers, 1945. Softcover, 11 x 8 \u00bd inches, 48 pages, 173 halftone illustrations.
      \nKraus studied at Vienna\u2019s Academy of Arts and Crafts, presented solo shows of his photographs, and wrote on photographic technique for numerous dictionaries and periodicals. Here he addresses the use of photographs in advertising, using examples by others for which he sketches possible layouts. Among the photographers whose pictures he features are Andreas Feininger, Fritz Henle, and Herbert Matter. Perhaps the most illuminating lesson is a four-page spread that shows Lejaren \u00e0 Hiller working on a cover image for Popular Photography, in which Hiller poses as Santa Claus. Covers worn. $25<\/p>\n

      106. LEE, Wellington. Photography, New York: Wellington Lee, 1989. Softcover, 8 \u00bd x 5 \u00be inches, 50 pages, 44 halftone illustrations.
      \nA small but dense handbook on creative photography that begins with tributes by four other photographers, including Chin-San Long of China. Lee describes his methods of photographing figures, children, flowers, mist, and at night. He also covers various control methods, like high-contrast, distortions, texture screen, bas-relief, and his unique Addacolor technique, which turned black-and-white negatives into posterized color images. Near fine condition. $10<\/p>\n

      107. LEICA. Paul Wolff, My First Ten Years with the Leica, New York: Westermann, c. 1945. Hardcover, 11 x 9 \u00bc inches, 262 pages, 10 halftone and 192 screen-gravure illustrations, dustjacket.
      \nDr. Wolff covers the early years of both the Leica 35mm camera and his own use of the new tool. The rich gravures are printed in black, brown, and other tonalities, often bleeding off the page, and he provides technical data about each one (lens, f-stop, filter, exposure, and film). His subjects include landscapes, people, men at work, the seasons, mountains, sporting events, animals, plants, and scientific explorations. Wear to top and bottom of spine, with the dustjacket adhered to the cover. $35<\/p>\n

      108. MEDICAL PHOTOGRAPHY. H. Lou Gibson, The Photography of Patients, Springfield, Illinois: Charles C. Thomas, 1952. Hardcover (gold-stamped black cloth), 8 \u00be x 7 \u00bd inches, 120 pages, 93 halftone illustrations (some in color), dustjacket.
      \nGibson was an associate of the Photographic Society of America and worked in the medical division of Eastman Kodak. Here he covers fundamentals, equipment and studio, making close-ups, lens properties, posing and lighting, and film, paper, and filters. There are a few gruesome pictures of patients, such as the color frontispiece showing a baby with meningocele, with a large growth on the back of its head. Slight foxing to endpapers, in dustjacket with light wear. $35<\/p>\n

      109. MONTGOMERY WARD. Camera and photographic catalogs, Chicago. Softcovers (9 \u00bd x 6 \u00bd inches) and hardcovers (11 x 8 inches), screen-gravure and color halftone illustrations.
      \n1941 Camera Catalog, 36 pages. Includes much more than just cameras\u2014light meters, film,
      \nenlargers, chemicals, paper, books, and film equipment.
      \n1942 Camera Catalog, 36 pages. The cover promotes color photography with a viewer for
      \nKodachrome slides.
      \n1943 Photographic Catalog, 36 pages. Begins with \u201cPhotographic Tips for Wartime
      \nPhotographers.\u201d
      \n1943 Revised Edition. Similar to above catalog.
      \n1944-45 Photographic Catalog, 40 pages. The front cover and last two pages promote albums
      \nfor photographs.
      \n1944-45 Revised Edition. Similar to the above catalog.
      \n1947 Photographic and Optical Goods Catalog, 120 pages. A greatly expanded offering of
      \nitems, including clocks, thermometers, binoculars, and other things.
      \n1948 Photographic Catalog, 124 pages. Among the most entertaining items are nearly two
      \ndozen \u201csmart sun glasses,\u201d in which today one would look very hip.
      \n1950 Photographic Catalog, 104 pages. Features a two-page spread, \u201cPlanning the Home
      \nDarkroom,\u201d and offers complete plans for 50 cents (postpaid).
      \n1951 Photographic Catalog, 104 pages. Solicits customers to write in to the company\u2019s Bob
      \nAdams, for \u201canswers to all your photographic problems.\u201d
      \n1952 Photographic Catalog, 104 pages. The first two pages highlight three \u201cready-to-use
      \ncamera outfits,\u201d priced between $8.95 (for a simple box camera, with flash and case)
      \nto $130 (for an Argus 35mm camera, with slide projector and screen).
      \n1953 Photographic Catalog, 104 pages. Includes the Polaroid Land Camera and touts their
      \neasy payment plan and mail order business.
      \n1955 Photographic Book, 104 pages. Commences with the highest quality miniature cameras
      \nthey offered, among them the Leica M3. Laid into this copy is an unused order form
      \nand envelope.
      \nA great selection of mid-century department store catalogs that offer more than their own brand of equipment, including Kodak, Leica, and Speed Graphic. Wear to the softcovers, and previous owner\u2019s name sometimes appears. Group of 13: $100<\/p>\n

      110. MORTENSEN, William. The Model: A Book on the Problems of Posing, San Francisco: Camera Craft, 1937. Hardcover (gray-stamped black cloth), 8 \u00be x 6 \u00bc inches, 264 pages, 195 halftone illustrations, dustjacket.
      \nA detailed and widely read book that examines various types of models, how to dress and pose them, and such body parts as the head, arms, hands, torso, legs, and feet.
      \nMortensen (American, 1897-1965) was the most widely known American pictorialist during the 1930s and 1940s. He made flamboyant images, wrote many books and articles, and ran a photography school in Laguna Beach, California. Dustjacket chipped, torn, and missing small pieces. $35<\/p>\n

      111. MORTENSEN, William. Projection Control, San Francisco: Camera Craft, 1934. Hardcover (red-stamped brown cloth), 9 \u00be x 7 inches, 96 pages, 51 halftone illustrations, dustjacket.
      \nThis is Mortensen\u2019s first book, expanded from an article in Camera Craft and a pamphlet on the topic. The front of the book declares it a \u201ctreatise on advanced methods of projection printing, which gives increased scope to the creative faculty of the photographic artist.\u201d Among its chapters are those on equipment, negatives, distortion, printing, and texture. Dustjacket chipped, torn, and missing pieces. $25<\/p>\n

      112. MORTENSEN, William. The New Projection Control, San Francisco: Camera Craft, 1942. Hardcover (brown-stamped brown cloth), 9 \u00be x 6 \u00be inches, 124 pages, 88 halftone illustrations, dustjacket.
      \nAccording to the flap, \u201cthis new, expanded and completely revised edition of a time-tested and extremely popular book provides a thorough course of instruction in every detail of these vastly useful techniques. In many ways this volume is more practical and more useful than the first edition, for it places greater emphasis and gives more detailed consideration to the more common everyday applications of Projection Control.\u201d Dustjacket rubbed and torn. $25<\/p>\n

      113. MORTENSEN, William. Pictorial Lighting, San Francisco: Camera Craft, 1937. Hardcover (black-stamped yellow cloth), 9 \u00be x 6 \u00be inches, 116 pages, 41 halftone illustrations, dustjacket.
      \nMortensen\u2019s tract on an array of lighting methods available to pictorialists: basic, contour, semi-silhouette, dynamic, plastic, outdoor, high and low key, and others. Near fine condition in dustjacket that is worn and missing a few pieces. $25<\/p>\n

      114. MORTENSEN, William. Pictorial Lighting, San Francisco: Camera Craft, 1947 (second edition). Hardcover (black-stamped yellow cloth), 9 \u00be x 6 \u00be inches, 222 pages, 161 halftone illustrations, dustjacket.
      \nThis edition is revised and greatly expanded, more than doubling the number of reproductions. It includes three additional sections; Modifications, Light in Use, and Outdoor Lighting. Corners bumped, in worn dustjacket. $35<\/p>\n

      115. MORTENSEN, William. Print Finishing, San Francisco: Camera Craft, 1938. Hardcover (black-stamped orange cloth), 9 \u00be x 7 inches, 128 pages, 89 halftone illustrations, dustjacket.
      \nIn this book, according to the front flap, \u201cWilliam Mortensen, master finisher of pictorial prints, tells you all about his methods.\u201d They include the abrasion tone process, papers, drying, flattening, trimming, cropping, mountings, signatures, titles, and framing. Dustjacket torn and chipped. $25<\/p>\n

      116. MORTENSEN, William. Outdoor Portraiture: Problems of Face and Figure, San Francisco: Camera Craft, 1940. Hardcover (brown-stamped tan cloth), 9 \u00be x 7 inches, 144 pages, 113 halftone illustrations, dustjacket.
      \nMortensen\u2019s thorough assessment of the subject, addressing equipment, handling the camera, general problems, lighting, backgrounds, and arrangement. Dustjacket missing some pieces. $25<\/p>\n

      117. MORTENSEN, William. Mortensen on the Negative, New York: Simon and Schuster, 1940. Hardcover (gold-stamped black cloth), 9 \u00be x 7 \u00bc inches, 284 pages, 171 halftone illustrations, dustjacket.
      \nMortensen\u2019s longest and most exhaustive book, in which he covers equipment, materials, optics, sensitometry, lighting, exposure, and development. He dramatically devotes the book to \u201cthe real photographers of the world\u2014to those who, with their second-hand equipment and their makeshift darkrooms, are today fighting their solitary battles with their recalcitrant medium, not for money or for glory, but because they would rather make pictures than anything else in the world.\u201d Dustjacket worn and missing one inside flap. $35<\/p>\n

      118. PAPER NEGATIVES. Nowell Ward, Picture Making with Paper Negatives, Boston: American Photographic Publishing Co., 1941. Hardcover (gold-stamped blue cloth), 10 \u00bc x 7 \u00bc inches, 88 pages, 16 halftone illustrations, dustjacket.
      \nThis was one of the most popular titles on the subject, originally published in 1938 and going through at least six printings within a decade. Ward provides a thorough examination of the paper negative, perhaps the most widely used control process by pictorialists between the World Wars. Most of the illustrations are by Ward himself and are figure studies. He exhibited in pictorial salons during the late 1930s and taught at the Chicago School of Photography. Near fine condition, in price-clipped dustjacket that is scuffed and missing a few small pieces. $25<\/p>\n

      119. PHOTO ALBUMS. The Ideal Line, Chicago: J. L. Hanson Company, 1936. Softcover (leatherette covers with cord tie), 7 x 4 \u00bd inches, 60 pages, halftone illustrations.
      \nThe Hanson Company\u2019s catalog of albums, binders, and scrapbooks. Among the largest sections is the 15-page one on photo albums. Includes many models, in cloth or leather, and such specialty items as \u201cMy Vacation Days,\u201d \u201cMy Automobile Trip,\u201d and \u201cPictures Tell the Story.\u201d Some of them sport Art-Deco style covers. Small tear and light edgewear to covers. $25<\/p>\n

      120. PHOTOGRAVURE. Colin N. Bennett, Elements of Photogravure: Photo Printing from Copper Plates, London: Technical Press, 1935. Hardcover (black-stamped brown cloth), 7 \u00bd x 5 inches, 152 pages, 36 halftone and 4 screen-gravure illustrations (one in color). Third edition.
      \nThe revised and enlarged edition a text; most of the text originally appeared in the British Journal of Photography. The full subtitle indicates the breadth of its contents and purpose: \u201cScreen photogravure simply explained with full working instructions and an explanatory chapter on modern rotary gravure printing. A book of practical interest to all enthusiastic photographers, printers, and etchers.\u201d The frontispiece is a richly-printed color image of a basket with fruit against a black background. An American edition also appeared and was favorably reviewed by at least two monthly magazines (copies laid in). Light edgewear and previous owner\u2019s label on endpaper. $50<\/p>\n

      121. POLAROID. $10 Polaroid Instant Money, Cambridge, Massachusetts: Polaroid, 1977. Softcover, 3 x 6 inches, 36 pages, unillustrated.
      \nThis is a complete booklet with 16 coupons for discounts on Polaroid products and services. In denominations of 50 cents and $1, they were good towards an SX-70 filmpack, flashbar, SX-70 or Pronto! camera, and Polaroid copy service. Tiny rubbing at spine. $10<\/p>\n

      122. STEADMAN, Frank Morris. Unit Photography, New York: D. Van Nostrand, 1914. Hardcover (gold-stamped brown cloth), 8 \u00bd x 5 \u00bd inches, 162 pages, 12 screen-gravure and 10 line illustrations.
      \nSteadman (1863-?) wrote at least three books, the other two being on home portraiture. In this one he explains his method for measuring light as a means of making the perfect exposure, thus the concept of \u201cunit photography.\u201d He discusses in detail actinometry, sensitimetry, and Hurter and Driffield theories. The uncredited full-page plates are unusually artistic and well-printed for a technical book, depicting mostly landscapes and figure studies in soft focus. Erasure to front free-end paper, with tiny edgewear to cloth. $35<\/p>\n

      123. STEREOGRAPH. E. Colardeau, Trait\u00e9 G\u00e9n\u00e9ral de St\u00e9r\u00e9oscopie, Paris: J. de Francia, 1924. Hardcover (printed paper over boards), 9 \u00be x 6 \u00bd inches, 228 pages, 125 halftone illustrations (some in color).
      \nProfessor Colardeau\u2019s technical treatise on photographic stereos. Most of the reproductions are printed on 2 \u00bd-x-5-inch cards which are inserted into black corners, allowing them to be removed. It is likely that a stereo viewer of some sort accompanied the book. Text in French. Blue cloth added to spine, with title written on it in ink. $50<\/p>\n

      124. STEREOGRAPH. Edward W. Earle, Points of View: The Stereograph in America\u2014A Cultural History, Rochester, New York: Visual Studies Workshop, 1979. Hardcover (gold-stamped brown cloth), 11 \u00be x 8 inches, 120 pages, halftone illustrations (some in color), dustjacket. Ephemera.
      \nA thoughtful study of the subject, with an introduction by V.S.W. director Nathan Lyons. In addition to Earle\u2019s essay, the other contributions are \u201cStereographs: Local, National and International Art Worlds\u201d by Howard S. Becker, \u201cWhite Mountain Stereographs and the Development of a Collective Vision\u201d by Thomas Southall, and \u201cPasteboard Masks, the Stereograph in American Culture, 1865-1910\u201d by Harvey Green. Also includes a 65-page interpretive chronology, with illustrations and key developments. Laid into this copy is both a poster and a prospectus for the book. Usually seen in paperback. Tiny edgewear to bottom of cloth and top of dustjacket. $75<\/p>\n

      125. TABLE-TOP PHOTOGRAPHY. Arthur E. Gleed, The Art of Table-Top Photography, Boston: American Photographic Publishing Company, 1939. Hardcover (brown-stamped cream cloth), 7 \u00bd x 4 \u00be inches, 48 pages, 20 halftone illustrations, dustjacket.
      \nGleed, a Canadian, addresses practical detail, picture building, composition, and photographic details in regards to table-top photography. He emphasizes the fantasy-like quality of images made this way, as the photographer not only creates the image but also the very subject of the pictures (perhaps the original examples of the more recent movement of \u201cFabriciated-to-be-Photographed\u201d pictures). Among the scenes he illustrates are Little Red Riding Hood, a sword duel, a pirate ship, a witch\u2019s outdoor pyre, and a drunk in a tuxedo conversing with a snowman. Tiny edgewear, in dustjacket that is browned, torn, and missing a few small pieces. $25
      \n126. TECHNICAL EPHEMERA.
      \nAmfix, Genochrome, Promicrol, and Now Cobrol, Dagenham, England: May & Baker,
      \nc. 1950s. Pamphlet, 7 x 4 \u00be inches, four panels, halftone illustrations.
      \nBeattie-Coleman Optical Vignette System, Santa Ana, California: Coleman Engineering,
      \nc. 1970s. Card, 9 x 4 inches, halftone illustration, with pink feather taped on.
      \nCobrol, a Highly Concentrated Bromide Paper Developer, Dagenham, England: May & Baker,
      \nc. 1950s. Pamphlet, 7 x 4 \u00be inches, four panels, halftone illustrations.
      \nGuilleminot: Prix Courant, Plaques, Papiers, Films, Pellicules, Produits Photographiques, Paris:
      \nGuilleminot, 1961. Softcover, 8 \u00bc x 5 \u00bc inches, 8 pages, unillustrated.
      \nThe Kodak Vari-Beam Clamplight, Rochester, New York: Eastman Kodak Company, 1948.
      \nSoftcover, 8 \u00bd x 4 \u00be inches, 12 pages, halftone illustrations.
      \n3V Tri-Vision: Now Special Effects Made Easily with Most Cameras, New Rochelle, New York:
      \nDavid & Sanford, c. 1950s. Pamphlet, 6 x 3 \u00bd inches, 4 panels, halftone images.
      \nThe Triumph of Film Photography, Rochester, New York: Eastman Kodak Company, 1907.
      \nSoftcover, 5 \u00bc x 3 \u00bc inches, 16 pages, 3 line illustrations.
      \nGroup of 7: $35<\/p>\n

      COLLECTIONS
      \n127-160<\/p>\n

      127. AVEDON Collection. Eye of the Beholder: Photographs from the Collection of Richard Avedon, San Francisco: Fraenkel Gallery, 2006. Softcovers, 9 x 4 inches, duotones illustrations, slipcase. Ephemera.
      \nThis set was published a few years after Avedon\u2019s death and accompanied an exhibition seen at both the Fraenkel Gallery and Pace\/MacGill in New York. 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 review of the show at Pace\/MacGill, on original newsprint.
      \nI. Diane Arbus. Includes 12 reproductions: Arbus\u2019 only portfolio, \u201cA Box of Ten Photographs,\u201d plus two additional prints by her. Avedon was friends with Arbus and was the first to purchase a copy of the portfolio.
      \nII. The Countess de Castiglione. Features 16 images of one of the most beautiful woman of the 1860s. Made by Pierre-Louis Pierson, they include the famous one of her holding an oval picture mat up to her eye.
      \nIII. Peter Hujar. Comprises 8 portraits by Hujar, part of New York\u2019s artistic underworld during the 1980s.
      \nIV. Irving Penn. Reproduces 18 of Penn\u2019s pieces, most of them from the cigarette butt series, nasty and large-scale. Penn was among Avedon\u2019s few equals in New York as a professional photographer.
      \nV. Etcetera. The largest of these little booklets, with 43 images, across a range of subjects and makers. Includes work by Cameron, Muybridge, Atget, Lartigue, Brassa\u00ef, Sander, Witkin, and others.
      \nNear fine condition, in original box. Set of five: $75<\/p>\n

      128. BIBLIOTHEQUE NATIONALE. After Daguerre: Masterworks of French Photography (1848-1900) from the Biblioth\u00e8que Nationale, New York: Metropolitan Museum of Art, and Bertger-Levrault, Paris, 1980. Hardcover (silver and blind-stamped black cloth), 11 \u00bc x 8 \u00bd inches, 192 pages, 201 duotone illustrations, dustjacket. Signed, with ephemera.
      \nFeatures 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 and the Christian Science Monitor. Additionally, this copy is signed by essayist Naef. Near fine condition, in dustjacket with tiny edgewear. $75<\/p>\n

      129. CANADIAN CENTER for ARCHITECTURE. Richard Pare, Photography and Architecture: 1839-1939, Montreal, Canada: Centre Canadien d\u2019Architecture, 1982. Hardcover (cream cloth with printed labels affixed to front and spine), 10 x 12 \u00bc inches, 284 pages, 148 duotone illustrations, dustjacket.
      \nA major study of world architecture spanning the first century of photography, into the modernist era. Among the structures pictured are the Crystal Palace, London (1851), the Giza Pyramids, Egypt (1858), the Singer and Woolworth Buildings, New York
      \n(1915), and Rockefeller Center, New York (1935). Contributing photographers include Edouard Baldus, Thomas Annan, Eug\u00e8ne Atget, Frederick H. Evans, Alfred Stieglitz, and D. J. Ruzicka. This is an exquisite publication, with plates by Meriden Gravure (some gatefolds) and the text in letterpress. Mint condition, in shrink wrap and original shipping box. $125<\/p>\n

      130. CHICAGO. David Travis, Photography in Chicago Collections, Art Institute of Chicago, 1982. Softcover, 12 x 9 inches, 48 pages, 23 halftone illustrations. Signed.
      \nThe catalog\u2019s subtitle is \u201cSelected to illustrate the history of the art of photography and to inaugurate the new galleries and facilities of the Department of Photography.\u201d It drew from five institutional collections but also nearly two dozen important private ones, such as Arnold H. Crane, Reva and David Logan, and Mr. and Mrs. David C. Ruttenberg. Includes reproductions by Chuck Close, Franz Roh, Charles Sheeler, Alfred Stieglitz, Frederick Scott Archer, Edouard Baldus, and others. This copy signed by curator David Travis. Near fine condition. $25<\/p>\n

      131. COLLECTION of COLLECTION Catalogs.
      \nPhotographs from the Coke Collection, Davis: University of California Memorial Union, 1974.
      \nSoftcover, 9 \u00bd x 8 \u00bd inches, 24 pages, 27 halftone illustrations.
      \nPhotographie Francaise, 1840-1940: Collection Bibliot\u00e8que Nationale, Paris. Camera, February
      \n1974, softcover, 11 \u00bd x 8 \u00be inches, 56 pages, 32 screen-gravure illustrations.
      \n19th Century Photographs from the Collection, Albuquerque: University of New Mexico Art
      \nMuseum, 1976. Softcover, 11 x 8 \u00bd inches, 28 pages, halftone illustrations.
      \nSpecial Report, Tucson: University of Arizona, Center for Creative Photography, 1976.
      \nSoftcover, 11 x 8 \u00bd inches, 72 pages, halftone illustrations.
      \nCatalog of the U.C.L.A. Collection of Contemporary American Photographs, Los Angeles:
      \nFrederick Wight Art Gallery, University of California, 1976. Softcover, 11 x 8 \u00bd
      \ninches, 72 pages, 28 halftones.
      \nThe Target Collection of American Photography, Houston: Museum of Fine Arts, 1977.
      \nSoftcover, 8 x 8 inches, 64 pages, halftone illustrations.
      \nPhotographs, Photographically Illustrated Books and Albums in the UNM Libraries: 1843-1933,
      \nAlbuquerque: University of New Mexico Art Museum, 1977. Softcover, 14 pages,
      \nhalftone illustrations.
      \nAcquisitions: 1975-1977, Tucson: University of Arizona, Center for Creative Photography,
      \n1978. Softcover, 11 x 8 \u00bd inches, 32 pages, unillustrated.
      \nPhotographs from the Minneapolis Institute of Arts Permanent Collection, St. Paul, Minnesota:
      \nCollege of St. Catherine, 1979. Softcover, 9 \u00bd x 6 \u00bc inches, 8 pages, 1 halftone illustration.
      \nPhotographs: 1900-1950, From the Collection of the Minneapolis Institute of Arts, Tempe,
      \nArizona: Arizona State University Northlight Gallery, 1979. Softcover, 11 x 8 \u00bd
      \ninches, 56 pages, 7 halftone illustrations.
      \nThe Robert Marks Collection of Photographs, Charleston, South Carolina: Gibbes Art Gallery,
      \n1979. Softcover, 6 x 9 inches, 24 pages, 15 halftone illustrations.
      \nAmerican Photographs, 1970-1980: The Washington Art Consortium, Seattle: Washington Art
      \nConsortium, 1980. Softcover, 10 \u00bd x 8 \u00bd inches, 80 pages, 126 halftone images.
      \nCatalog of Twentieth Century Photographs, Albuquerque: University of New Mexico Art
      \nMuseum, 1980. Softcover, 8 \u00bd x 10 \u00bc inches, 58 pages, 70 halftone illustrations.
      \nTransfixed by Light: Photographs from the Menil Foundation Collection: Selected by Beaumont
      \nNewhall, Houston: Rice University Institute for the Arts, 1981. Softcover, 10 x 8
      \ninches, 48 pages, 23 halftone illustrations.
      \nAcquisitions, 1973-1980, Rochester, New York: George Eastman House, 1981. Softcover,
      \n10 \u00bc x 8 \u00bd inches, unpaginated, halftone illustrations (some in color).
      \nPhotographs from the Collection of Floyd and Josephine Segel, Milwaukee Art Museum, 1982.
      \nSoftcover, 11 x 8 \u00bd inches, 36 pages, 18 halftone illustrations.
      \nAcquisitions 1981, Riverside: California Museum of Photography, 1982. Softcover, 10 x
      \n8 \u00bd inches, 16 pages, halftone illustrations.
      \nMasterpieces of Photography from Wesleyan and Private Collections, Middletown, Connecticut:
      \nWesleyan University, Davison Art Center, 1982. Softcover, 10 x 7 inches, 32 pages, 17 halftone illustrations.
      \nSelections from the Strauss Photography Collection, Denver Art Museum, 1982. Softcover, 10 x
      \n8 inches, 40 pages, halftone illustrations.
      \nCaroline Sturgis Tappan & the Grand Tour: A Collection of Nineteenth-Century Photographs,
      \nLenox, Massachusetts: Lenox Library Association, 1982. Softcover, 11 12\/ x 9
      \ninches, 78 pages, halftone illustrations.
      \nSubjective Vision: The Lucinda W. Bunnen Collection of Photographs, Atlanta: High Museum of
      \nArt, 1983. Softcover, 11 x 8 \u00bd inches, 64 pages, halftone illustrations.
      \nPhoto Collecting at Vassar: 100 Years + 10, Poughkeepsie, New York: Vassar College
      \nArt Gallery, 1983. Softcover, 8 x 8 inches, 64 pages, halftone illustrations.
      \nNational Photography Collection Annual Report, 1982\/1983, Ottawa, Canada: Public Archives,
      \n1984. Softcover, 9 \u00be x 6 \u00bd inches, 20 pages, 5 halftone illustrations.
      \n101 Photographs: Selections from the Arthur and Yolanda Steinman Collection, Santa Barbara
      \nMuseum of Art, 1984. Softcover, 11 x 8 \u00bd inches, 12 pages, 6 halftone images.
      \nThe Lay of the Land: 20th Century Landscape Photographs from the Hallmark Photographic
      \nCollection, Kansas City, Missouri: Hallmark Cards, 1984. Softcover, 8 \u00bd x 11 inches,
      \n12 pages, 16 halftone illustrations.
      \nCityscapes: 20th Century Urban Images from the Hallmark Photographic Collection, Kansas City,
      \nMissouri: Hallmark Cards, 1984. Softcover, 8 pages, 10 halftone illustrations.
      \nCincinnati Collects Photographs, Cincinnati Art Museum, 1985. Softcover, 10 x 7 \u00bd inches,
      \n24 pages, 16 halftone illustrations.
      \nThe Power of Light: Daguerreotypes from the Robert Harshorn Shimshak Collection, Fine Arts
      \nMuseums of San Francisco, 1986. Softcover, 9 x 6 inches, 48 pages, 29 duotone
      \nillustrations.
      \n1988 Acquisitions: The Hallmark Photographic Collection, Kansas City, Missouri: Hallmark
      \nCards, 1988. Softcover, 11 x 8 \u00bd inches, 12 pages, 18 halftone illustrations.
      \nPhotography in the Museum Collection, Houston: Museum of Fine Arts, 1988. Softcover, 11 x
      \n8 \u00bd inches, 64 pages, 67 duotone illustrations.
      \nGuide to Collections, Riverside: California Museum of Photography, 1989. Softcover, 9 \u00be x
      \n8 \u00bd inches, 64 pages, halftone illustrations (some in color).
      \nGuide to the Photographic Collections at the Historic New Orleans Collection, Historic New
      \nOrleans Collection, 1989. Softcover, 8 \u00bd x 5 \u00bd inches, 24 pages, 22 halftone
      \nillustrations.
      \nInside Out: 50 Years of Collecting, Rochester, New York: George Eastman House, 2000.
      \nSoftcover, 8 x 8 inches, 32 pages, halftone illustrations (some in color).
      \nCrossing America: Photographs from the Consolidated Freightways Collection, Part I, New York:
      \nChristie\u2019s, 2011. Softcover, 10 \u00bd x 8 \u00bc inches, 78 pages, 130 halftone illustrations.
      \nSubstantial group of 34 catalogs: $250<\/p>\n

      132. DETROIT. Photographs from Detroit Collections, Detroit Institute of Arts, 1983. Softcover, 12 x 9 inches, 38 pages, 18 halftone illustrations.
      \nCatalog for an accompanying exhibition that inaugurated the museum\u2019s first gallery devoted to photographs. Both individual and institutional collections were drawn upon, and the cover features a flower study by Tina Modotti, from the D.I.A. itself. Essay by Ellen Sharp, the museum\u2019s curator of graphic arts, the department that includes photographs. Minor cover wear. $25<\/p>\n

      133. DRAKE Collection. Christian A. Peterson, The Poetics of Vision: Photographs from the Collection of Harry M. Drake, Minneapolis Institute of Arts, 1997. Hardcover (black and blind-stamped green cloth), 10 \u00bc x 10 \u00bc inches, 80 pages, 35 duotone and 2 color halftone illustrations, dustjacket. Signed, with ephemera.
      \nIncludes a statement by the collector and a short essay by curator Peterson. The full-page reproductions are accompanied by commentary on the images and their makers, including such famous figures as Paul Caponigro, Paul Strand, and Minor White (whose work represented about half of the collection\u2014over 100 photographs). But lesser-knowns also appear, such as Paul Funk Angelo, Elio Ciol, Christopher Faust, and David Teplica. Printed in an edition of only 500 copies. Laid into this copy is Drake\u2019s business card, an invitation to the accompanying exhibition, and Drake\u2019s 2012 obituary. This copy boldly signed by the collector. Near fine condition. $35<\/p>\n

      134. EASTMAN HOUSE. Robert A. Sobieszek, Masterpieces of Photography from the George Eastman House Collections, New York: Abbeville Press, 1985. Hardcover (gold and blind-stamped maroon cloth), 13 \u00bc x 11 \u00bc inches, 466 pages, 200 duotone and color illustrations, dustjacket. Ephemera.
      \nHighlights from the oldest ongoing museum dedicated to the art, history, and science of photography, founded by the 1947 will of Kodak inventor George Eastman and located in Rochester, New York. Curator Sobieszek discusses each photograph in a broad context, relating them to social, cultural, and aesthetic forces. They have been grouped into four episodic time frames, each roughly coincident with distinctive periods. They are: The First Generation and the Beginning of a Medium, 1938-1855; Imperial Visions and Literary Tastes, 1855-1880; Symbolism, Formalism, and the Problems of Style, 1880-1940; and Dynamics of Pluralism: Matters of the Heart and Eye, 1940-1980. Features work by Diane Arbus, Hans Belmer, Julia Margaret Cameron, Edward Curtis, F. Holland Day, Lee Friedlander, Cindy Sherman, Joel Peter-Witkin, and nearly two hundred others. This is an oversize, weighty volume. Laid into this copy is Sobieszek\u2019s G.E.H. business card. Near fine condition, except for lightly sunned dustjacket (as is normal). $150<\/p>\n

      135. HAWAII. Van Deren Coke, Twentieth-Century Photographs from Hawaii Collections, Honolulu Academy of Arts, 1984. Softcover, 96 pages, duotone illustrations.
      \nCatalog for exhibition drawn from the Honolulu Academy of Arts and about fifteen private collectors. Features the essays \u201cTwentieth-Century Creative Photography\u201d by Coke and \u201cPhotography and Thought\u201d by Frank Tillman. The cover reproduces Lotte Jacobi\u2019s 1929 \u201cHead of a Dancer.\u201d Near fine condition. $25<\/p>\n

      136. ISENBERG Collection. American Daguerreotypes from the Matthew R. Isenburg Collection, New Haven, Connecticut: Yale University Art Museum, 1989. Hardcover (gold-stamped maroon cloth), 11 x 8 \u00be inches, 130 pages, duotone and color illustrations, dustjacket.
      \nThis is a nicely designed and printed book, highlighting an important collection of daguerreotypes. It features portraits and images of the California gold rush and other fabulous outdoor scenes, like Niagara Falls and the federal capitol building in 1846. Among the makers are John Plumbe, Jr., Platt D. Babbitt, Robert H. Vance, and Jeremiah Gurney. The collector provides the essay \u201cThe Wonder of the American Daguerreotype\u201d and professor Alan Trachtenberg \u201cThe Daguerreotype: American Icon.\u201d Previous owner\u2019s name, near fine condition, in opened shrink wrap. $100<\/p>\n

      137. JAMMES Collection. Andr\u00e9 and Marie-Th\u00e9r\u00e8se Jammes, Niepce to Atget: The First Century of Photography from the Collection of Andr\u00e9 Jammes, Art Institute of Chicago, 1977. Softcover, 11 x 12 inches, 116 pages, halftone illustrations (some in color), dustjacket. Signed.
      \nOversize exhibition catalog covering an important private collection of nineteenth-century photographs. Introduction by Chicago curator David Travis and text by the Jammeses on collecting and various aspects of their holdings. Features illustrations by Hippolyte Bayard, Charles Marville, Roger Fenton, Gustave Le Gray, Charles N\u00e8gre, and other early masters. This copy signed by Travis. Near fine condition. $125<\/p>\n

      138. JUHL Collection. KUNSTPHOTOGRAPHIE um 1900: Die Sammlung Ernst Juhl. Hamburg, Germany: Museum f\u00fcr Kunst und Gewerb, 1989. Softcover, 12 \u00bd x 9 \u00bd inches, 310 pages, halftone illustrations.
      \nThis massive catalog documents the 933 pictorial photographs collected by German art critic Ernst Juhl (1850-1915), now one of Europe\u2019s most important holdings on the subject. It includes many small reproductions plus about 100 full-page plates, printed in the original tones of black, brown, green, blue, and orange. Six essays examine various aspects of the collection and the international movement of pictorial photography. Among those with numerous illustrations are Rudolph D\u00fchrkoop, Hugo Erfurth, Heinrich K\u00fchn, and the Hofmesiter brothers. Includes a chronology of exhibitions of creative photographs in Hamburg (1893-1911) along with an index to the photographers who showed. This is a significant publication. Text in German. Bottom of spine bumped. $100<\/p>\n

      139. KINSEY INSTITUTE. Peek: Photographs from the Kinsey Institute, Santa Fe, New Mexico: Arena Editions, 2000. Hardcover (purple-stamped green cloth),
      \n11 \u00bc x 9 \u00bc inches, 188 pages, 125 color and duotone illustrations, dustjacket.
      \nThis is a truly wide-ranging group of sexual and erotic images, the first published from the vast holdings of the institute at Indiana University, founded by the sex researcher Alfred C. Kinsey. They cover intercourse, oral sex, bondage, gay, and other proclivities. While most are by unknown photographers, George Platt Lynes and Wilhelm von Gloeden also contribute. Features scholarly essays by critic Carol Squires, curator Jennifer Pearson Yamashiro, and professors Betsy Stirratt and Jeffrey A. Wolin. There is something for everyone here, though it represents less than one percent of the institute\u2019s holdings. Near fine condition, in dustjacket with a few tiny wrinkles. $50<\/p>\n

      140. LaSALLE NATIONAL BANK. Photographs from the Collection of LaSalle National Bank, Chicago: LaSalle National Bank, 1995. Hardcover (silver-stamped black cloth), 12 \u00bc x 9 \u00bd inches, 188 pages, 85 halftone illustrations (some in color), dustjacket.
      \nThis bank collection commenced in 1969, when Beaumont and Nancy Newhall were commissioned to make the first acquisitions, numbering about 250. At the time of this publication, in 1995, over 350 different photographers were represented. Included in this book are reproductions and comments on the work of such masters as Arbus, Becher, Cameron, Evans, Frank, Hosoe, Kert\u00e9sz, Mapplethorpe, Muybridge, Outerbridge, Sander, Talbot, and Weston. Near fine condition. $50<\/p>\n

      141. LIBRARY of CONGRESS. Paul Vanderbilt, Guide to the Special Collections of Prints & Photographs in the Library of Congress, Washington, D. C.: Library of Congress, 1955. Softcover, 10 \u00bc x 7 \u00be inches, 200 pages, unillustrated.
      \nThis guide comprises entries for over 800 discrete collections held by the library. Most include general and specific descriptions of their contents, with biographical information on the maker. Among the notable ones are Civil War photographs by Mathew Brady, 46 by Alfred Stieglitz, 200 by Doris Ulmann, and 75 by women pictorialists collected by Francis Benjamin Johnston. $25<\/p>\n

      142. LIBRARY of CONGRESS. A Century of Photographs, 1846-1946: Selected from the Collections of the Library of Congress, Washington, D.C.: Library of Congress, 1980. Hardcover (black-stamped tan cloth), 9 \u00bd x 11 \u00bd inches, 210 pages, halftone illustrations, dustjacket.
      \nCompiled by Reneta V. Shaw into four sections: The Pioneers, Creative Photography, Documentary Photography Abroad, and Documentary Photography in the United States. Features short texts by nine photographic experts connected to the Library of Congress, among them Alan Fern, Jerald C. Maddox, and Paul Vanderbilt. Near fine condition, except for previous owner\u2019s bookplate and tiny edgewear to dustjacket. $35<\/p>\n

      143. MILLER-PLUMMER Collection.
      \nParticulars: Selections from the Miller-Plummer Collection of Photography, Rochester, New York: International Museum of Photography at George Eastman House, 1983. Softcover, 11 x 8 \u00bd inches, 60 pages, halftone illustrations. Catalog for exhibition drawn from the collection of Harvey Shipley Miller and Randall Plummer, who began in 1973, with a purchase of a portrait of Sir John Herschel by Julia Margaret Cameron. Divided into twenty sections, such as \u201cThe Formal Likeness,\u201d \u201cArcadian Sentiments,\u201d and \u201cA Non-Optical Vision.\u201d Includes an introduction by curator Robert A. Sobeiszek. Near fine condition.
      \nThe Miller-Plummer Collection, New York: Christie\u2019s, 2009. Softcover, 10 \u00bd x 8 \u00bc inches, 120 pages, halftone illustrations. Auction catalog for 117 lots, including a daguerreotype of a sleeping (or dead) child by Marcus Root, Alexander Gardner\u2019s two-volume Photographic Sketchbook of the Civil War, a complete set of Camera Work, photograms by L\u00e1szl\u00f3 Moholy-Nagy, a composite by Ray Metzker, and a self-portrait Polaroid by Robert Mapplethorpe. Near fine condition.
      \nThe pair: $35<\/p>\n

      144. MINNEAPOLIS INSTITUTE of ARTS. Carroll T. Hartwell, The Making of a Collection: Photographs from the Collection of the Minneapolis Institute of Arts, Minneapolis Institute of Arts, 1984. Hardcover (gray-stamped white cloth), 11 \u00bd x 9 \u00bd inches, 152 pages, duotone and color illustrations, dustjacket.
      \nHartwell, the founding curators of one of the few art museums to collect photographs starting in the 1960s, tells the story of his acquisitions by gift and purchase. He commenced the collection in 1964, when he purchased s complete run of Camera Work. Many locally based photographers of national note became represented in the collection, among them Tom Arndt, Frank Gohlke, Gary Hallman, James Henkel, Stuart Klipper., and JoAnn Verburg. Photographers represented by more than one reproduction include Lewis Hine, Walker Evans, Richard Avedon, and Lee Friedlander. Usually seen in softcover. Near fine condition, in dustjacket with sunned spine. $35<\/p>\n

      145. MINNEAPOLIS INSTITUTE of ARTS. Christian A. Peterson, Masterpiece Photographs from the Minneapolis Institute of Arts: The Curatorial Legacy of Carroll T. Hartwell, Minneapolis Institute of Arts, 2008. Hardcover (silver-stamped tan cloth), 12 \u00bc x 9 \u00bc inches, 124 pages, 50 halftone illustrations (some in color), dustjacket.
      \nPeterson, who worked with Hartwell for over twenty-five years, examines the curator\u2019s acquisitions and exhibitions, including Richard Avedon\u2019s important 1970 solo show. He discusses what he considered the fifty most salient and fully realized photographs in the museum\u2019s permanent collection. They range from a salt print by inventor William Henry Fox Talbot to one by Minnesota\u2019s own Alec Soth (who happened to work in the museum\u2019s darkroom before his stardom). Among the lesser-known inclusions are Henry Bosse, Jaromir Funke, Consuelo Kanaga, and Val Telberg. Mint condition, in shrink wrap. $35<\/p>\n

      146. NASH Collection.
      \nThe Graham Nash Collection, Los Angeles: Nash Press, 1978. Softcover, 8 \u00bd x 11 inches, 72 pages, 160 halftone illustrations. Signed. Musician Graham Nash introduces his first exhibition catalog with the following short statement: \u201cThe essence of a fine photograph is found in its power to move. By seeing this exhibition, I hope the viewer will experience the pleasure of looking and feel the sense of recognition that continues to move me.\u201d Features 40 full-page plates, a checklist, and a conversation with Graham Howe. This copy signed and numbered (237\/500) by Nash. Near fine condition.
      \nPhotographs from the Collection of Graham Nash, New York: Sotheby\u2019s, 1990. Hardcover (black cloth), 11 x 8 \u00bd inches, unpaginated, 460 halftone illustrations (some in color), dustjacket. Signed. Auction catalog for 460 lots from Nash\u2019s collection. Features nineteenth and twentieth-century photographers, from Berenice Abbott to Piet Zwart. Paul Outerbridge\u2019s self-portrait (in mask and top hat, reproduced on the cover) brought the most, at $99,000. Laid in is an announcement and list of prices realized. This copy signed and numbered (276\/500) by Nash. Dustjacket with light wrinkling at top.
      \nPair: $150<\/p>\n

      147. NATIONAL FILM BOARD. Contemporary Canadian Photography from the Collection of the National Film Board, Edmonton, Alberta: Hurtig, 1984. Hardcover, 11 \u00be x 10 inches 176 pages, 127 halftone illustrations (some in color), dustjacket.
      \nThe photographs are from 1950 to the mid-1980s, including work by Yousuf Karsh, Robert Frank, Evergon, and others. Essays provided by Hugh MacLennas and Martha Langford, bilingually in French and English. Mint condition, in shrink wrap. $50<\/p>\n

      148. NAYLOR Collection. The Naylor Collection: The Complete History of Photography, Arlington, Massachusetts: Naylor Collection, 2005. Softcover, 16 \u00bd x 11 \u00be inches, 40 pages, 205 halftone illustrations (most in color), compact disc, original wood slipcase. Signed, with ephemera.
      \nThis elaborate item surveys Thurman F. (Jack) Naylor\u2019s collection of more than 30,000 photographically related objects. Among the highlights are artifacts from the medium\u2019s pre-history, daguerreotypes, espionage equipment, Kodaks, Leicas, Polaroid cameras, and a vast library of books and periodicals. Portraits of famous photographers (like Ansel Adams) are included, as are original prints by Margaret Bourke-White, Edward S. Curtis, and Harold Edgerton. This oversize publication sports a thick metal spine (with screw posts), one mirror-like reflective page, a metal sheet as the rear cover, and the hand-crafted wooden slipcase. Laid in is a clipping from the Wall Street Journal (on original newsprint) that indicates that Naylor was asking $20 million for the collection. Undoubtedly produced in a very small number, all of which were signed \u201cJack\u201d on the introductory page. In the original shipping carton. Fine condition. $250<\/p>\n

      149. NEW ORLEANS Museum of Art. Diverse Images: Photographs from the New Orleans Museum of Art, Garden City, New York: American Photographic Book Publishing Company, 1979. Softcover, 11 x 8 \u00bd inches, 128 pages, 96 halftone illustrations.
      \nA catalog of photographs in the museum\u2019s permanent collection, arranged alphabetically by photographer, along with group portfolios. Includes reproductions by Nadar, Timothy H. O\u2019Sullivan, Frederick H. Evans, Man Ray, Margaret Bourke-White, Ilse Bing, Paul Outerbridge, Edward S. Curtis, and others. Introduction by curator Tina Freeman. Near fine condition. $25<\/p>\n

      150. QUILLAN Collection. The Quillan Collection of Nineteenth and Twentieth Century Photographs, New York: Sotheby\u2019s, 2008. Softcover, 11 \u00be x 9 inches, 172 pages, 69 full-color halftones, dustjacket.
      \nCatalog for auction of 69 lots, the entire collection of the Quillan Company, built over twenty years by photography expert Jill Quasha (notice the repetition of \u201cQ\u201d). The only criteria was outstanding aesthetics and they largely succeeded. It comprised mostly nineteenth century and modernist master photographers, like Cameron, Marville, N\u00e9gre, Watkins, Bellmer, Brugui\u00e8re, Drtikol, and Mohoy-Nagy. Includes an interview with Quasha by Sotheby\u2019s Denise Bethel. A few bumped corners and spine, in clear dustjacket that is wrinkled and torn. $25<\/p>\n

      151. RUBEL Collection. Masterworks of Photography from the Rubel Collection, Sacramento, California: Crocker Art Museum, 1982. Softcover, 12 x 12 inches, unpaginated, 52 full-color illustrations.
      \nEditor Sean H. Thackrey notes that \u201cThe Rubel collection has been formed with the intent that each photograph it contains should directly touch the spirit, and should reward prolonged meditation. It purpose is contemplative; and it has a theme, it concerns the nature of photography itself\u2014the human qualities and implication of photographic images.\u201d The reproductions feature mostly nineteenth-century workers, such as Hill and Adamson, Talbot, Cameron, Salzmann, Teynard, and Atget. Minor cover wear. $25<\/p>\n

      152. SEGEL Collection. Of People and Places: The Floyd and Josephine Segel Collection of Photography, Milwaukee Art Museum, 1987. Softcover, 12 \u00bc x 9 inches, 272 pages, halftone illustrations.
      \nA heavily illustrated catalog of the work of 83 photographers, arranged alphabetically. Those with extra reproductions include Atget, Bellocq, Cartier-Bresson, Fink, Halsman, Koudelka, Model, Papageorge, Stieglitz, and Tice. Introduction by curator Verna Posever Curtis. The Segels donated to the museum their collection of nearly 350 photographs of human interest in toto. Tiny edge marks. $35<\/p>\n

      153. SHELDON MEMORIAL Art Gallery. Photographs: Sheldon Memorial Art Gallery Collections, University of Nebraska-Lincoln, Lincoln, Nebraska: Sheldon Memorial Art Gallery, 1977. Softcover, 8 \u00bd x 10 \u00bc inches, 212 pages, 100 screen-gravure and 895 halftone illustrations.
      \nThis seemingly unlikely museum (a 1963 Philip Johnson building) began acquiring photographs in 1943, when it obtained prints by Berenice Abbott and Edward Weston through the Work Projects Administration. Director Norman A. Geske writes about the collection and its history. Features a Weston on the cover and an ambitious catalog of nearly 900 photographs, all of them reproduced in thumb-nail size. Faint rubbing to covers. $25<\/p>\n

      154. SIMON Museum. Gloria William Sander, The Collectible Moment: Catalogue of Photographs in the Norton Simon Museum, Pasadena, California: Norton Simon Museum, 2006. Hardcover (white-stamped blue cloth), 11 \u00be x 10 inches, 344 pages, duotone and color illustrations, dustjacket. Signed, with ephemera.
      \nThis substantial publication reproduces all 526 photographs in the museum\u2019s collection. It began in 1969 (as the Pasadena Art Museum), under curator Fred R. Parker, when few art museums were paying attention to the creative possibilities of photography. Parker emphasized contemporary West-Coast photographers who used the medium inter-disciplinarily. But he also acquired work by major figures like Manuel Alvarez Bravo, Imogen Cunningham, Frederick Sommer, and Edward Weston. Includes two essays on the collection, along with remembrances by Peter C. Bunnell, Robert Sobieszek, Parker, and others. Laid into this copy is the press release, two announcements for the accompanying show, and Parker\u2019s current business card. Also, this copy signed by the author, Parker, and 11 of the photographers, among them Judy Dater, Robert Fichter, Victor Landweber, and Leland Rice. Near fine condition. $250<\/p>\n

      155. STIEGLITZ Collection. Weston J. Naef, The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography, New York: Metropolitan Museum of Art, and Viking Press, 1978. Hardcover (gold-stamped brown cloth), 10 \u00bd x 9 inches, 530 pages, halftone illustrations, dustjacket. Signed.
      \nThis is the massive catalog of the Met\u2019s Stieglitz collection of 580 photographs by other pictorialists, many of them reproduced. Includes Naef\u2019s in-depth essay on the pictorial movement, detailed information about the photographers in the collection and their pieces, and an extensive bibliography. Still a major reference book. This copy signed by Naef. Near fine condition. $50<\/p>\n

      156. TORONTO. Maia-Mari Sutnik, Responding to Photography: Selected Work from Private Toronto Collections, Toronto: Art Gallery of Ontario, 1984. Softcover,
      \n11 \u00be x 8 \u00bc inches, 96 pages, halftone illustrations (some in color).
      \nAccompanied an exhibition of over 150 photographs at the museum, with the essay \u201cA Republic of Images\u201d by Geoffrey James. Along with international workers, includes pictures by Canadian photographers such as William Notman, Ralph Greenhill, Lynne Cohen, Michel Lambeth, and Michael Snow. Cover lightly rubbed. $25<\/p>\n

      157. UNIVERSITY of CALIFORNIA. Sheryl Conkelton, University of California: Directory of Photographic Collections, Riverside: California Museum of Photography, c. 1985. Softcover, 11 x 8 \u00bd inches, unpaginated, unillustrated.
      \nThis first such survey of the California system covered all nine campuses: Berkeley, Davis, Irvine, Los Angeles, Riverside, San Diego, San Francisco, Santa Barbara, and Santa Cruz. It was designed to introduce scholars from all fields to the research possibilities of the collections listed, and thus included all types of holdings, including academic and administrative, research documentation, study collections, and both highly specialized and general interest collections. Ninety-six distinct collections are covered by the following information: collection title and location, supervisor, hours, description, contents, subject matter, access, publications, and loans. A random sampling of participating facilities include the San Joaquin Freshwater Marsh Reserve, Center for United States\/Mexican Studies, Human Interaction Laboratory, and Museum of Cultural History. Includes indexes by subject and photographer. Near fine condition. $25<\/p>\n

      158. WAGSTAFF Collection. A Book of Photographs from the Wagstaff Collection, New York: Gray Press, 1978. Hardcover (blind-stamped brown cloth), 11 \u00bd x
      \n11 \u00bd inches, 144 pages, screen-gravure illustrations, dustjacket. Ephemera.
      \nThis is one of the outstanding books on a personal collection. Wagstaff, a former curator and the companion of Robert Mapplethorpe, possessed a serious and quirky eye. While the cover features an elegant still life by Mapplethorpe, many of the images inside are by little-known individuals, such as Bill Arnold, Herbert W. Gleason, the Gray Brothers, G\u00e9rald Incandela, and Mole & Thomas. The lack of an essay demonstrates Wagstaff\u2019s commitment to the pictures themselves. Laid in is 16-page pamphlet with a checklist of the accompanying exhibition at Washington\u2019s Corcoran Gallery of Art, organized by Jane Livingston. This book is rare in hardcover. Near fine condition. $350<\/p>\n

      159. WALTER Collection. A Personal View: Photography in the Collection of Paul F. Walter, New York: Museum of Modern Art, 1985. Hardcover (gold-stamped brown cloth), 11 x 9 \u00bd inches, 136 pages, 84 screen-gravure illustrations, dustjacket.
      \nFeatures work by nineteenth-century photographers like Roger Fenton and Eadweard Muybridge, pictorialists L\u00e9onard Misonne and D. J. Ruzicka, and twentieth-century masters Paul Strand and Josef Sudek. Curator John Pultz puts Walter\u2019s holdings into perspective by contributing the essay \u201cCollectors of Photography.\u201d Near fine condition, in dustjacket that has a small gouge and is sunned (as is normal). $35<\/p>\n

      160. WEINSTEIN Collection.
      \nMartin Weinstein\u2019s Gifts to the Photography Collection, Minneapolis Institute of Arts, 1992. Softcover, 11 x 8 \u00bd inches, 28 pages, 20 halftone illustrations. Signed. Catalog for a show at the museum, with an essay by curator Carroll T. Hartwell on Martin Weinstein\u2019s collecting proclivities. Weinstein was a long-term Minneapolis attorney and museum trustee and now runs a prominent art gallery in town. Among the standout images reproduced are Todd Webb\u2019s \u201cAvenue of the Americas, New York\u201d and Robert Doisneau\u2019s \u201cMarriage Portrait,\u201d shot from behind the official photographer both with and without the subjects (a diptych cleverly presented on the front and back covers). This copy signed by both Hartwell and Weinstein. Near fine condition.
      \n31 Years: Gifts from Martin Weinstein, Minneapolis Institute of Arts, 2013. Softcover, 10 x 8 inches, 126 pages, halftone illustrations (some in color). Signed. This more substantial catalog accompanied another exhibition highlighting Weinstein\u2019s donations to the museum. The cover features Arthur Siegel\u2019s \u201cRight of Assembly\u201d and the color images are by Alec Soth, Zolt\u00e1n J\u00f3kay, Ragubir Singh, and Robert Polidori. Includes an essay by curator David E. Little, plus two conversations, with Little and photographer Alec Soth. This copy signed by Weinstein. Fine condition.
      \nPair: $50<\/p>\n

       <\/p>\n

      Catalog 8 \u2014\u00a0September 2014<\/p>\n","protected":false},"excerpt":{"rendered":"

      This catalog brings together three somewhat related groups of photographic books. The first section, of reference books, includes histories, indexes, anthologies, and other titles that one is not likely to read cover to cover. Rather, these publications tend to be pulled off the shelf when one is searching for reliable information about an individual, movement, […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"_links":{"self":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/98"}],"collection":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/comments?post=98"}],"version-history":[{"count":1,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/98\/revisions"}],"predecessor-version":[{"id":677,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/98\/revisions\/677"}],"wp:attachment":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/media?parent=98"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}