Evaluation du vendeur
Edité par Paris, Gide & J. Baudry, 1852., 1852
Membre d'association : ILAB
Folio (447 × 315 mm). 125 mounted original salt-prints, letterpress captions to mounting leaves and tissue-guards, 3 small engravings to the introductory text, double-page engraved plan of Karnak, single-page plans of Medinet-Habu and the island of Philae. Recent half brown cloth, marbled boards, original spine, brown hard-grained morocco laid down, title gilt direct, low flat bands with dotted roll gilt, double fillet panels to the compartments, new endpapers, original marbled free endpapers retained. Extremely rare first edition complete, illustrated with 125 salt prints from wet paper negatives (Blanquart-Evrard process) mounted one to a page. Maxime Du Camp s monumental survey, "Égypte, Nubie, Palestine et Syrie", was the first of its kind, the first travel album to be completely illustrated with photographs of archaeological monuments. - A young man of independent means, Du Camp learnt the craft of photography from Le Gray in 1849 in preparation for his second journey to North Africa. By the time he came to Abu Simbel in March 1850 to explore the rock-cut temples built by Ramesses II (reigned 1292-1225 BC), Du Camp was thoroughly at ease with the medium. With official backing from the French Government, and travelling in the company of the novelist Gustave Flaubert, Du Camp returned with over 200 paper negatives of the antiquities of Egypt and the Near East, of which 125 were published in the present work. The illustrations were produced at the photographic printing works of Louis-Désiré Blanquard-Évrard at Lille and their distinctive cool neutral tones are due to the prints being chemically developed rather than merely printed-out in sunlight. - Distinguished as it was, Du Camp s photographic career was short-lived. After the completion of his magisterial survey of the antiquities of the Near East, he abandoned photography entirely in favour of literary pursuits. - Soundly bound, presenting well on the shelf, front hinge slightly cracked towards the head at the first blank, some foxing throughout, varying from light to moderately heavy but the prints themselves fairly lightly touched when at all, remains very good. Parr/Badger, The Photobook, I, 73. QNL Inaugural Exhibition (2018), 153.
A life-sized, hand-coloured photograph of the famous world map made around 1450 by Fra Mauro, the greatest medieval map of the world and the largest surviving European map of such an early date: an astonishing accomplishment of art history, cartography and photography. Perhaps the largest photograph ever made at the time, the "Naya Fra Mauro" belongs to a class of colossal early photographs that includes Eadweard Muybridge s 13-sheet panorama of San Francisco (1878) - though each sheet measured only about 46 x 55 cm - and George R. Lawrence s photograph of the Alton Limited on a 244 x 137 cm glass plate (1899). It also appears to be the first large-format map produced photographically.Fra Mauro s map is "considered the greatest memorial of medieval cartography" (Almagià). Containing hundreds of detailed illustrations and some 3000 descriptive texts, it was the most detailed repres-entation of the world so far produced. It remains one of the most important works in the history of cartography, marking the end of Bible-based geography in Europe and the new embrace of more scientific methods that placed accuracy ahead of religious or traditional beliefs. Strikingly, it is oriented with south at the top, recalling the Arabic tradition and more specifically al-Idrisi s famous 12th century world map, copies of which Fra Mauro may have known: Europe is shown at the foot, and Africa and Asia dominate the image, with Arabia (not Jerusalem) at the centre. Fra Mauro incorporated "the discoveries of Marco Polo and the Portuguese" as well as "many countries later known, which the learned monk doubtless shaped after ideas gathered from the oral narratives of occasional travellers" (Müller). Much of the map s novel information was lost to early modern cartographers when printed Ptolemy atlases proliferated in the final decades of the 15th century, replacing the manuscript mappa mundi tradition.Today the original Fra Mauro Map, drawn on vellum, is held by the Biblioteca Nazionale Marciana in Venice and shown at the Museo Correr. The British antiquarian William Frazer prepared an impressive manuscript facsimile in 1804, now in the British Library; a large engraving was made in Paris in 1849, and in 1869 the Venetian bookseller Münster produced the first photographic reproduction, albeit at a much smaller scale, measuring a mere 62 × 68 cm. Carlo Naya s monumental Fra Mauro photograph renders the map in its full original size. Although it is mentioned in a number of books on early Italian photography, it was always extremely rare: the only photographic copies of the map ever to have surfaced in the trade were that of Münster (lot 1581 at the 1884 sale of the library of Henry C. Murphy, U.S. ambassador to the Netherlands under Lincoln) and the more common four-print photofacsimile published in 1879 by Ongania (E. P. Goldschmidt, cat. 22, London 1930, lot 32). By contrast, Naya s magnum opus was never sold except through his own concern. The Royal Geographical Society was presented with a specimen in 1873 (the gift of John Benjamin Heath, once Governor of the Bank of England), and the British Library holds another, as does the Marciana (all uncoloured). National Library of Wales, Aberystwyth, has a very fragile and faded example, cut into 16 sheets and mounted on modern paperboard.Carlo Naya (1816-82) was an Italian photographer known for his fine views of Venice. He settled there in 1856, opening a photo studio that catered to "grand tourists" who wished to take home mementoes of the city s spectacular art and architecture. His mappa mundi photograph was prepared around 1871 under the supervision of the Venice-based English historical scholar Rawdon Brown (1806-83), a friend of Ruskin s. Naya exhibited his photograph at the 1873 World s Fair in Vienna, winning a medal for it. In the 1880s the Nayas were still advertising the map, the pride of the company, as a "fac-simile of the Planisphere of Fra Mauro A.D. 1459, the largest photograph hitherto made (a square 7 ft. 4 inch)". It was priced at a stupendous 200 francs. After Naya s death, his wife and then her second husband continued his studio for three and a half decades.With ink stamps of the publisher Osvaldo Böhm on the back of the photograph, who bought most of Naya s archive when the family closed the shop in 1918. Later the photograph was part of the collection of Dr. Edward Luther Stevenson (1858-1944), one of the most important scholars of early cartography active at the end of the 19th and the first half of the 20th century. Stevenson was responsible for numerous carto-bibliographic books, including the first translation of Ptolemy into English, as well as a series of impressive facsimile maps. Stevenson, who viewed reproductions as integral to the study of early cartography, committed himself to building an unparalleled collection of photographs of early maps and globes. Much of his collection was donated to Yale University after his death, but the present item comes from a large corpus of photos, manuscripts and related material retained by the family. In very good condition.l Almagià, Monumenta cartographica vaticana, vol. 1 (1944); Becchetti, Fotografi e fotografia in Italia 1839-1880 (1978), p. 124; Falchetta, Storia del Mappamondo di Fra Mauro (2016); Müller, Venice: her art-treasures and historical associations: a guide to the city (1873) p. 113; Zannier, Venice: the Naya collection (1981).
Edité par Venice, Carlo Naya, ca. 1871., 1871
Membre d'association : ILAB
Hand-coloured photograph of the Fra Mauro mappamundi, ca. 223 x 223 cm. A life-sized, hand-coloured photograph of the famous world map made around 1450 by Fra Mauro, the greatest medieval map of the world: an astonishing accomplishment of art history, cartography, and photography. In its day one of the largest photos ever made, the "Naya Fra Mauro" belongs to a class of colossal early photographs that includes Eadweard Muybridge's 13-sheet panorama of San Francisco (1878) and George R. Lawrence's photograph of the Alton Limited on an 8 × 4.5-foot glass plate (1899). It also appears to be the first large-format map produced with photography. - Fra Mauro's map is "considered the greatest memorial of medieval cartography" (Almagià). Containing hundreds of detailed illustrations and some 3000 descriptive texts, it was the most detailed representation of the world so far produced. It remains one of the most important works in the history of cartography, marking the end of Bible-based geography in Europe and the new embrace of more scientific methods which placed accuracy ahead of religious or traditional beliefs. Strikingly, it is oriented with south at the top, recalling the Arab tradition and more specifically al-Idrisi's famous 12th century world map, copies of which Fra Mauro may have known: Europe is shown at the bottom, and Africa and Asia dominate the image, with Arabia (not Jerusalem) at the centre. Fra Mauro incorporated "the discoveries of Marco Polo and the Portuguese", also showing "many countries later known, which the learned monk doubtless shaped after ideas gathered from the oral narratives of occasional travellers" (Müller). Much of the map's novel information was lost to early modern cartographers when printed Ptolemy atlases proliferated in the final decades of the 15th century, replacing the manuscript mappamundi tradition. - Today the original Fra Mauro Map, drawn on vellum, is held by the Biblioteca Nazionale Marciana in Venice and shown at the Museo Correr. An impressive manuscript facsimile, now in the British Library, was prepared in 1804 by the British antiquarian William Frazer; a large engraving was made in Paris in 1849, and in 1869 the Venetian bookseller Münster produced the first photographic reproduction, albeit at a much smaller scale, measuring a mere 62 × 68 cm. Carlo Naya's monumental Fra Mauro photograph renders the map in its full original size. Although it is mentioned in a number of books on early Italian photography, it was always extremely rare: the only photographic copies of the map ever to have surfaced in the trade were that of Münster (lot 1581 at the 1884 sale of the library of Henry C. Murphy, U.S. ambassador to the Netherlands under Lincoln) and the more common four-print photofacsimile published in 1879 by Ongania (E. P. Goldschmidt, London 1930: cat. 22, lot 32). By contrast, Naya's magnum opus was never sold except through his own concern. The Royal Geographical Society was presented with a specimen in 1873 (the gift of John Benjamin Heath, once Governor of the Bank of England), and the British Library holds another, as does the Marciana (all uncoloured). A very fragile and faded example, cut into 16 sheets and backed onto modern board, is kept at the National Library of Wales, Aberystwyth. - Carlo Naya (1816-82) was an Italian photographer known for his fine views of Venice. He settled there in 1856, opening a photo studio that catered to Grand Tourists who wished to take home mementoes of the city's spectacular art and architecture. His "mappa mundi" photograph was prepared around 1871 under the supervision of the Venice-based English historical scholar Rawdon Brown (1806-83), a friend of Ruskin's. Naya exhibited his photograph at the 1873 World's Fair in Vienna, winning a medal for it. In the 1880s the Nayas were still advertising the map, the pride of the company, as a "fac-simile of the Planisphere of Fra Mauro A.D. 1459, the largest photograph hitherto made (a square 7 Ft. 4 inch)". It was priced at a stupendous 200 francs. After Naya's death, his studio was continued by his wife, then by her second husband, for three and a half decades. - Provenance: the reverse has ink stamps of the publisher Osvaldo Böhm, who bought most of Naya's archive when the family closed the shop in 1918. Later in the collection of Dr. Edward Luther Stevenson (1858-1944), one of the most important scholars of early cartography active at the end of the 19th and the first half of the 20th century. Stevenson was responsible for numerous carto-bibliographic books, including the first translation of Ptolemy into English, as well as a series of impressive facsimile maps. Stevenson, who viewed reproductions as integral to the study of early cartography, committed himself to building an unparalleled collection of photographs of early maps and globes. Much of his collection was donated to Yale University after his death, but the present item comes from a large corpus of photos, manuscripts, and related material retained by the family. A. Müller, Venice. Her Art-Treasures and Historical Associations. A Guide to the City (Venice 1873), p. 113. I. Zannier, Venice: the Naya Collection (Venice, 1981). P. Becchetti, Fotografi e Fotografia in Italia 1839-1880 (Roma 1978), p. 124. R. Almagià, Monumenta cartographica vaticana, vol. 1 (Città del Vaticano, 1944). P. Falchetta, Storia del Mappamondo di Fra' Mauro (Rimini, 2016).
Edité par Washington: Philip & Solomons, 1866, 1866
Buckram. 1st Dutch Edition. GARDNER, Alexander (1821-1882), photographer. Gardner's Photographic Sketch Book of the War. Washington: Philip & Solomons, . 2 volumes, oblong folio (12 x 16 1/4 in.; 30.5 x 41.3 cm). Each volume with pictorial tinted lithographed title-page of military scenes by Alfred A. Waud. 100 SUPERB albumen prints (each approximately 7 x 9 in.; 17.8 x 22.9 cm) by Timothy H. O'Sullivan (45 images), Alexander Gardner (16), James Gardner (10), the team of George N. Barnard and James F. Gibson (8), John Reekie (7), the team of John Wood and James F. Gibson (5), David Knox (4), William R. Pywell (3), David Woodbury (1), and W. Morris Smith (1), each neatly mounted on larger sheets within a tinted lithographed frame bearing captions, titles and credit lines, each preceded by a leaf of letterpress description (one photograph mount with 'tissue burn', one guard with short tear in the gutter). Publisher's black bevelled morocco gilt, over heavy boards, covers with central gilt-blocked title withing a gilt border of triple gilt fillets, spine gilt-ruled in six compartments, with five raised bands, edges gilt; extremities very slightly rubbed, corners a little scuffed. Housed in black cloth folding cases. AN EXCEPTIONALLY FINE COPY OF THIS MOST INFLUENTIAL AND ICONIC PHOTOGRAPHIC RECORD OF THE CIVIL WAR: AMERICA'S FIRST AND MOST IMPORTANT PHOTOGRAPHICALLY ILLUSTRATED BOOK ONE OF SUBSTANTIALLY FEWER THAN 200 COPIES PRINTED, possibly as little as only 150 examples issued: 51 of which are now in institutional collections, with only a further 16 copies known in private circulation. The Sketch Book, America's fledgling example of photo-journalism, was also a deluxe production, expensive to print, and expensive to buy. Printed in two versions in 1866, it was originally sold by subscription for a staggering $150, and issued custom-made in a variety of different coloured bindings, with a choice of gilt decoration, to order. The earliest examples released have a copyright date of 1865 and the series title "Incidents of War" on the mounts. This is the version with each photographic plate consecutively numbered and without "Incidents of the War" appearing in the caption. "In presenting the Photographic Sketch Book of the War to the attention of the public, it is designed that it shall speak for itself. The omission, therefore, of any remarks by way of preface might well be justified; and yet, perhaps, a few introductory words may not be amiss. As mementoes of the fearful struggle through which the country has just passed, it is confidently hoped that the following pages will possess an enduring interest. Localities that would scarcely have been known, and probably never remembered, save in the immediate vicinity, have become celebrated, and will ever be held sacred as memorable fields, where thousands of brave men yielded up their lives a willing sacrifice for the cause they had espoused. Verbal representations of such places, or scenes, may or may not have the merit of accuracy; but photographic presentments of them will be accepted by posterity with an undoubting faith. During the four years of war, almost every point of importance has been photographed, and the collection from which these views have been selected amounts to nearly three thousand" (Gardner Preface). As photographer, author and editor, of the Sketch Book, Gardner included views and accounts of the major Civil War battle-sites in Virginia, Maryland and North Carolina, such as Harper's Ferry, Antietam, Fredericksburg, Manassas, Cold Harbor, Gettysburg, Petersburg, and Appomattox, as well as now iconic individual photographs, "Home of a Rebel Sharpshooter" and "A Harvest of Death", which show the tragedy of Gettysburg. The Sketch Book documents the Civil War from the first battles at Centerville and Manassas in 1862 to the dedication of the commemorative monument at Bull Run in June 1865; alternating objective images of military fortifications, railroads and hastily built bridges, with.
Edité par New York, c. 1850s, 1850
No Binding. Etat : Fine. A major relic of photographic history, this camera was owned by Mathew Brady during his years as the leading figure in American photography. Brady was the preeminent American portrait photographer of his day. He gained his greatest fame with his studio s documentation of the events and figures of the Civil War. This camera s association with Brady and his studio, which produced hundreds of iconic portraits and thousands of Civil War photographs, makes it an important historical artifact. The camera s Brady provenance is well-documented. It is accompanied by photocopies of original bankruptcy court records signed by Brady during his bankruptcy proceedings in 1873. The document lists this lens and its serial number in an inventory of Brady possessions. The camera was featured in a September 23, 1957 Life article titled In Image of the Master, the Famous Photographs of Mathew Brady Are Matched Today with Pioneer s Own Camera. Life photographer Ed Clark used the camera offered here to make modern equivalents of Brady portraits. On page 124, Clark is shown using this camera to photograph President Eisenhower in a pose similar to a familiar Lincoln image taken by Brady during the Civil War. An original copy of this issue of Life accompanies the camera. This camera is also pictured on the inside back cover of Mathew Brady and His World, Produced by Time-Life Books from pictures in the Meserve Collection. The picture is identified: This camera was used by Brady in the 1860s. To make an exposure, a prepared collodion negative was placed in a light proof holder. The holder was placed in the camera and a panel removed to let the light in. Frederick Hill Meserve started his celebrated collection of Lincolniana and photography in 1897. In 1902, he made a large purchase of Civil War era Brady negatives. It is believed this camera was a part of that purchase. Virtually every significant public figure of the Civil War era passed through Mathew Brady s studio; it is thrilling to imagine that many of his iconic photographs were taken with this very camera. This camera merits a place in a major museum collection. This is an extremely rare, evidently integral Charles Harrison camera. Harrison, a prominent New York lens maker, received international acclaim for his lens designs at the World s Fair in London. He began his work in photography as a daguerreotypist, but his success in making camera lenses soon led him to abandon photography to concentrate on the manufacture of lenses. This wood camera is fitted with a Petzval-type brass barrel lens signed C.C. Harrison New York, with the serial number 1195. According to Eric Taubman, the president and founder of the Penumbra Foundation, the lens dates to 1849 1850. The camera features a black fabric bellows, rack and pinion focusing, with wooden knob on rear of back section, and wide casement to accommodate side-loading plates. The camera is mounted on an 11 x 15 in. base rail. It is accompanied by a ground glass plate (glass replaced) for focusing, which allowed 10 3⁄8 x 10 3⁄8 in. exposures, as well as a dark slide. Signed by Author(s).
Edité par [Paris]: Léon Curmer, 1861-1863., 1863
3 volumes. 16mo., (5 ¾ x 4 ¾ inches). ORIGINAL MANUSCRIPT half-titles and vignette title pages LAVISHLY ILLUMINATED IN GILT AND COLOR. 113 EXQUISITE MINIATURE WATERCOLORS plus frontispieces; 3 engraved plates, original pen sketch and 2 photographic portraits inserted (very occasional offsetting, engraved plates slightly toned). Contemporary red morocco, green morocco gilt doublures, green moiré silk guards, by Marius Michel; red levant chemises and pull-off cases by Hardy-Mennil (chemises worn but holding). Provenance: With the armorial device of Léon Curmer (1801-1870) in the center and his monogram at head and foot of the doublures, his sale, Paris, 22 May 1874. With the bookplate to verso of front free endpaper of Robert Hoe, his sale, Part IV, Anderson Auction Company, 18 November 1912 (describing a fourth volume). General Brayton Ives, his sale, American Art Association, 6 April 1915. Donated to the Hispanic Society of American in 1955 by Archer M. Huntington (describing only three volumes, as here). Christie's sale 2059, Fine Printed Books and Manuscripts Including Americana, 5 December 2008. A SUPERB COLLECTION OF MINIATURE PAINTINGS OF ROSES BY A STUDENT OF REDOUTÉ. Manuscript on paper. Includes "Histoire de la Rose" by Edouard Cadol and Delongchamps (1859), with quotations from French poets, written within blue and gold borders. Rembert was a student of Redouté who produced two such manuscripts for Curmer, the present one and "Les Fleurs" (February 1858-1861-3 April 1862). The prefatory page of "Les Fleurs" says of Rembert: "qui pourrait se glorifier d'etre élève de Redouté, s'il n'était lui-même un maître" ("who could boast of being Redouté's student, even if he himself was not a master"). "Les Roses" took two years to make and was described in the Curmer sale catalogue as an "admirable manuscript." The publisher and bookseller Léon Curmer (1801-1870), who specialized in botanical art, was one of the first publishers to make systematic use of chromolithography to reproduce Medieval illuminated manuscripts in color. He also applied this new and innovative technique to photography. He opened his bookshop in 1833, going bankrupt in 1845 but continuing to publish many works over the next 20 years. He is perhaps best known for his edition of "Paul et Virginie" (1836-1838), one of the most illustrated books of the Romantic period. Marius Michel (born Henry-François-Victor Michel, 1846-1925) was a French gilder and art binder trained by his father Jean Michel, becoming his partner in 1866 before founding a bindery together in 1876. "A CHARMING COLLECTION, the text of which is formed by the 'History of the Rose' by Edouard Cadol and Delongchamps, and by poems referring to the Rose. All the paintings were executed by Ferdinand Rembert from specimens furnished by the most celebrated cultivators of roses, and the butterflies and insects were painted after the suggestion of M. Deyrolle. The names of the roses were given by Eugène Verdier and Edouard André" (quoted in the Anderson catalogue: A Catalogue of Manuscripts Forming a Portion of the Library of Robert Hoe, New York: Privately Printed, 1909, p.197). Catalogued by Megan Scauri.
Edité par [1920s-30s], 1920
An extraordinary personal archive of over 3,000 original photographs assembled by one of the most renowned naturalists and big-game hunters of the inter-war years. Spanning Africa, the Middle East, India, and East Asia, these albums offer an unrivalled insight into some of the most significant scientific expeditions of the period, many undertaken at the behest of the American Museum of Natural History. The centrepiece of the collection is perhaps the four volumes covering the 1924 Vernay-Faunthorpe Expedition to India, the results of which were housed in the "first major hall of mammal habitat dioramas", the South Asiatic Hall, opened at the AMNH in 1930. "These expeditions were important to the development of the Museum and its collection, providing an estimate of over 1,275 specimens, including 976 bird skins, and 299 mammals. Numerous films and photographs were also added to the Museum collection. It was hoped that this would be an example of the camaraderie that may exist between peoples of different nations. Both Vernay and Faunthorpe were made honorary members of the American Museum of Natural History, and Vernay would go on to organize and fund many other expeditions for the Museum" (AMNH). The photographs - well preserved and presented across sixteen strong, cogently compiled and extensively captioned albums - reflect Vernay's awareness of the importance of the visual record and his cultivated eye; his employment of professional photographers and high quality apparatus, his obvious concern for "thoroughness and perfection". The images are consistently well composed and printed, displaying good contrast, excellent tonal range and fine detailing. The approach to the photographing of animals and birds is more forensic, stressing the scientific and taxonomic importance of these expeditions. Arthur Stannard Vernay (1877-1960) was a remarkable, multi-faceted man of protean energy and tremendous acumen; from a standing start he built up one of New York's premier antique and interior design businesses, numbering among his clients Mrs J. P. Morgan, Consuelo Vanderbilt, Solomon R. Guggenheim, the Waldorf-Astoria (for whom he developed a series of apartments), and perhaps most importantly Henry Francis du Pont of the Winterthur Museum, where Vernay's business papers are held. During a visit to India in 1921 Vernay stayed with the coffee-planter and hunter-naturalist Ralph Morris and it was here, in the Biligirirangan Hills, that he first experienced game animals in the wild. This expedition made a tremendous impression on Vernay and he shortly afterwards entered into discussions with Colonel J. C. Faunthorpe concerning a return to India, "out of which came their joint offer to the American Museum of Natural History to collect Asiatic mammals for a projected new hall in the museum" (Vernay's obituary in the Journal of the Bombay Natural History, Vol. 58, No. 1, April 1961). The first Vernay-Faunthorpe Expedition to India took place in 1922-23, and was "quickly followed by five other expeditions in India, Burma, Siam, and Malaya on which the collections of mammals, birds, insects, reptiles, and botanical specimens for the Asiatic Hall were made" (ibid.). A number of animal species carry the nomenclature Vernayi, including two species of climbing mouse found in northern Myanmar-southern China and central Angola; "Vernay's Lion", also known as the Kalahari Lion, although "not now generally recognised as a valid sub-species" (The Eponym Dictionary of Mammals, The Johns Hopkins University Press, 2009, p. 429); the Angolan File Snake and ten bird species. Born in Weymouth, Dorset, a resort town on the south coast of England, Vernay's father was the composer and organist Thomas Crabb Avant (1835-1923) and his mother, Avant's second wife, was Louisa Stannard (b. 1849); they divorced in 1896. Avant remarried in 1904 and this date coincides with Vernay's decision to emigrate to New York and change his name (perhaps tellingly he retained his mother's maiden name of Stannard). The ship's manifest for the SS Arabic, a White Star liner, shows that he sailed from Liverpool for New York, on 21 August 1904; his occupation was given as "decorator", and it was noted that he had more than $50 dollars with him and had visited New York earlier that year. He found work, it is reported, as an elevator operator at A. J. Crawford's, a furniture store. From this inauspicious start he opened his own antiques shop, Arthur S. Vernay, Inc., just two years later, in 1906. The business flourished and over the next decades he would open further branches in Manhattan, Newport, Rhode Island, and London. By the 1920s Vernay's business was thriving and his finances secure, which enabled him to "focus his attention on his interest in nature, hunting, and collecting animal specimens for museums. In 1922 he began his association with the American Museum of Natural History" (AMNH). It was at this point that Vernay struck up his most profitable partnership, with the British army officer Colonel John Champion Faunthorpe (1871-1929), a veteran gun who had served for many years in India with the Civil Service. In a warm obituary, Vernay described Faunthorpe as "an incomparable companion - unruffled, full of resourcefulness and humour and efficiency. I never expect to see a finer type of sportsman, for he was not only a marvellous shot, with a profound knowledge of shikar [hunting], but he also had the true sportsmanship of character and outlook" (Natural History: The Journal of the American Museum of Natural History, Vol. XXXI, 1931, p. 75). Faunthorpe's profound knowledge of India and all aspects of big-game hunting was invaluable in their six expeditions together. In Big Game Shooting Records (1932), Edgar N. Barclay remarked that "as a big-game hunter and rifle shot, and particularly as a howdah shot, it is doubtful if he ever had a superior in India". Faunthorpe also had some familiarity with cinematography, as he had been director.
Edité par Paris, Denoël et Steele, [15 octobre] 1932., 1932
Membre d'association : ILAB
Couverture souple. Etat : Neuf. Edition originale. LE RARISSIME EXEMPLAIRE N° 2 IMPRIMÉ SUR VERGÉ D'ARCHES, LE PREMIER GRAND PAPIER, avant 100 exemplaires imprimés sur papier Alfa. In-8° ; 623 p., 1 feuillet blanc non chiffré. Broché de l' éditeur à l'état neuf, non coupé ! La plus belle condition que l'on puisse espérer pour ce livre (1932). Les rarissimes exemplaires nominatifs du tirage de tête sur papier vergé d' Arche, réservés à quelques proches de l'auteur, sont les plus recherchés. Cette édition originale en premier grand papier compte parmi les plus rares de la littérature du XXe siècle. Le dossier complet avec photographies sur notre site web: librairieherodotecom FIRST EDITION. FIRST LARGE PAPER. VERY SCARCE.
Edité par late 1940's to 1971, New York, 1940
Membre d'association : ILAB
A collection of approximately 2,000 photographs and negatives, taken by amateur African-American photographer Malcolm Downes Thomas (c. 1900 - c. 1972) from the late 1940's to 1971. Thomas photographed various aspects of New York City street and family scenes in both Manhattan and Harlem, Eastern Long Island landscapes and wildlife and a variety of images taken on various Caribbean islands. The collection also includes over a hundred original photographs and negatives of Bettie Page in a private session taken in 1952. In its entirety, this collection represents a vision of nature, street scenes, human interest, and erotica as seen from the perspective of an affluent African-American. Thomas focused his photographs of human subjects on his fellow African-Americans, taking not only numerous study series of portraits but also spontaneous shots of everyday life. Children playing, people watching Television on the couch, and social gatherings are all represented. New York local events are recorded in this collection, including Wrestling Matches (3/29/53), a New York fire and efforts to extinguish it (1/7/53), African-American's swimming in the ocean (1953), and outdoor Ice-Skating (12/51). His cityscape work is not limited to either the narrow or the broad, allowing both views of facades and paint as well as skylines. The nature work follows a similar trend, with close-ups of grasshoppers, rabbits, flowers, and others, followed by islands and landscapes. His early travels included Mexico in 1951/52, St. Thomas in 1953, and Nassau in 1953 where he and his wife participated in various photographic contests and won awards or citations for specific images. Fashion and erotica are represented as well. Thomas photographed an unknown African-American woman modelling various outfits in various poses (12/20/52). His erotica images include a private Bettie Page session dated 3/8/52 with over a hundred negatives and an unknown East-Asian woman photographed nude on at least three different occasions, 2/16/52, 12/18/53 and 12/19/53. Thomas was a Navy radar installer and later a Master Electrician. In 1943 he married his third wife Velma Henry who was a registered nurse. Together they took up photography as a hobby, traveling frequently to the Caribbean and Mexico searching for photographic opportunities. They both preferred Leica cameras for their shots. Thomas developed his own work in their kitchen, some birds and flowers were done in color, the rest were black and white. They subsequently built a home in Quoque, Long Island for weekend trips and vacations. They had no children. According to family lore, during the 1940's Malcolm Thomas became a member of the Pioneer Photography Club, comprised of black friends. There is a story that one of the members (Jerry Tibbs) was on a New York beach and saw this beautiful woman (Bettie Mae Page) who agreed to pose for him and other members of the Pioneer Photography Club. This story is similar to the one told by Bettie Page herself, that in 1950, while walking along the Coney Island shore, Bettie met NYPD officer Jerry Tibbs. Jerry was an avid photographer and gave Bettie his card. He suggested she'd make a good pin-up model, and in exchange for allowing him to photograph her, he'd help make up her first pin-up portfolio, free of charge. Tibbs introduced Page to other Harlem photographers like the legendary Jamaican nude photographer and jazz musician Cass Carr. Carr hired her as a model in 1952 for his nude "Camera Club Outings" in which amateur and professional cameramen would pay her ten dollars to pose. By 1955 Bettie Page had become the most photographed glamour model in the United States and was the January 1955 Playboy magazine Playmate of the Month In addition to the photographic archive, the owner of the collection, Malcolm Thomas' nephew Louis P. Brown, has created an uncorrected oblong folio proof copy of Malcom Thomas' photographic works titled "Malcolm Thomas: Photographic Memoir" He is in.
Edité par University of Pennsylvania, Philadelphia, 1887
[Group of 120 plates from Animal Locomotion. An Electro-Photographic Investigation of Consecutive Phases of Animal Movements]. Philadelphia: The University of Philadelphia, 1887. Folio. 120 collotype plates by Muybridge, printed by the Photo-Gravure Company. Includes the following plate numbers: 1, 4, 6, 8, 9, 10, 24, 46, 73, 134, 166, 175, 176, 178, 179, 180, 181, 182, 183, 185, 198, 213, 223, 231, 239, 241, 247, 251, 254, 259, 269, 271, 279, 284, 286, 287, 288, 292, 293, 294, 300, 302, 311, 314, 317, 318, 321, 322, 323, 324, 326, 327, 328, 333, 340, 342, 343, 345, 349, 351, 352, 392, 393, 394, 395, 397, 399, 400, 401, 403, 405, 408, 410, 412, 414, 418, 420, 434, 436, 446, 465, 466, 468, 476, 477, 478, 480, 481, 484, 486, 489, 490, 493, 496, 497, 502, 503, 505, 507, 509, 511, 517, 518, 519, 520, 521, 522, 523, 525, 526, 527, 537, 538, 539, 543, 549, 556, 561, 573, and 666. 1 vols. Folio. A Major Landmark in photography. The first edition of this rare and important photographic work is a landmark in the evolution of the medium, and in the role of mechanical reproduction on the fine arts. Although the complete set of images for Animal Locomotion totaled 781 plates in eleven portfolios, the prohibitively high cost of $600 resulted in the purchase of only thirty-seven complete sets of all 781 plates. However, as Muybridge explains in the Prospectus, the makeup of the subscription sets was left entirely up to each subscriber, as long as at least one hundred plates were purchased: "One hundred Plates of illustrations will constitute a copy of the work. These one hundred plates, the Subscriber is entitled to select from those enumerated in the subjoined catalogue. The 781 Plates described in the Catalogue comprise more than 20,000 figures of men, women, and children, animals and birds, all actively engaged in walking, galloping, flying, working, playing, fighting, dancing, or other actions incidental to every-day life, which illustrate motion and the play of muscles.Subscribers desiring a greater number of Plates than the one hundred for which they subscribe, will be entitled to obtain such additions, and at the same proportionate rate of payment [one dollar per plate]." Thus every Subscriber set of Animal Locomotion is different in its composition, depending on the interests and tastes of the subscriber. In addition to choosing their own images, subscribers were also able to order by "subjects" (i.e. men, women, children, etc. indicating for each the various states of dress or undress), with Muybridge selecting the images. Eadweard Muybridge (1830-1904) was one of the great photographic innovators of the 19th century. Born in England, he came to San Francisco in 1855 and worked as a bookseller. After a serious accident in 1860, he returned to England, and changed his vocation to photographer. Returning to the United States in 1867, he built his reputation on photographs of San Francisco, Yosemite, and other western locales, both as a private photographer and working for the U.S. Government. Beginning in 1872 Muybridge, at the behest of the railroad magnate Leland Stanford, experimented with a sequence of photographs of a galloping horse that proved that all four of the animal's hooves were off the ground at the same time. By 1878 he had developed the ability to produce series of photographs freezing the motion of moving figures. These studies were published in 1882 as The Horse in Motion, which led to a break between Stanford and Muybridge, who felt he had not been given proper credit. Now committed to working on his motion studies, Muybridge found a new sponsor in the University of Pennsylvania, and moved to Philadelphia in 1883. "Largely owing to the advocacy of the esteemed artist and faculty member Thomas Eakins, Muybridge was engaged to conduct a series of locomotion studies at the University of Pennsylvania from 1884 to 1885. There he exposed more than 100,000 photographic plates in locomotion studies of men, women, children, beasts, and birds. The initial publication of this work in 1887 was comprehensive but prohibitively expensive" (ANB). Eakins worked with Muybridge as one of his assistants for part of this time. The photographs showed sequences of several dozen photographs on each plate. The human models, of both sexes, were shown nude or with minimal clothing engaged in various activities, from walking, running, leaping and throwing things to climbing stairs, carrying objects, engaging in various kinds of work, and many forms of athletic activity. Animals, drawn from the Philadelphia Zoo, are shown moving in various ways as well as carrying loads. The entire project was a comprehensive catalogue of human and animal motion. Muybridge's 1860 accident, which involved a blow to the head and possible brain injury, evidently changed his personality as well as his career. He became eccentric and explosive (in 1874 he killed his wife's lover, but was acquitted on the grounds of justifiable homicide) and also shed many inhibitions. His photography and publication of nude models was remarkable for its day. Many of the figures in Muybridge's work feature full-frontal nudity, both men and women, as well as some children. After the publication of Animal Locomotion, Muybridge worked for some time to promote commercial applications for his work before returning to England in 1894. He died there a decade later. Muybridge's work in sequential photography quickly had a major impact on the fine arts of his day, and laid the groundwork for motion pictures. His images remain exciting and vibrant today. In a search of OCLC, we locate nineteen sets that are complete or mostly so (more than 700 plates present). A further twenty-nine copies are located containing anywhere from 75 to 200 plates (copies of around 100 plates being the most common), and twelve more records with indeterminate or minimal holdings. An incredibly important and handsome production, key in the history of science and photography. Ro.
Edité par Leiden, E. J. Brill, 1889., 1889
Membre d'association : ILAB
Folio (282 x 372 mm). 20 collotype prints mounted on 18 sheets loose in red gilt cloth portfolio as issued, complete with the oft-lacking half-title, list of plates, title and preface. One of the earliest photographic documents of Mecca and the Hajj, preceded only by the photographs of Muhammed Sadiq Bey published in 1881 (Sotheby's, 4 June 1998: £1,250,000). Much rarer than the author's similarly titled "Bilder-Atlas zu Mekka", a portfolio of lithographs to accompany the "Mekka" books which Snouck had published after his return from the Arabian Peninsula. "Following the publication of 'Bilder-Atlas zu Mekka', Hurgronje received a letter from his doctor in Makkah, whom he had taught the art of photography. The letter contained new photographs of the hajj which were of such great interest that he decided in 1889 to publish his 'Bilder aus Mekka' [.] The photographs provide an insight into the world of Makkah's inhabitants, pilgrims from all over the Islamic world, in addition to the sharif of Makkah, the Turkish governor, and various religious and secular figures" (Badr el-Hage, p. 46f.). "In 1981 F. H. S. Allen and C. Gavin first identified the earliest Arabian photographer by deciphering his elaborately calligraphed signatures, which without exception had been erased from the plates reproduced by Snouck Hurgronje: 'Futugrafiyat al-Sayyid 'Abd al-Ghaffar, tabib Makka' (The Photography of the Sayyid Abd al-Ghaffar, physican of Mecca). This princely eye surgeon had been host to the young Snouck in Mecca immediately after the Dutchman's conversion to Islam. Snouck claimed to have taught his host how to use a camera and attributes to him (without ever mentioning his name) the pictures reproduced in 'Bilder aus Mekka'". - The first four leaves of letterpress material have been reinforced along the left edge. Prints and their mounts in excellent condition, crisp with very slight toning. Cloth portfolio a little faded; spine repaired, with 1914 De Belder bookplate on pastedown. Very rare: only two copies at auctions internationally during the past decades (the last, at Sotheby's in 2006, was incomplete, lacking all the text leaves). Macro 1233. Badr el-Hage. Saudi Arabia Caught in Time. Reading, 1997. F. E. Peters. The Muslim Pilgrimage to Mecca and the Holy Place. Princeton University Press 1996.
A trove of unpublished photographs depicting two official visits to Pakistan by HH Sheikh Zayed bin Sultan Al Nahyan. The earlier visit, in 1967, is documented by a separate photo album containing images of the visit to Lahore, the second largest city of Pakistan, from 16 to 28 November 1967. The album opens with a picture of HH Sheikh Zayed arriving in his car; later pictures show him being honoured and presented with an album very similar to the present one, and in the company of officials representing Pakistan s United Bank Limited (UBL). Almost 20 years later, in 1986, Sheikh Zayed would donate a hospital to the city, now the "Shaikh Zayed Medical Complex", one of the leading medical institutions in Pakistan.The 30 small photographs show an audience with Sheikh Zayed as well as a banquet in his honour, attended by various Pakistani dignitaries including Agha Hasan Abedi (1922-1995), the illustrious founder of UBL. These photos, apparently clipped from a set of medium format contact prints, are mounted on a sheet of coated black photographic paper.The largest set in size and number shows the state visit that took place on 20-22 January 1970 at the invitation of President Yahya Khan (1917-1980). It provides extensive documentation of the large Abu Dhabi delegation being formally received by Yahya Khan, who served as president of Pakistan from March 1969 to December 1971. Many show HH Sheikh Zayed shaking hands with and speaking to President Yahya; others show the airport reception, formal dinners, speeches, but also informal conversations, members of the delegation handling falcons, and numerous high-ranking Abu Dhabi retainers. Among the persons depicted is again Agha Hasan Abedi, but there are also several pictures of Butti bin Bishr, secretary to Sheikh Zayed, and Ahmed bin Khalifa Al Suwaidi, the first Minister of Foreign Affairs of the UAE and personal representative of Sheikh Zayed. President Yahya Khan had been "one of the very first international leaders to reach out to Sheikh Zayed after the UAE had been founded and had, prior to this, in July 1970, been instrumental in creating an agreement to provide technical assistance to the then Trucial States. With the December 1971 union agreement approaching, Pakistan was quick to forge even closer ties, and Khan had been one of the first foreign leaders to offer his congratulations and reiterate his country s support when the UAE was born. Full diplomatic ties were then quickly established, and Pakistan became one of the first to extend recognition to the new country . All his life Sheikh Zayed had held a personal affinity for Pakistan. He had hunted there extensively, came to know the people, its culture and lands, and enjoyed close ties with leaders" (Wilson).From the estate of Azhar Abbas Hashmi (1940-2016), Pakistani financial manager and eminent literary patron with close ties to Karachi University. Hashmi served the UBL for many years, becoming its vice-president before founding several important cultural organisations and becoming known as a man of letters in his own right. Thanks to his close connections with the Gulf states, Abu Dhabi provided funds to build Karachi University s faculty of Islamic studies, as well as its Sheikh Zayed Islamic Centre and it mosque, Jamiya Masjid Ibrahim.The majority of the photographs are entirely unmarked, but they occasionally show an Arabic inscription or stamp on the reverse. Some of the loose photographs slightly scuffed along the edges, with an occasional nick or small tear, but otherwise in fine condition. Binding of the album slightly rubbed. An important collection of at least largely unpublished photographs concerning the Sheikh of Abu Dhabi s visits to Pakistan in the last years before the formation of the UAE, entirely unknown and without counterparts in the UAEhistory, Keystone or Hulton/Getty press photo archives.l Cf. G.H. Wilson, Zayed: man who built a nation, pp. 111-112.
Edité par New York, 1862
No Binding. Etat : Fine. Pioneering photographs of Central Park. One of the earliest photographers to work in New York, Victor Prevost (1820-1881) studied photography in France under Paul Delaroche and with Gustave Le Gray. In 1850 Prevost came to New York and established a studio at Broadway and Bleecker. He achieved limited commercial success, giving up photography as a career in 1857. Prevost continued to take photographs of major construction projects in New York City, the most important of which are his images of the new Central Park. These images are among the earliest extant photographs of the construction of Central Park. The Olmsted-Vaux plan was accepted in 1858, and work began at once, but it was not until the 1870s that the immense project was completed. As a result, these very early photographs present an unfamiliar view of the park, with immature plantings, temporary structures, worker housing, all without the towering buildings that figure prominently in later images. Three of the photographs are signed in the negative and one features the photographer s ink signature on the mount. All bear the photographer s blindstamp on the mount. Each image is described and dated in pencil on the verso. The collection comprises: 1. Veranda, Terrace, and Bell Tower (Aug 30, 1862) signed and dated 1862 by Prevost on the mount 2. Self-Portrait of the Photographer at CP (Sept 10, 1862) [actually Jacob Wrey Mould, who designed by of the park s most notable landmarks and architectural details] 3. Terrace Steps (Sept 11, 1862) 4. Pine Bank Arch. Bridge Near 8th Ave (Aug 17, 1862) 5. Landing (Oct 15th 1862) 6. Summer House from West Side ie 6th Ave (Sept 22, 1862) 7. Arsenal from 6th Ave West Side (August 13, 1862) 8. Summer House East from 8th Ave (August 28, 1862) 9. [no caption:] Summer House East from 8th Ave. 10. [no caption:] Buried pipes, with barrels, cranes, and framing VERY RARE. The principal institutional holdings of Prevost photographs are at the George Eastman House, the Museum of the City of New York, and the New York Historical Society, and to a lesser extent, the Metropolitan Museum of Art and the Smithsonian. Apart from their exposure at the Metropolitan Museum of Art show in 2003, Prevost s work remains largely unknown to the collecting public, a reflection of its great rarity in the market. Julie Mellby, Victor Prevost: Painter, Lithographer, Photographer, History of Photography 35 (2011). 10 albumen photographs (approx. 51⁄4 x 51⁄4 in.), mounted, three signed in the negative and one signed by Prevost on the mount. Mounts foxed and stained, minor foxing and fading to prints, but generally the images are in excellent condition with strong tones.
Membre d'association : ILAB
Berlin, Stiehm 1881. Daraus: 133 Original-Fotografien auf 87 Blatt. (Nicht vorhanden sind 11, 23, 30, 37, 54, 67, 78, 85, 89, 92, 94, 97, 101, und 104-110). Fotos in sehr guter Erhaltung. Original-Leinenkassette mit Goldprägung und Titel auf Vorderdeckel (etwas berieben), Beschriftung von alter Hand auf der Innenlasche der Kassette (Inhalt wie angegeben), und das seltene Textheft mit 8 Seiten Text von Robert Hartmann. Sehr selten! ? Buchta gilt als Pionier der Fotografie im Sudan. Seine ethnologischen Aufnahmen der Völker vor allem des Südsudan sind einzigartige Dokumente. Die Fotos zeigen beeindruckende Aufnahmen und Portraits von Häuptlingen und Angehörigen folgender Völker: Bischarin, Schukurieh, Schilluck, Bari, Madi, Schuli, Umiro, Nakatschupi und Kagaja, Magungo, Lango, Makraka, Abukaja, Niam-Niam, Monbuttu, Akka, Moru. Weitere Fotos zeigen Aufnahmen von Chartum, der österreichischen Missionsstation am Nil, von diversen Orten entlang des Nils, den Pyramiden von Meroe und eine Aufnahme von Lado in der Äquatorial-Provinz und den Murchison-Fällen. 1870 kam der Österreicher Richard Buchta (1845-1894) nach Kairo und arbeitete als Straßenfotograf. 1877 wurde er vom in ägyptischen Diensten stehenden, italienischen Gouverneur der Provinz Bahr el-Ghazal (Gazellenfluß) für fotografische Arbeiten im Sudan angeworben. 1878 begab er sich von Khartum nilaufwärts über Lado, wo ihn Emin Pascha (Gouverneur der Äquatorialprovinzen) aufnahm, nach Dufile, von wo er bis zum Albert-See und Uganda vordrang. In der Folge schloß er sich einer Expedition Emin Paschas an, die ins Königreich Bunyoro (im heutigen Uganda), südlich des Victoria-Sees, führte. Von der Reise mit reicher fotografischer Ausbeute zurückgekehrt, vermerkte Buchta: "Die Reise bot mir viele Genüsse, besonders durch die großartigen Vegetations-Scenerien in Unyoro, die an kraftstrotzender Üppigkeit Alles überbieten, was sich selbst eine kühne, weit gehende Phantasie vorstellen kann". Die auf dieser Reise aufgenommenen Fotografien und Zeichnungen wurden unter dem Titel "Die oberen Nilländer. Volkstypen und Landschaften", 1881 herausgegeben. In Petermann's Geographischen Mitteilungen vermerkte ein unbekannter Autor 1880: "Von R. Buchta, der unlängst von seiner Reise nach Uganda in die Heimath zurückgekehrt ist, liegt uns eine Reihe von Photographien vor, schöne und höchst interessante Blätter, über deren Ausführung man staunen muss, wenn man die schwierigen Verhältnisse kennt, unter denen sie aufgenommen wurden. Die Murchison-Fälle beim Victoria Nyanza, Ansichten des Nil im Bari Lande, des Mwutan, des Djebel Redjaf & c., alsdann Niam-niams, Monbuttu-, Bari- und Dinka-Neger und andere Typen der Bevölkerung am oberen Nil treten uns hier in frappanter Naturtreue entgegen". ? Paulitschke 120; Henze I,388f; Kainbacher 65.
Edité par Philip & Solomons , Washington, 1866
Membre d'association : ILAB
FIRST EDITION. 320 x 425 mm. (12 1/2 x 16 3/4"). Two volumes. Original publisher's black morocco over heavy boards, upper covers with gilt titling, publisher's monogram, and triple-ruled gilt borders, spines with raised bands and gilt compartments. WITH 100 ALBUMEN PRINTS DEPICTING IMAGES OF THE CIVIL WAR, each mounted on larger sheets of card stock within a lithographed frame and captioned, and each preceded by a descriptive letterpress leaf. Front free end paper of first volume with a gift inscription dated 1867. Howes G-64; Sabin 26635. Slight rubbing to corners and covers, lower boards and a small section of the upper board of Volume II with some dampstaining, one photograph with minor water damage (but only slightly wrinkling and lightening the image), blank flyleaves (front and rear), title pages, and two leaves of introductory text with moderate dampstaining to the top third of the leaves (the stains somewhat darker in the second volume), light scattered foxing and dampstaining affecting the head or tail edge of the photo mounts, occasionally touching the printed frames, a little light fading (no more than a half inch) just to the edges of some images, but AN EXCELLENT COPY despite these imperfections, the large bindings very attractive overall, entirely solid, and showing very little wear, and the images generally clean, clear, and with little of their powerful impact diminished. This is one of the first and greatest American photographic books ever published, and considered by many to be the most important book to come out of the American Civil War. Due to the technological limitations of the time, most of the subject matter here consists of fortifications, encampments, bloodied battlefields, ruins, and important civic buildings, rather than the action of the battlefield. But by turning their lenses to these deceptively static scenes, Garder and his colleagues managed to capture the most memorable photographs of the war, in turns haunting, poignant, and graphic. Some notable examples include "President Lincoln on Battle-Field of Antietam," "A Harvest of Death," and the famously controversial "Home of a Rebel Sharpshooter, Gettysburg." The latter, which depicts a fallen soldier and his rifle entrenched in a rocky setting, is now believed to have been partially staged by the photographer. Most of the original photographs in this work were taken by Alexander Gardner himself, with contributions by some of the most prominent figures in the field, including James Gardner, Timothy O'Sullivan, David Knox, John Reekie, William R. Pywell, D. B. Woodbury, W. Morris Smith, and others. Gardner (1821-82) also worked with the eminent American photographer Matthew Brady until 1862, when he broke away to found his own studio. In addition to his "Sketch Book," Gardner is also remembered for his iconic photographs of President Lincoln, and was the only photographer admitted to the execution of those conspirators involved with that president's assassination. The present work was issued in a very small number (by most accounts no more than 200 copies) and was extremely expensive to produce because of the large number of images involved. Scholars have recently distinguished two slightly different versions of the first edition: the earlier version contains the caption "Incidents of War" on all the mounts. Ours belongs to the second iteration, which omits the above phrase and adds plate numbers, but is in every other way identical. Although our copy contains some dampstaining to the margins, it is mercifully free of damage to all the images but one. The few similar examples at auction in the last 10 years have fetched upwards of $200,000 or more.
Date d'édition : 1850
Unbound. Etat : Near Fine. A remarkable group of 10 portraits of Horace Mann and his family, featuring a unique, and previously undiscovered, cased quarter plate daguerreotype of Mann, the great architect of the American system of popular education. The photos were preserved by the Mann family, and all housed in a circa 1950 cardboard box with the typed ownership label of Horace Mann, III (Mann's grandson) of Southwest Harbor, Maine. The box has some internal repair and chipping. The photos are overall very good with general wear and light spotting to two; the daguerreotype has a few scratches at neck level, and a couple of mild abrasions, but else near fine.
Edité par Alfred Stieglitz, New York, 1912
Membre d'association : ILAB
Quarto. 33 issues, including the first four and one special. Five issues inscribed at the time by Stieglitz to his friend Agnes Ernst Meyer, who wrote text for several issues. Meyer was one of America's first women journalists, hired in 1907 as a reporter for the New York Sun. In one inscription, Stieglitz addresses Meyer as "The Sun Girl" and signs himself "The Old War-Horse." (Meyer's husband was the owner of The Washington Post and their daughter was Katherine Meyer Graham). Inscribed numbers: 1, 24, 27, 34/35 and the Special Number. Cloth covered boards with original paper wraps pasted down, specially bound for Meyer by Stieglitz. Overall in very good condition. A few volumes starting along inside front hinge. A few leaves separated at gutter. Scattered foxing to borders and some text pages. Two lesser plates visibly foxed, almost imperceptible foxing to three others. One loose print, with tiny chip. One print partially and very slightly wrinkled. Usual offsetting of image to verso. On the whole, very good condition, with literary inscriptions by Stieglitz. Numbers: 1, 2, 3, 4, & 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40 + 1912 Special Number (Matisse / Picasso, text by Gertrude Stein). Quarterly publication of high-quality hand-pulled photogravures made from the original negatives by Photo-Secessionists, published from 1902 to 1917. Camera works was influential in helping to establish photography as a fine art, and remains the preeminent photographic publication to this day. A total of 50 numbered volumes + two special numbers were issued; this collection is missing 18 volumes + one special number.
Edité par Paris: Éditions Albert Lévy, [1923-26], 1923
The original, highly finished artwork for the complete suite of pochoirs for the Verneuils' Kaléidoscope, "a masterwork of Art Deco design" (V & A website "The Kaleidoscopic Wonder of Art Deco Prints"). A visually spectacular document of what is widely recognised as one of the most brilliant of the art deco pattern books - a genre which Ray considered displayed art deco "in its purest form" (The Art Deco Book in France, p. 28) - a group remarkable for its artistry and almost equally for having survived close to a century complete. We have been unable to find records for any comparable archives on the market. The 20 sheets of Kaléidoscope contain 87 textile designs composed of "colourful, abstract motifs, which evoke, with their fragmented vocabulary, the dynamism of modern culture" (The Met web site) which were to exert a strong influence on the spread of art deco, becoming something of a toy box for designers for decades to come. Maurice Verneuil (1869-1942) began his artistic education in 1888, enrolling in the architectural section at the École nationale supérieure des beaux-arts in Paris. However, he was beguiled by the growing interest in ornament, and in 1892 joined the École Guérin where he fell under the influence of Eugène Grasset, one of the pioneers of art nouveau. Subsequently Verneuil became a skilful, mostly self-taught practitioner in a wide range of artistic disciplines - posters, furniture, marquetry, enamel, ceramics, batik, embroidery, photography and painting - and a leading theoretician of modern design in France, contributing illustrations and articles to Grasset's Art & Decoration and Albert Quantin's Le Monde moderne. In 1925 he was responsible for the publication of Étoffes et Tapis Étrangers, an illustrated study of the textiles exhibited at the Exposition Internationale des Arts Décoratifs et Industriels Moderne, one of the key publications of the exhibition that gave birth to the art deco movement. The work is credited on the title page to Maurice and "Ad. Verneuil", and it has been suggested that this refers to Adam, Maurice's brother. However his collaborator on this key project was in fact his wife Adélaïde, an attribution finally confirmed by Maurice's biographer Helen Bieri (Bieri, p.118). Adélaïde Verneuil de Marval (1898-1998), a Swiss artist, illustrator, bookbinder, and art critic, married Maurice in 1921, having been fascinated by his theories of design. By way of a honeymoon they made an extensive tour of Asia, bringing back a collection of prints and artefacts which was to influence their work thereafter, and from which Adélaïde donated a number of pieces to the Musée ethnographique de Genève. She is probably best known in her own right as a book illustrator, with a speciality in books on Buddhist themes. Much has been made of the fruitful convergence of the art deco period and the flowering of the pochoir technique, praised by Ray for its "subtle gradation" of colours, and promoted by Jean Saudé, acknowledged master of what he termed "enluminure", and author of the authoritative manual Traité d'enluminure d'art au pochoir (1925), as "the only process which from the first to the last, best interprets the artist's original style" (Ray, p. 48). Inevitably, Saudé was responsible for the plates of Kaléidoscope, and the quality of his work is peerless. But these original drafts reveal something of the process behind the creation of the Verneuils' innovative designs; pencil annotations show that the plate order was changed for publication, at least two of the plates were printed inverted according to the original markings, and entire sections of two plates have been excised and neatly replaced with a new pattern. Overall the palette of the pochoirs shifts towards lighter, cooler tones, the colours of the gouaches are denser, more intense, and inevitably the line is tougher and more vigourous, the surface actively worked; these originals possess great presence. A perhaps unique opportunity to own the original artwork for one of the true masterpieces of the art deco era. Bieri, Maurice Pillard-Verneuil: artiste décorateur de l'Art nouveau, 1869-1942, Deasy, "The Kaleidoscopic Wonder of Art Deco Prints", V & A web site, retrieved 13/12/2019); Ray, The Art Deco Book in France; Robinson, "Splendeurs de l'Art Deco"; Schneider-Henn, Ornament und Dekoration, 448 (wrongly identifying "Ad." Verneuil). 20 original designs, gouache over pencil on heavy paper stock (c. 440 x 345 mm), pencilled editorial annotations and alterations to the margins, two plates with carefully excised sections replaced with corrected designs, loosely corner mounted into recent window mounts for handling and display; with the published suite, title-page and 20 pochoir plates executed by Jean Saudé, many - as in the originals - utilising metallics, without the original chemise. The two housed in a custom ivory silk moiré solander case, illustration from the front panel of the original binding mounted on the lid. Paper lightly browned, a little more so at the margins, light soiling and few paint smudges, most sheets with some pinholes, occasional minimal chipping to the corners; the some paint surfaces with mild flaking, otherwise in very good, unrestored condition.
Edité par VARIOUS, VARIOUS, 1958
Edition originale Signé
VARIOUS. Etat : VARIOUS. Etat de la jaquette : VARIOUS. 1st Edition. Robert Frank: A Complete Collection of Books and Limited Editions [9 Volumes SIGNED (3 also INSCRIBED)] and a Sweeping Archive of Printed Ephemera from Seven Decades. The collection includes a complete set of 15 editions of The Americans from 1958 to 2008, as well as nine rare signed and/or inscribed titles. Institutions may request an illustrated catalogue of the collection, which also includes an extraordinary archive of printed ephemera, summarized below. Ephemera Archive: A sweeping archive of approximately 300 related books, periodicals, catalogues and films, and thousands of clippings, correspondence and other ephemera rounds out the book collection and demonstrates Frank's widespread impact on photography and visual culture over the past seven decades. Additionally, this archive supplies a comprehensive overview of Frank's palpable impact on some of the most significant aspects of Western postwar society and culture, from the Beats to the Civil Rights Movement; from the quintessential, gritty street photograph to the iconic rock and roll film. Arguably the most important and influential artist in the history of the medium, these materials make evident how Frank's intensely personal, but universal human perspective radically reshaped photographic vision. This group of materials essentially falls into four groups, as detailed below, including pictures of some of the highlights. [The total volume of archival materials is approximately 7.75 linear feet.] PROVENANCE: please inquire. BOOKS AND LIMITED EDITIONS: 1. FRANK, Robert, BOSQUET, Alain, CROVI, Raffaele. Les Américains [The Americans]: Photographies de Robert Frank (First Edition, Delpire, 1958) [SIGNED]. Paris: Delpire, 1958. First edition (French). Signed and dated 'June 1992' in black ink on the half-title page by Frank. Hardcover. Photographically illustrated laminated paper-covered boards (illustrated by Saul Steinberg), no dust jacket as issued. Photographs by Robert Frank. Text (in French) by Alain Bosquet, Raffaele Crovi and numerous other contributors. Edited by Robert Delpire. 174 pp. with 83 black and white gravure plates. 7 1/2 x 8 3/8 inches. [SIGNATURE PROVENANCE: from the personal library of Andrew Szegedy-Maszak, Professor of Classical Studies and the Jane A. Seney Professor of Greek, at Wesleyan University.] CONDITION: Near Fine (light toning at the spine and upper edge of rear board, 1-1/2-inch light surface scratch to the lamination on the top edge of the front cover, 1-inch bump to the front lower cover not affecting the text block, several other minor indentations at the extremities and spine, slight foxing to the upper text block; previous owner's name written in blue ink in middle of front paste-down endpaper; "Hacker Art Books 57 West 54th NYC" written in black ink at top verso rear free endpaper; a very rare Near Fine signed copy). (#112380). Price: $9,000.00 2. FRANK, Robert, KEROUAC, Jack. Robert Frank: The Americans (First American Edition, Grove Press, 1959) [SIGNED PRESENTATION COPY]. New York: Grove Press, Inc., 1959. First American edition, first printing. Signed and inscribed in black ink on the half-title page by Frank ("For Andrew / First visit to 7 Bleecker St. / June 5th 1992 / Robert Frank") [Andrew Szegedy-Maszak, Professor of Classical Studies and the Jane A. Seney Professor of Greek, at Wesleyan University)]. Hardcover. Black cloth-covered boards with title stamped in gold on the spine; with photographically illustrated dust jacket. Photographs by Robert Frank. Introduction by Jack Kerouac. Unpaginated (180 pp.), with 83 black-and-white gravure plates. 7-1/2 x 8-3/8 inches. CONDITION: Fine in Very Good dust jacket (a complete dust jacket with several closed tears repaired by tape showing aging at the crown and heel of the spine, front lower right corner and rear bottom edge). (#112381). Price: $25,000.00 3. FRANK, Robert, BOSQUET, Alain, CROVI, Raffaele. Gli Americani [The Americans]: Fotografie di Robert Frank (First Italian Edition, Il Saggiatore, 1959). Milano (Milan): Il Saggiatore, 1959. First Italian edition, first printing. Hardcover. Photographically illustrated laminated paper-covered boards (illustrated by Saul Steinberg), no dust jacket as issued. Photographs by Robert Frank. Text (in Italian) by Alain Bosquet, Raffaele Crovi and numerous other contributors. Edited by Robert Delpire. 174 pp. with 83 black and white gravure plates. 7 1/2 x 8 3/8 inches. Fine. (#112382). CONDITION: Fine. A Mint copy. An extraordinarily well-preserved copy without flaws (no toning to the spine which is endemic to the title; barely any rubbing to the covers). Price: $4,500.00 4. FRANK, Robert, KEROUAC, Jack. Robert Frank: The Americans: An Aperture Book (Grossman Revised & Enlarged Hardcover Edition, 1969). New York: Grossman Publishers and Aperture, Inc., 1969. Second American Edition (Grossman Publishers and Aperture), first printing, preceded only by the Grove Press American edition published in 1959). Hardcover. Cloth-covered boards; with photographically illustrated dust jacket. Photographs, with additional text ("Continuation"), by Robert Frank. Introduction by Jack Kerouac. Unpaginated (192 pp.), with 83 black-and-white plates and six full-bleed additional black-and-white plates of stills from the films "Pull My Daisy (1959-60)," "The Sin of Jesus (1961)," "O.K. End Here (1963)" and "Me and My Brother (1965-68)." 7-1/2 x 8-3/8 inches. CONDITION: Fine in Near Fine dust jacket (a price-clipped but otherwise complete dust jacket with several small creases and closed tears repaired by tape at the crown of the spine and rear top edge). (#112383). Price: $500.00 5. FRANK, Robert, KEROUAC, Jack. Robert Frank: The Americans (Aperture/MoMA Revised & Enlarged Soft Cover Edition, 1969). New York: Aperture, Inc. and The Museum of Modern Art, 1969. Second American Edition (Aperture and The Museum of Modern Art, New York), first printing, preceded only by the Grove Press edition published in 1959; also pub.
Membre d'association : ILAB
All photographs are archivally mounted and unframed; the size of each image is approximately 150 × 205 mm or the reverse. The condition is uniformly excellent. A separate illustrated catalogue has been prepared and is available on request. Richard Parkinson (1844-1909) is usually considered to have been of German origin, although he was born in the Duchy of Schleswig when it was part of Denmark. Following Germany's establishment of its Pacific Island colonies in the late nineteenth century, Parkinson was officially recognized by the colonial authorities as being German. He arrived in Samoa in 1876, having been employed by the German trading and plantation company Godeffroy as a surveyor and plantation manager. He became involved in the local political and social scenes and in 1879 married sixteen-year-old Phebe Coe, sister of Emma Coe, the American-Samoan who later became famous as Queen Emma of the South Seas. Emma moved to the Duke of York Islands, between New Britain and New Ireland in the Bismarck Archipelago, in 1879 to recruit labour and to trade throughout the islands. Trade supplies were neither reliable nor regular, so she decided to establish her own plantations. Parkinson resigned from Godeffroy around 1880-81 and in late 1882 he accepted Emma's invitation to work for her. She gave him the responsibility of setting up the first of her plantations on the mainland of New Britain. He selected an area at Ralum on the coast of the Gazelle Peninsula, on the south side of Blanche Bay, and set up the first coconut plantation in the New Guinea area. In 1890, Parkinson had a disagreement with Emma about the amount of time he spent collecting natural history specimens and on ethnological studies instead of concentrating on his plantation work. He then commenced work as a collector and surveyor for the Deutsch Neu Guinea Compagnie, which managed the colony on behalf of the German Government after the Bismarck Archipelago was declared a protectorate in November 1884. His work with the company provided him with many opportunities to travel and collect artefacts and information in the region. He may never have been the first contact of any local people, but he was clearly among the first; indeed, the small European community in the Duke of York Islands and on New Britain increased slowly from around 30 in 1883 to only 112 in 1894. He observed many societies before they were extensively incorporated into the Western economy or influenced by missionaries. A keen and intelligent observer, Parkinson was self-taught, without anthropological training, but he thought it worthwhile to make a record, no matter how fragmentary and incomplete it was. His first book, 'Im Bismarck-Archipel' (1887), contained by way of illustrations, only amateurish drawings and lithographs. Subsequently, he acquired skills in photography and collaborated with A.B. Meyer to produce a magnificent two-volume 'Album von Papua-Typen' (1894, 1900), comprising images of people and scenes of the New Guinea and Bismarck Archipelago region. The first edition of his most enduring work, 'Dreissig Jahre in der Südsee' (1907), contains 197 illustrations, of which approximately half are reproductions of his images of people and scenes. His photographs remained a major source of visual information long after his death and they retain their importance to this day. Meyer's preface to the second volume of 'Album von Papua-Typen', published in 1900, refers to the 1894 volume thus: 'being out of print and a second edition of the same standards being impracticable on account of the destruction of the negatives, Mr Parkinson . has . prepared a new series of views and again placed the negatives at my disposal'. Of the present collection, none appear in Parkinson's 1887 and 1900 publications, and less than a handful appear in his major work of 1907. Approximately 20 of the 54 images in the very rare 1894 album are reproductions of around 25 photographs in this collection. In the translation to his foreword to 'Dreissing Jahre in der Südsee' Parkinson states that the plates contribute much to the illustration of the contents. Those who desire further pictorial material will find this in the two-volume set of albums. The range of images in this collection provides a rich and varied cross-section of indigenous life and practices of the time. There are many scenes of daily village life, both inland and on the coast, with fine views of substantial (as well as rudimentary) huts, canoes, gigantic fish baskets, ceremonial grounds, men fishing with nets . There are numerous group portraits, almost all of them on a different theme (men, women, young, old, some naked, others richly adorned, sheltering from the rain, or armed with musical instruments or spears or bows and arrows; there are two staged battle scenes, one complete with a spear-riddled body). There are five matching pairs of individual portraits - front-view and profile - again with each of them having something different to add to the overall depth of the collection. Not least, there are four photographs featuring the Dukduk, the secret society already in decline when Parkinson was active in the area. Between 1882 and 1909 Parkinson, his wife, her sister Emma and their circle sold or donated vast quantities of artefacts to museums in Australia, the USA and Germany; the precise quantity is unknown, but it is believed to exceed 10,000 items. Documentation presumably included photographs (presumably still held by those institutions). His images were also available commercially at the time, in the period immediately prior to the introduction of the picture postcard; some of the present collection have the ink stamp of Robert Lenz and Co., Singapore on the verso. However, vintage Parkinson prints are undeniably rare on the open market, and Meyer's comment in 1900 regarding the earlier destruction of the negatives of images appearing in the 1894 publication indicates why later prints of his importan.
Edité par Béthune and Plon for Susse frères and Delloye, Paris, 1839
Membre d'association : ILAB
Soft cover. Etat : Near Fine. 1st Edition. 8vo (212 x 138 mm). , 79 ,  pp., including half-title, 6 lithographed plates and 2 advertisement leaves at end. Original printed yellow wrappers (dust-soiled, some chipping of blank paper over spine with loss, small hole in rear cover), protected in custom slipcase. Text very little toned, half-title somewhat spotted, p.63 and facing plate III slightly dust-soiled, a little dust-soiling to outer margins elsewhere, faint dampstain to blank upper gutter of a few pages, two leaves with short tear without loss, some dog-earing to corners. A fine, completely unsophisticated copy. ---- "THE BEGINNINGS OF PHOTOGRAPHY" (Horblit). "PERHAPS NO OTHER INVENTION EVER CAPTURED THE IMAGINATION OF THE PUBLIC TO SUCH A DEGREE AND CONQUERED THE WORLD WITH SUCH LIGHTENING RAPIDITY AS THE DAGUERREOTYPE" (Gernsheim). FIRST EDITION, FIRST ISSUE, second imprint of Daguerre's exposition of his photographic process. AN ATTRACTIVE COPY IN ITS ORIGINAL PRINTED WRAPPERS OF THIS GREAT RARITY. Dibner 183; En français dans le texte 255; H. & A. Gernsheim, The History of Photography, chapter 6; Horblit/Grolier 21a (reproducing the 4th issue); Norman 569 (same issue); PMM 318b. We know of only three other unsophisticated copies of the first issue in its original wrappers that have appeared at auction in the past 40 years: the Honeyman copy (Sothebys 1979, lot 802, GBP 1400), the Meyer Friedmann copy (Sothebys 2001, lot 40, $55375) and finally the Richard Green copy (Christies 2008, lot 66, $122500). In contrast to ours, which is completely unrestored, the Richard Green copy featured the yellow wrappers in a cleaned and repaired state. Daguerre's manual, published by order of the government, was quickly sold out. A total of 39 reprints, new editions, and translations appeared in the following 18 months. The great demand accounts for the profusion of issues of the first edition: 7 are recorded, all from the same basic setting of type. Of these the first four differ in the booksellers' names alone. The present copy is of the first Susse issue which was released on 14 September 1939. It is the second to appear, preceded only by the Alphonse Giroux issue, published shortly after Arago's 19 August announcement, of which only two copies are known (see Honeyman 802), both preserved in the George Eastman Museum, Rochester. "At a joint meeting of the French Academies of Arts and Sciences, Count François Arago announced the miraculous invention of Daguerre, a method for making faithful impressions of objects on sheets of copper, coated with light-sensitive silver salts. Arago's announcement trumped the efforts of Talbot, much to the Englishman's chagrin" (Parr-Badger vol. 1, p. 13). Louis-Jacques-Mandé Daguerre, inventor of the Diorama, a picture show based on lighting effects, started experiments in the 1820s with fixing the images of the camera obscura on silver chloride paper. His lack of success using this method stimulated his interest in the heliographic method invented by Nicephore Nièpce, who had produced the first successful photographic image in 1826 or 1827 on a pewter plate coated with bitumen of Judea dissolved in oil of lavender. In 1829 Daguerre succeeded in persuading the reluctant Nièpce to become his partner. However, it was only after Nièpce's death, in the spring of 1835, that Daguerre accidentally discovered a quicker method of exposing and developing the Niècian image through the application of mercury vapor. Using this method, with common table salt as the fixative, he produced his first successful permanent photographic image in 1837. Still under contract with Nièpce's son Isidore, Daguerre agreed to split the profits from the new invention in exchange for calling it by his name alone. He then proceeded to launch a publicity campaign with the goal of attracting 400 subscribers at 1,000 francs each, . . . Visit our website for additional information and images!.
Etat : Used; Like New. Etat de la jaquette : Used; Like New. An extraordinary and important collection of approximately 800 period albumen portrait photographs, composed of the bulk of Volumes 1-3 of the Frederick H. Meserve photography collection and including portraits of artists, writers, scientists, educators, musicians and others, among which are included rare photographs of Brahms, Dickens, Dumas, Darwin, Barton, Nightingale, Whitman, Poe, Sand, Hugo, Daguerre, Tchaikovsky and many, many more. A complete listing of included figures, organized by profession, is included below. Born in 1865, Frederick H. Meserve was the son of William Neal Meserve, a Civil War veteran, and began collecting Civil War era photographs in the 1890s to illustrate his father's war diary. He became a prominent collector and historian of photographs from the era, especially photographs of Abraham Lincoln, and he later worked alongside historian Carl Sandburg to publish "The Photographs of Abraham Lincoln" in 1944. But he was a collector not just of Civil War photographs and indeed bought entire contents of photography studios including those of Matthew Brady, Sarony, Nadar, etc. In 1913 he made four sets of his photographs (at a cost of $413 - equivalent to approx. $9500 in today's dollars), mostly printed from the original negatives, including one each for The Morgan Library, The New York Historical Society and eventually, for Harvard. Various smaller groups of images were issued over time, but there are only these four large sets of his photographs in existence, all of which are mounted and described in Meserve's hand on folio pages, as here. While the Meserve Lincoln set of 120 images was issued in 102 sets and does surface from time to time in the trade and at auction (most recently fetching $21,600), the present much larger set is much rarer and indeed, according to our research, is by far the largest group of Meserve photographs to appear on the market in at least 30 years. A complete listing of included figures, organized by profession, is included below. Abolitionists, Suffragettes, and Other Activists:Jane Addams, Susan B. Anthony, Henry Bergh, Annie Besant, Celia Burleigh, Tennessee Claflin, Anna Dickinson (2), William Garrison (2), John P. Gough (2), Helen Hunt Jackson, Mary A. Livermore, Lucretia Mott, Wendell Phillips (2), Anna H. Shaw, Eliza Snow, Elizabeth Cody Stanton (2), Lucy Stone, Dr. Mary E. Walker (4), Frances E. WilliardAcademics, Educators, and Professors:Felix Adler, M.B. Anderson, E. Benjamin Andrews, Charles Anthon, Franz Boaz, Francis Bowen, Willima H. Brewer, Paul Chadbourne, Edmund Chadwick, Francis W. Child, Josiah Parsons Cooke, James D. Dana, Charles W. Eliot, Edward Everett [President, Harvard] (2), W.H.P. Faunce [President, Brown], C.C. Felton [President, Harvard] (2), Isaac Ferris [Chancellor, NYU], John H. Finley, John Fiske, William W. Goodwin, Dr. William H. Green, Ephraim W. Gurney, Arthur J. Hadley [President, Yale], William R. Harper [President, U. of Chicago], Thomas Hill [President, Harvard], Caspar W. Hodge, Charles Hodge, Charles J. Hughes [President, Barnes Medical College], Edmund J. James [President, U. of Illinois], William James, Hames Jennison, George W. Lane, Joseph Lovering, Richard C. MacLarin [President, MIT], William H. Maxwell [Superintendent, NYC Schools], John McCosh [President, Princeton] (2), Alexander J. McGill, John McVicar [President, Columbia], James C. Moffett, Hugo Munsterberg, Charles Eliot Norton, Eliphat Nott [President, Union College], Arthur Amos Noyes [President, MIT], John Jason Owen, A.P. Peabody, Benjamin Pierce, Thomas R. Pyncheon [President, Trinity College], Josiah Quincey [President, Harvard], John D. Runker [President, MIT], J.G. Schumann [President, Cornell], Julius H. Seelye [President, Amherst], John L. Sibley, Evangelinos A. Sophocles [President, Harvard], Jared Sparks [President, Harvard] (2), Henry Tarrey, James Monroe Taylor [President, Vassar],
Edité par the photographer, San Francisco, etc., 2010
Membre d'association : ILAB
A major photographic archive containing over 10,500 original photographic negatives and slides and more than 700 original prints. These photographs, many of which were taken for the groundbreaking sex-positive magazine On Our Backs, document San Francisco's lesbian leather community and the rise of sex clubs during the feminist sex wars, as well as San Francisco's wider queer community as reflected in Theatre Rhinoceros, AIDS fundraisers, the Gay Games, gay weddings, political activism and music festivals. Also included in the archive are an additional 3000+ negatives/slides and 100+ prints showing Shelby's artistic growth and her concurrent work as a professional photographer for the San Francisco Giants. Although many of these photographs were taken on assignment, the considerable majority have never been published or exhibited, and, with a handful of exceptions, are offered here without restrictions. Shelby (b. 1959) is an overlooked presence in the histories of this period, in part, perhaps, because of her youth at the time. She graduated from San Francisco's Academy of Art in 1984, with a strong student portfolio, included here, that demonstrates her proficiency as a photographer as well as many of the themes represented in the archive as a whole: lesbian erotic photography, gender queering, BDSM, butch/femme identification, political activism, AIDS, and the portraiture that would become her stock in trade for the next 35 years. In 1985 her first photographs were accepted for publication by the then-fledgling On Our Backs (OOB), with whom she would be published until 1996 over the course of eight assignments, including cover shoots and featured articles, and in Nothing but the Girl: The Blatant Lesbian Image, edited by OOB's Susie Bright and Jill Posener (New York: Freedom Editions, 1996). Shelby also joined the production staff of Theatre Rhinoceros in 1985 and, over the course of the next 11 years, photographed production images for nearly 40 different shows; almost 4,000 negatives and 240 prints from this work are included in the archive. Of particular significance are the approximately 1100 negatives and 50+ prints of lesbian BDSM photography, many of which were taken on assignment for OOB, Rack Productions and Spectator. These include over 400 negatives taken at BDSM-themed erotic and fashion shows sponsored by Rack Productions at Amelia's Bar on Valencia St., some from which were published in OOB and Bay Area Reporter; over 100 negatives of mid-'80s Pride parades featuring the Cogent Warriors, a local women's leather/biker group with whom Shelby was involved; over 200 negatives of the 1987 San Francisco Ms. Leather contest and first ever International Ms. Leather contest, held the same year; nearly 300 negatives from a risky erotic photoshoot for OOB featuring Bobbie Wilkes, Sky Renfro, Shadow Morton, and Debby (last name unknown) performing butch/femme BDSM sex at night in public areas on the north side of the Golden Gate Bridge; and nearly 100 negatives from an erotic photo shoot for Spectator of porn star Kym Wilde with an anonymous Stanford doctor in a fetish hood. These photos - taken with the same professionalism, artistic sense, and ability to make her subjects feel at ease in front of the camera that Shelby brings to all of her work, regardless of whether those subjects are children posing for school pictures, or porn stars in strap-ons - capture with an inherently humanizing eye a variety of the ways in which lesbian practitioners of BDSM explore issues of power, gender, and representation. Shelby was one of few women photographers working in this area at the time, a fact that is important with respect to her non-erotica work as well, both in terms of the breadth of her work and the perspective she brought to bear on it. Her photographs of Gay Games II, for example, held in San Francisco in 1986, are almost entirely of women competitors, yet most of the photos published in A Sense of Pride: The Story of Gay Games II, by Roy M. Coe, the quasi-official history of the event, are of male competitors. Similarly, Shelby is able to capture nuances of parenting and pregnancy - she had a son with her partner in 1988; a nude photo of the two of them during her partner's pregnancy is included in Nothing but the Girl - of feminism and sex-positivism, and of the financial constraints of being a woman working photographer not available to most others. Particularly after the birth of her son, Shelby's focus turned more toward developing her portraiture business, including many studio sittings of gay and lesbian couples. Several thousand more negatives, prints and digital files from this portion of her career are included in the archive, although they are not in the above tally; these are under restriction, due to the fact that many of the studio portraits include minors. A remarkable photographic archive, offering a unique look at San Francisco's lesbian BDSM, erotic, and queer communities during the feminist sex wars and the AIDS crisis. Interested parties may request an itemized listing of the archive, as well as sample galleries of photographs. Arrangements may be made to examine it in person as well.
Date d'édition : 1893
193 original albumen prints, ranging in size from 180mm x 260mm to 239mm x 290mm, mounted on card, most captioned in ink in English in a fin-de-siècle Vienna hand; approx. 60 with small printed captions mounted to boards; 8 photographs untitled. 2 vols. Oblong 4to. Archduke Franz-Ferdinand - Big Game Hunting in India 1893. Group of 193 original albumen print photographs documenting the Indian portion of the world tour of Archduke Franz-Ferdinand of Austria (1863-1914). This official voyage of the Archduke, lasting from December 1892 to October 1893, had explicit diplomatic, ethnographic, and scientific aims, as well as an unspoken goal of permitting the Archduke to recover his health after a diagnosis of tuberculosis. The royal party traveled aboard the imperial cruiser Kaiserin Elisabeth, the most modern vessel of the Austrian fleet. They spent two weeks in Ceylon (now Sri Lanka) before arriving in India in mid-January 1893. The party spent two-and-a-half months in India before touring Nepal, returning briefly to Calcutta to embark for Singapore at the end of March. The world tour continued with visits in Australia, the Pacific Islands, Japan, Canada, and the American West, before the Archduke sailed from New York to Le Havre. The Archduke's stay in India included diplomatic engagements, military reviews, and a formal visit to the sixth Nizam of Hyderabad, who was in late Victorian times the richest man in the world. The Archduke was put up in the Nizam's Bashir Bagh palace. The Archduke also spent considerable time hunting, hawking, pigsticking, bagging some 20 tigers, and leopard, antelope, sambhur, black buck, and just about every other beast of the chase (in Ceylon he had hunted elephant). Franz-Ferdinand was a devoted hunter, whose lifetime game bag exceeded 200,000 animals; on the world tour, his entourage included a huntsman and his taxidemist, Eduard Hodek (1858-1929), who was also the Archduke's photographer and boon companion. The itinerary of the Archduke's travels permits the close dating of many of the photographs and events of the trip. (A detailed list of the photographs is available.) An exhibition in Vienna in 1894 publicized the collections made by the Archduke during his world travels, and his diary was published as Tagebuch meiner Reise um die Erde, in two volumes, 1895-6. Upon the death of his father in 1896, Franz-Ferdinand became the heir to the Austrian throne. His assassination at Sarajevo in 1914 proved the spark that sent Europe and the world into war. The photographs document a wide range of subjects, both formal and informal, including views of the Archduke's activities, grand receptions by the Nizam of Hyderabad, military reviews, sporting and equestrian events, topographical vistas, palace scenes, as well as ethnographic and hunting images, including substantial game bags. Many of the formal photographs of events in Hyderabad were taken by Lala Deen Dayal (1844-1905), noted court photographer to the Nizam, and the first Indian photographer to gain international recognition for his work as a pioneer of photography in India (only a few bear his studio stamp; but the images are identified in Höfer). Some of the views of and around Calcutta are from Samuel Bourne or Bourne and Shepherd. A spectacular visual record of 1890s India, the opulence of the court of Hyderabad, and sporting episodes in the life of Franz-Ferdinand. Regina Höfer, Imperial Sightseeing: Die Indienreise von Erzherzog Franz-Ferdinand von Österreich-Este (Vienna, Museum für Völkerkunde Wien, 2010) Housed in two contemporary morocco backed cases stamped in gilt "Indien" on spine and upper covers, with third box to match. Some occasional bowing of boards, photographs fine and well preserved (with exception of a stock image of the Taj Mahal, lightly faded and some soiling to the mount) 193 original albumen prints, ranging in size from 180mm x 260mm to 239mm x 290mm, mounted on card, most captioned in ink in English in a fin-de-siècle Vienna hand; approx. 60 with small printed captions mounted to boards; 8 photographs untitled. 2 vols. Oblong 4to.
Edité par Salto Ulbeek in association with the Royal Geographical Society (with IBG) and the Scott Polar Research Institute, University of Cambridge
Hardcover. Etat : New. Limited Edition. Limited platinum-palladium edition Portfolio. 25 copies + 4 artist proofs + 1 printer proof. Size of portfolio box : 37.5 x 43.5 cm. Contents - four sections: 12 page offset-printed introductory pamphlet. 16 page offset-printed essay pamphlet. 68 platinum-palladium loose-leaf prints on cotton paper. 52 page platinum-palladium printed bound book. Portrait of Hurley: platinum-palladium print on Japanese gampi paper.
Date d'édition : 2018
Hardcover. Etat : New. Limited Edition. Limited Edition of 5 copies. On a tiered pricing system, starting from £60,000. A museum set consists of 3 boxed folio cases that contain 15 matted prints per box. Each museum set is made up of a total of 45 pigment ink prints on Hahnemule Photo Rag, mounted on 100% Museum Archival Cotton Core boards. Each folio housed in a supreme solander acid-free museum case. Signed by Author(s).
Oblong folio (9 1/2 x 13 1/2 in.; 24 x 34.3 cm.). 152 fine gelatin silver photographs of Lhasa and Tibet, tipped-in with corner mounts to a modern photograph album, mostly 4 to a page (each approximately 3 x 4 in.), numbered in the negative, and captioned in a modern hand according to Bennett s original annotations written in ink on the versos. Binding: modern scarlet leatherette. PROVENANCE: John Bain, master to Bennett at Marlborough, with photocopies of Bennett s letter to him dated 1904 enclosing these photographs, and subsequent correspondence between Bain and Bennett s family dated 1916. THESE APPARENTLY UNPUBLISHED PHOTOGRAPHS were taken by Bennett during his service with the RGA 7th Mountain Battery during the Younghusband mission of 1904. The first published photographic record of Younghusband s mission to Tibet in 1904 was White s "Tibet and Lhasa" issued in Calcutta in 1908, although both editions of that book were quickly suppressed in order to protect British interests in the area. Bennett s photographs, along with White s which were taken at the same time are important because they are SOME OF THE FIRST PHOTOGRAPHS OF THE UNIQUE LANDSCAPE AND CULTURE OF TIBET. Bennett s photographs, however, are more personal in nature than those of White, and include images not only of himself and his fellow troops, but also local people, animals and Tibet s beautiful topography. Moreover, they also record some very sensitive material, revealing the military agenda of the mission: one photograph is captioned "Three Llama prisoners wearing Devil dancing masks that I found in Naini when we went to partially destroy it. May 28th"; another, of a ruin is captioned "What the monastery at Naini looked like when the R.E. had been there an hour or two". Several photographs include the work of the R.E. road-building, supply lines, and official residences. The purported reasons for the 1904 Younghusband mission was to prevent Tibetan encroachment upon "British" territory in Sikkim, to compel the Tibetans to remove a customs post at Giao-gong, and to remove the boundary pillars they had set up along the undisputed watershed between the Tista and the Ammno Chu. The Tibetans had also ostensibly insulted the treaty rights of the British by building a wall across the only road from Tibet to the market of Yatung, which had been thrown open to trade by the stipulations of the Convention of 1890-93. However, the real but unstated reason for the expedition was to prevent Russia from establishing a foothold in Tibet which might in time threaten India. Early photographs of Tibet and Lhasa are rare and collections of original photographs taken by members of the Younghusband Expedition, even more so and are generally found only in institutional collections, such as London s The Royal Geographical Society and The National Army Museum, as well as Cambridge University Library and the Royal Geographical Society of South Australia.
Edité par Boni and Liveright, New York, 1926
Edition originale Signé
Hardcover. Etat : Near Fine. Etat de la jaquette : Near Fine. First edition, second issue. Foreword by Allen Tate. Near fine in near fine dustwrapper. Hart Crane's own copy of his first book, with his later ownership Signature: "Hart Crane, Aug. '31" and his bookplate on the front pastedown. Apparently Hart Crane's mother either gave away or sold some of his bookplates shortly after his death to Crane's good friend, the bookseller Samuel Loveman, thus resulting in occasional "association copies" surfacing. However, all of the books that we have seen Signed by him (with the exception of the signed and limited edition of *The Bridge*) were from his personal library.
Edité par Wilhelm Braumüller, Wien, 1862
Membre d'association : ILAB
Hardcover. Unique edition. Folio. 88pp (text), 72 plates (Volume I), 69pp (text), 56 plates (Volume II). Original half morocco over cloth with gold lettering and borders on spines. Marbled paper edges. Rare edition of an exceptional work compiling 128 mounted salt prints and albumen photographs, depicting a wide selection of armor for both men and horses, shields and weapons including early fire arms. Volume One contains 72 salt prints and Volume Two contains 33 salt prints and 23 albumen prints. The hundreds of items documented in this early photographic catalog come from the personal collection of Archduke Ferdinand II of Austria and are displayed at Ambras Castle, the Archduke's residence between 1563 and 1595. Ferdinand II founded the Ambras collections of 15th and 16th century arms and armor that had originally been assembled by the Emperor Maximilian I and Archduke Sigismund. This collection became renowned during his own lifetime and he built a specially conceived museum complex to house and display them. The salt prints average 11" x 6" (279 x 229mm,) the albumens are as large as 11" x 9" (279 x 229mm.) The prints are mounted on paper and framed with ink. Each photograph is preceded by a cover sheet printed with Roman numerals and a descriptive title. Spine of first volume slightly rubbed. Minor shelf-wear. Previous owner's stamp (Diégo Küpfer) on fly leaf of both volumes. Slight and sporadic rippling to top edge of some mounts, in no case affecting images. Text in German. Bindings in overall good+ to very good, pages and prints in very good to fine condition. About the authors: Andreas Groll (1812-1872), was born in Vienna as the son of a man servant. He may have learned photography during his time as a lab assistant at the polytechnic institute - today's Technical University - in Vienna from 1845 to 1853. At that time, the polytechnic institute was the most important place of early photography in Austria because of the presence of professors such as Johann Joseph of Prechtl, Anton of Schroetter (who is said to have encouraged Groll) and particularly the activity of Anton Georg Martin. Groll's early work was daguerreotype. He then turned to salt prints and albumen photographic prints. In co-operation with Eduard von Sacken, Groll's first large special photographic project was to photograph the historical weapons and armors gathered in the imperial collections of the Ambras Castle. (John Hannavy in "Encyclopedia of Nineteen Century Photography") Eduard Freiherr von Sacken (1825-1883 ) was an Austrian heraldist and antiquarian. In 1845, he was the amanuensis (secretary to a scholar) at the Imperial coin and antiquities museum of Vienna (Münz- und Antikenkabinett.) In 1854, he was hired as a curator and in 1871 was appointed director of the museum. Von Sacken published numerous Art-Historical works, but remains mostly renown for his very scholarly work on heraldry. (From A. Bernhard-Walcher: "Eduard Freiherr von Sacken," in: "Österreichisches Biographisches Lexikon 1815-1950" (ÖBL) Band 9, Verlag der Österreichischen Akademie der Wissenschaften, Wien 1988).
Edité par Vienna, 1905., 1905
Membre d'association : ILAB
Manuscrit / Papier ancien
Gum bichromate print (vintage), 223 x 164 mm. Monogrammed and dated by the artist in red ink at lower right. Matted, framed and glazed. Portrait of the 45-year-old Mahler during the heyday of his directorship at the Vienna Court Opera, three years after his wedding to Alma Schindler. One of the extremely rare works by the sugar industrialist and collector Friedrich Spitzer, who since 1895 had devoted himself to a close study of experimental photographic processes, especially gum bichromate printing - a multi-layered method that accommodated the needs of fin-de-siècle artistic photography in that it allowed for a high degree of creative freedom during every step of the process, making every resulting print a unique work of art. - Spitzer, who cultivated an image as a dandy, was a member of Vienna's modernist art scene around the turn of the century. He was accepted into the renowned London photographic society "Linked Ring" as early as 1892 and joined Vienna's "Camera Club" in 1897. For his small but expressive and technically brilliant body of work he is remembered as one of the principal Austrian artistic photographers of his age. - The present portrait of Mahler was shown at Spitzer's only exhibition, at Vienna's Miethke Gallery in 1907. The artist's autograph signature with the date "05" is usually cropped from the published reproductions. - Perfectly preserved; framed under museum glass. Illustrated in: Photographische Rundschau und Photographisches Zentralblatt, Zeitschrift für Freunde der Photographie 20 (1906), plates. Christine Kühn, Kunstfotografie um 1900. Die Sammlung Fritz Matthies-Masuren, 1873-1938, exhibition catalogue Kunstbibliothek Berlin, 25.4.-15.6. 2003, p. 137. Gilbert E. Kaplan, Das Mahler Album (Vienna: Brandstätter, 1995, erroneously described). First exhibited: Galerie Miethke, cat. Skulpturen von Ilse Conrat u. künstlerische Fotografien von Prof. Heinr. Kühn und Dr. F. V. Spitzer (1907), no. 122. Cf. Gerd Pichler, "Joseph Maria Olbrichs nie gebaute Künstlerkolonie in Wien und Josef Hoffmanns Künstlerkolonie auf der Hohen Warte", in: ICOMOS 64 (2017), pp. 83-88.