Search Results: Photography from Donald Heald Rare Books

Chicago, 1890. Oblong folio. (10 3/4 x 13 inches). 152 albumen photographs, most 7 x 9 inches, mounted recto and verso of each leaf within the album. Images captioned in manuscript on the mount below the image, many signed in white ink or in the negative by Taylor. Expertly bound to style in half dark purple morocco over period cloth covered boards, spine lettered in gilt, marbled endpapers A remarkable album of early Chicago photography by John W. Taylor: a major photographic record of Chicago in the late 19th century. Taylor was a bookseller and stationer before advertising himself as a commercial photographer in the late 1880s. He concentrated his work on Chicago-area architecture and city infrastructure. Today he is recognized as a pioneering photographer of architecture, working in Chicago at the very beginning of the skyscraper era. This superb photograph album presents a fairly comprehensive view of Chicago's architecture and life during one of the city's most interesting and vibrant… Read More

Norfolk Island, 1900. Oblong small folio. (13 1/2 x 10 1/2 inches). 42 carbon prints on 42 cream card album leaves, each mounted within ruled frame with printed caption below, the photographs measuring approximately 6x8 inches. Contemporary red morocco, upper cover titled in gilt within a gilt border, marbled endpapers, gilt edges Provenance: Hon. B.R. Wise, Attorney General (lettered in gilt on upper cover) Early photographs of a remote Pacific Island. Norfolk Island, a largely autocratic dependency of Australia, was first sighted by Captain James Cook on his second voyage and settled by the First Fleet in 1788. For the first half of the 19th century, the island was largely used as a penal colony, with many of the worst offenders transferred from Australia to the remote island. In the 1850s, after the island's penetentarial function was abandoned, the island was settled by the Pitcairn Island descendents of the Bligh mutineers. In the 1860s, the Anglican church established a large Melanesian… Read More

1866. Mounted albumen photograph, approximately 10 3/4 x 14 1/4 inches, on contemporary card mount. Manuscript caption below the image. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. "[It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's… Read More

1866. Mounted albumen photograph on contemporary card mount. Manuscript caption below the image. Half-inch closed tear in lower margin. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. "[It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's… Read More

1866. Mounted albumen photograph on contemporary card mount. Manuscript caption below the image. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. "[It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century… Read More

Germany: Benedikt Taschen Verlag, 1999. Quarto. (13 x 7 inches). 251pp. 156 black and white plates. Publisher's cloth with dust jacket. Fine copy. A collection of Edward Weston's life work. Text in English, French, and German. Essay by Terence Pitts. Personal portrait by Ansel Adams. Includes many of Weston's best known and most important images. "Few photographers have created such a legacy as Edward Weston: After a decade of successfully making photographs with painterly soft focus techniques, Weston became the key pioneer of the school of precise and sharp presentations, dubbed 'straight Photography". Through the 1920's, 30's and 40's, Weston was a major force, pushing forward the art of photography. His photographs are monuments of sensual realism, perfectly composted images of stillness that sear with passion and intensity. Whatever the subject, be it a vegetable, a landscape, a shell or the naked body, Weston's lens captures the essence of its life force, the fundamentals of its form.

Paris: Editions G. L. M. 79 Avenue de Segur. Type printed by Les Presses des Editions G. L. M. [Guy Lévis Mano, typographer (1904-1980)]; heliogravures printed by Les Presses de Breger, 1935. 4to. (9 1/2 x 7 inches). pp. 52. Foliated in pencil 1-18 including 5 original photographs. Number 388 out of 1000 copies on papier velin from a total edition of 1,225 copies: 25 on Japan of which 5 were hors commerce, and 200 on papier velin hors commerce numbered VI to CCV. Original book is illustrated with twelve black and white heliogravure photographs, one of which is a double-page, with four poems. Extra-illustrated with 5 original Man Ray photographs, including one which is solarized, printed from original negatives between 1967 and 1970. Various image sizes: (7 1/2 x 6 inches to 9 x 7 inches). Bound by Henri Mercher (1912-1976) who worked with many prominent artists including Joan Miró and Jacques Villon (Gaston Duchamp). Lettered in gold on doublure [MERCHER]. Mercher patented a binding process using… Read More

New York: M. B. Brady, F. d'Avignon, C. Edwards Lester, 1850. Folio. (21 x 15 inches). Letterpress title and salutation leaf. 12 lithograph portraits on india paper, mounted as issued, by d'Avignon after daguerreotypes by Brady (11) and a painting by S[piridione] Gambardella (1). Each plate with the publisher's blindstamp in the lower margin. Expertly bound to style in black half morocco and period cloth boards, yellow endpapers Rare early American photographic work, including portraits of John James Audubon and President Taylor from daguerreotypes by Mathew Brady, the most famous American photographer of the mid-19th century. A fine copy without the foxing usually found. The series is made up of twelve portraits, all but one from Brady's daguerreotypes, accompanied by biographical descriptions. It was intended as a celebration of the United States during the first half of the nineteenth century through the "noble deeds" of its most famous citizens. "In this Gallery, therefore, will be grouped… Read More

New York City: Graphis Inc, 1997. Folio. (13 1/2 x 10 3/8 inches). 224pp. 250 black-and-white and color nude photographs. Illustrated publisher's boards with dust jacket. Fine copy. The second volume of the Graphis series, dedicated to the art of nude photography, past and present. Representing a diverse range of styles spanning many decades, this all-new edition highlights the talents of more than 50 distinguished artists. This companion to the bestselling first volume includes photography of both men and women. With an insightful introduction by writer and critic Lyle Rexer and commentary by the longtime collector Uwe Scheid, this compilation of the best in photography of the nude human figure presents 250 sublime and surprising images by artists including Lillian Bassman, Imogen Cunningham, Lee Friedlander, Ralph Gibson, Lizzie Himmel, Horst, Andre Kertesz, Andres Serrano, Edward Weston, Joel-Peter Witkin, and many others.

[Colorado, 1873. 36 arch-topped albumen stereoview photographs by Jackson, mounted on yellow Hayden Survey mounts, images numbered and titled within the negative (27 being standard cabinet size [approx. 4 x 7 inches]; 9 "deluxe cabinet" size [4 1/2 x 7 inches]). Within 2 cloth chemises, quarter morocco box. Scarce group of Jackson stereoviews from the Hayden Survey. William Henry Jackson was one of the great 19th-century American landscape photographers, best known for his descriptive photographs chronicling the western expansion. Jackson began his career in photography in 1858, working as a retouching artist in a studio in Troy, New York. In the 1860s, after serving briefly in the Union Army, he worked at several studios in Vermont before moving to Omaha, Nebraska in 1867, where he established his own studio. He worked on an extensive series of views for the Union Pacific Railroad, which earned him enough notice to be recruited by Ferdinand Hayden for the U.S. Geological Survey team. With the… Read More

Rome: La Nuova Foglio, 1976. Large quarto. (12 1/4 x 12 1/4 inches). First edition, xv, 342pp. Hundreds of reproductions of works and photos in black and white. Foreword by Roberto Sanesi. Introduction by the Artist. Italian and English texts. Black publisher's cloth with dust jacket. Fine copy. The life's work of the German painter, graphic artist, avant-garde filmmaker, and producer, Hans Richter. The book features a foreword by prolific Italian poet Roberto Sanesi, as well as an introduction by the Artist. The volume was Initially designed by Richter himself 1975. As an older man, upon looking back at his life's work and its accompanying personal notes and commentaries, Richter decided to make the ultimate, annotated, and commentated collection of his own graphic work which began in 1902. Shortly after, Richter fell ill, dying in 1976 but still leaving the volume defined in its structure.

Munich: Kehayoff, 1999. Quarto. (13 x 10 1/4 inches). First English language edition of the 1995 Czech original, 405pp, many reproduced photographs and scholarly essays. Publisher's boards with inset pictorial label, glassine dustwrapper, and cardboard slipcase. Fine copy. Collection of Josef Sudek's most important works. Dubbed the "poet of Prague," Sudek was one of the most important and celebrated of Czech photographers. Sudek was born in Kolín, Bohemia. He worked as a bookbinder before being drafted into the Austro-Hungarian Army in 1915 and served on the Italian Front during the First World War. In 1916, his right arm was wounded which led to the limb being amputated at the shoulder. After returning from war, he studied photography for two years in Prague under Jaromír Funke. With his army disability pension, he was able to devote his time to making art and exploring different photographic styles. Sudek pushed boundaries in his work and argued for photography to move forward from the… Read More

Breclav: Moravia Press, 1996. Large quarto. 12 1/2 x 12 3/4 inches. #299 of 300 copies, text in Czech; vi, 96pp. 83 mounted black and white photographs (from 2 x 1 1/2" to 9 x 6 1/2") reproduced in photolithography to their original sizes, captioned by the original Sudek notes below each photograph in facsimile pencil as in Sudek's original "Scrapbook." Numbered and signed on colophon by Jaroslav Bocek, Pavel Jedlicka, and Miroslava Khola; with an original photograph of Josef Sudek (9 1/4 x 7") by Miroslava Khola on page 1. Black soft cover, black lettering on cream labels on cover and spine, housed in tan publisher's cloth slipcase. Fine copy. Facsimile of master photographer Josef Sudek's "Scrapbook," complete with photographs reprinted in their original sizes, as well as captions and page numbers rewritten in facsimile pencil to match Sudek's own writing. Sudek was born in Kolín, Bohemia. He worked as a bookbinder before being drafted into the Austro-Hungarian Army in 1915 and served on the… Read More

Massachusetts: Leo & Wolfe Photography, Inc, 1999. Small folio. (12 3/4 x 11 1/4 inches). First edition, 216pp; number 1294 of 2000 trade edition copies, signed by photographer Cy DeCosse. Many hand-pulled photogravures and tri-tone photographs throughout. Blue publisher's cloth with black lettering on spine and black and white photograph on cover, dustjacket. Fine copy. The volume illuminates, informs, and inspires through a comprehensive collection of poems, essays, and images by a variety of artists found nowhere else in any other single publication. A unique archive of cultural communication, criticism, and stunning visual elegance. Sheer beauty, combined with the articulate melding of visual and literary points of view. Exquisitely printed tritone images by many of the most respected photographic artists working today complemented by critical essays, prose and verse from some of the world's best known critics, scholars and poets. A unique archive of cultural communication, criticism and… Read More

[Pennsylvania, 1890. Silver gelatin photograph (15 3/4 x 19 3/4 inches). Mounted on board (19 7/8 x 23 7/8 inches). Slight silvering of part of the image, light edge wear. A fascinating image featuring eleven men standing in front of an oil rig, complete from engine house to the oil derrick, the latter extending beyond the frame of the picture. Most of the men are fairly well dressed, and perhaps picture the management of the rig or the oil company that owns the rig. Among the better-dressed subjects is a young boy perhaps in his early teenage years. Two of the men are dressed in overalls, and are likely the roughnecks for this particular rig. A rare large photograph capturing the early days of the oil business in America.

New York City: Distributed Art Publishers, Inc, 2007. Large quarto. (12 3/4 x 13 1/2 inches). First edition, 97pp. 89 tri-tone black and white photographs printed under the supervision of Daniel Frank of Meridian Printing from separations by Thomas Palmer. Features short introduction by the photographer. Mustard-colored publisher's cloth, black and white photograph on front cover, gold and silver lettering stamped on cover and spine. Fine copy. Photographs of Frederick Law Olmstead's parks, including Central Park, commissioned by the Canadian Center for Architecture, with some of the photographs appearing in a 2008 exhibition at The Metropolitan Museum of Art in New York City. A natural chronicler of all things uniquely American, photographer Lee Friedlander here points his lens to the work of Frederick Law Olmsted (1822-1903), designer of many of America's most iconic public landscapes and the father of North American landscape architecture. Olmsted was responsible for a staggering number of… Read More

Washington, D. C.: Addis Gallery, 308 Pennsylvania Ave, 1867. Albumen photograph. (8 1/4 x 5 1/2 inches.). Albumen photographic print on contemporary mount. An official diplomatic portrait of Chief Solomon Iron Nation, signatory to numerous major treaties with the US Government, taken while in D. C. to negotiate on behalf of the Lakota. Photographed by Antonio Zeno Shindler, an ethnographic painter and photographer working for the Smithsonian who had been a member of William Henry Blackmore's expeditionary party. Antonio Zeno Shindler (1823-1899), working for the Smithsonian as the official photographer of visiting delegations, took this portrait of Chief Solomon Iron Nation (Ma'-zu-o-ya'-te, variously referred to as Maza Oyate or Iron Nation) (1815-1894) of the Lower Brulé, a Lakota (Sioux) tribe in what is now South Dakota. The chief was visiting Washington D. C. on a diplomatic mission to negotiate a treaty, likely between February and April of 1867. Chief Solomon Iron Nation was a prominent… Read More

London: Richard Bentley and Son, 1893. 6 volumes, folio. (14 x 10 1/2 inches). 216 woodburytype photographs on cards. A few with minor chips at board edges of cards. (A seventh volume was published in 1894). Contemporary morocco-backed cloth boards Provenance: Peabody Institute (bookplate, inked stamp on titles and versos of photographs) A noted photographically illustrated work of portraiture and biography. Barraud was born in London to a family of artists. His maternal grandfather, Thomas Hull, was a miniature painter while his father Henry and his uncles, William and Edward Barraud were talented animal painters. Herbert's brother was Francis James Barraud, an artist celebrated for having created "His Master's Voice," a painting used in advertising by the early HMV gramophone records. Barraud was among the most fashionable portrait photographers of the Victorian era. He operated a studio at 263 Oxford Street from 1882 to 1892 and had a branch at 92 Bold Street in Liverpool serving gentlemen and… Read More

Stockholm: P. A. Norstedt et Fils, Imprimeurs de Roi, 1867. Folio. (16 1/4 x 11 inches). xxiii, [1], [2], 110pp. 29 albumen photographs mounted onto 18 sheets, 2 lithographed plates. (Minor foxing to the text) [With:] Illustrerad Tidning. Stockholm, 30. June 1866. 4 unnumb. leaves with a few text illustrations. Folded. Newspaper containing a long article about the whale with heading Malmska hvalen. [And with:] Nagra Blad om Hvaldjur i Allmanhet och Balaenoptera Carolinae. Goteborg, 1866. 20pp. Publisher's yellow illustrated wrappers. Publisher's blue cloth, covers elaborately blocked in blind, upper cover titled in gilt, flat spine lettered in gilt Rare photographically illustrated monograph on the blue whale and an inadvertent photographic work of art: one of only fifty copies produced. In 1865, a 16-meter blue whale beached outside the town of Näset, south of Gothenburg. This rare work, limited to just fifty copies, documents and photographically illustrates the whale being brought onto land,… Read More

The Hague: Edition Unida, 1970. 4to. (10 7/8 x 9 3/4 inches). 27 gelatin silver prints, each tipped to thick card. Each stamped "épreuve originale Man Ray," the first one also signed in ink on the reverse. Signed and numbered "49" in ink (colophon). Number 49 from an edition of 50 signed copies numbered 1-50; plus 9 signed copies numbered 1-9 accompanied by the original wooden mannequins; and 15 copies numbered I - XV reserved for the artist and his collaborators. Total edition: 76 copies. Together with an engraving (sheet size: 10 3/4 x 9 1/2 inches), signed and editioned "49/50" in pencil by the artist. Original red Morocco by M. Bueno, front cover blind-stamped with monograph "MR," spine lettered in gilt, gilt edges, marbled endpapers, lacking original paper-covered slipcase edged with red Morocco. Among the exclusive selection of just 50 signed copies, Man Ray's Mr. and Mrs. Woodman stands as a captivating testament to the artist's profound commentary on the artificiality of gender roles and… Read More