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Salute, Walt Whitman (Signed Edition)
Duane Michals
Salute, Walt Whitman (Signed Edition)
1996
Book hardbound
0 x 0 in. (0 x 0 mm)
Twin Palms, Santa Fe, 1996. First edition. Quarto. Cloth, fine in fine cloth-covered slipcase. One of 100 copies numbered and signed by Michals in a slipcase. Beautifully printed in sheet fed gravure. Very rare in this version. Not to be confused with signed copies of the regular printing.
Price: $400  Sale: $280 (ref. 9034)

Tenth Anniversary Edition of Treadwell
Andrea Modica
Tenth Anniversary Edition of Treadwell
1986
Archival pigment print and book unmounted
0 x 0 in. (0 x 0 mm)
Tenth Anniversary Edition of Treadwell with print (Introduction by Maria Morris Hambourg, essay by Annie Proulx, Published by Chronicle Books, San Francisco, CA), 1996. Signed copy (hardcover) with archival pigment print, signed and numbered (out of edition of 15) by Andrea Modica. Packaged in an archival cloth covered tray case.
Price: $1,500 (ref. 12999)

Helmut Newton: White Women
Helmut Newton
Helmut Newton: White Women
1976
Book hardbound
12-3/8 x 9-1/4 in. (314 x 235 mm)
NY Stonehill 1976. Published by Stonehill Publishing Company in 1976. Hardcover, first edition. First Printing. Introductory essay by Philippe Garner, captions by Helmut Newton. A very fine copy in fine+ dust jacket with a slight chip to bottom right cover of dj. White Women, Helmut Newton's legendary first work, appeared more than 20 years ago. With its superior mixture of aesthetics, technical perfection and bourgeois decadence it has lost nothing of its potency and attractiveness. Newton's work encompasses a wealth of themes, also embodying facets of the mass-media world of glamour, masquerade and show. Using subtle, yet striking images--like those of Paloma Picasso, Veruschka, Elsa Peretti, Karl Lagerfeld, David Hockney and Charlotte Rampling--Newton embraces the delicate, natural beauty of the naked female body. White Women is a masterpiece of erotic visual literature.
Price: $400 (ref. 9497)

Passage: A Work Record
Irving Penn
Passage: A Work Record
1991
Book (Signed Copy) hardbound
12-3/4 x 11 in. (324 x 279 mm)
Penn, Irving, Alexandra Arrowsmith & Nicola Majocchi. Introduction by Alexander Liberman. IRVING PENN: PASSAGE, A WORK RECORD. Signed and Dated by the Photographer. New York: Alfred A. Knopf, Inc. & Callaway Editions, Inc., 1991. First Edition. 4to. Cloth in Pictorial Dust Jacket. Photography Monograph. Very Fine. 300 pp, profusely illustrated in color and duotone. With a work chronology. "Passage" is the monumental 1991 survey of Irving Penn's extraordinary career as a portrait, still life, and fashion photographer. Produced by Nicholas Callaway with photographic supervision by Richard Benson, it beautifully collects and reproduces more than fifty years of his visionary work - primarily in conjunction with Vogue magazine. A handsome copy of this landmark publication BOLDLY SIGNED AND DATED by Irving Penn in the year of publication inside a circular cartouche in black ink on the half title page.
Price: $950 (ref. 12450)

The Blossoming of the World, Essays and Images
Brian H. Peterson
The Blossoming of the World, Essays and Images
2011
Book hardbound
10-3/8 x 7-1/4 in. (264 x 184 mm)
Published by Tell Me Press, New Haven, Connecticut, 2011. First edition in hard cover, 242 pages.
Price: $30 (ref. 14204)

What's Wrong with Daguerre: Reconsidering old and new views on the invention of photography
Hans Rooseboom
What's Wrong with Daguerre: Reconsidering old and new views on the invention of photography
2010
Book/Pamphlet softbound
8-1/4 x 5-7/8 in. (210 x 149 mm)
[Published Nescio, 2010 Amsterdam] Limited edition of only 500 copies. From Hans Rooseboom, curator of photography at the Rijksmuseum in Amsterdam, comes a finely researched, self-published monograph, "What's Wrong with Daguerre?" This 35-page treatise explores the historical record, familiarly noting that when Louis-Jacques-Mandé Daguerre introduced his daguerreotype process in 1839, he was regarded as photography's principal inventor, but that it wasn't long before other innovators--notably Joseph- Nicéphore Niépce, William Henry Fox Talbot and Hippolyte Bayard--were viewed as rivals, sparking the "priority debate" about who was the rightful father of photography. With ample citations and clear comparative analysis, Rooseboom argues compellingly that Daguerre's problem (that is, the devaluation of his role and his process) has often been a matter of bias or nationalism on the part of photo-historians and others who, for example, view the daguerreotype as an instrument of commercialism and the calotype of Fox Talbot as a purer expression of photographic art.
Price: $15 (ref. 12453)