NEW AMERICAN PHOTOGRAPHS The Art Gallery, California State College, San Bernardino, October 15 – November 24, 1982 : Art Galleries, Lehigh University, Bethlehem, Pennsylvania, November 6 – December 10, 1983.[CALIFORNIA STATE COLLEGE] Corp Author Square 8vo., 44 pp., 27 b&w plates from photographs. Includes an introduction by Scott Ward, with photographers' statements and checklist. The wrappers are lightly rubbed with a slight crease to the upper tip. Very good. Among the photographers are: James Baker, Paul Berger, Gillian Brown, Jon Goodman, Mark Goodman, Lorie Novak, Rosalind Solomon, Laura Volkerding, et al.
Folio, (ii), 96 pp. Bound in the nineteenth century with cloth-backed marbled paper over boards. 24 consecutive issues, published on the 15th and 30th of each month, each 4 pp. The complete production for 1861. Occasional stains or breaks, generally in a blank margin with the loss of a few letters in 4 instances; moderate toning; early folds from the mailing practice of the day. In all, very good. Includes the printed table of contents for the year. La Lumière was the journal of the world's first photographic society, the Société Héliographique, founded by Colonel B.R. de Montfort in January, 1851. The Société met in rooms at Col. de Montfort's home in central Paris; among its members were Baron Gros, the president, Édouard Baldus, Hippolyte Bayard, Henri Le Secq, Gustave Le Gray, Charles Nègre, Abel Niépce de Saint-Victor, Edmond Becquerel, Eugène Delacroix, Champfleury, Charles Chevalier, N.P. Lerebours, Comte L. de Laborde, Prince de Montléart, and Baron de Montesquieu. La Lumière began publication on 9 February 1851, making it the third photographic journal to appear worldwide, and the first in Europe; the other two began a few months earlier. Initially, the journal was edited by F.A. Renard, and with the second volume beginning 16 November 1851, the ownership transferred from the Société Héliographique to Alexis Gaudin. Ernest Lucan became the editor on December of 1851 and continued in that position until he resigned in December of 1860. Marc Antoine Gaudin assumed the editorship for the final years of publication. This journal is invaluable for the artistic and well as the technical discussions and criticism. OCLC locates only a few institutional holdings, of which 4 have only the first 9 or 10 years, and the others have microform reels.
PROSPECT 69 Katalog-Zeitung zur Internationalen Vorschau ayt die Kunst in den Galerien der Avantgarde 30. September bis 12. Oktober 1969.Fischer, Konrad and Hans Strelow, editors Folio, 55,  pp., b&w illustrations from photographs and drawings and a color illustrated double-page. Unbound leaves, which are slightly toned with a few small creases. Very good. Issued as a catalogue of international galleries participating in this exhibition of avant-garde artists. It includes works by Bernd and Hilla Becher, Hanne Darboven, Jan Dibbets, Bruno Gronen, Michael Hizer, Sol Lewitt, Richard Long, Reiner Ruthenbeck, Niele Toroni, et al. Includes interviews with Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner.
PROSPECT 69 Katalog-Zeitung zur Internationalen Vorschau ayt die Kunst in den Galerien der Avantgarde 30. September bis 12. Oktober 1969.Fischer, Konrad and Hans Strelow, editors Folio, 55,  pp., b&w illustrations from photographs and drawings and a color illustrated double-page. Unbound leaves, which are slightly toned with a few small creases. Very good. Laid-in is color illustrated announcement for Ezra Pound's Die Frauen von Trachis, a mineograph sheet for a work by David Lamelas, and a folded two-sided catalogue showing works by Robert Fillou, Daniel Spoerri, Wolf Vostell, Dieter Rot, Joseph Beuys, Dick Higgins, et al. Issued as a catalogue of international galleries participating in this exhibition of avant-garde artists. It includes works by Bernd and Hilla Becher, Hanne Darboven, Jan Dibbets, Bruno Gronen, Michael Hizer, Sol Lewitt, Richard Long, Reiner Ruthenbeck, Niele Toroni, et al. Includes interviews with Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner.
Blair Camera Company 12mo., 44 pp., illustrations from engravings. Stapled into decorative stiff wrappers, which are edge rubbed, creased at upper tip, with droplet stains on the rear wrapper. The text is lightly worn and includes an errata slip. A good copy. The Blair Camera Company, manufacturers of cameras, lenses, plate holders and related accessories was established 1878, operated in Boston from 1881 to 1899, relocated to Rochester, New York in 1899 when it was acquired by Eastman Kodak and operated as an independant company until 1908 when it became a division of Eastman Kodak. The Hawk-Eye camera, a line developed for the budding amateur maket, was first made by the Boston Camera Company and acquired by Blair Camera in 1890. This priced and illustrated catalogue includes several types of Hawk-Eye cameras available in various sizes and configuration: Wenko Hawk-Eye, Tourist Hawk-Eye, Folding Hawk-Eye, Combination Hawk-Eye, Stereo Hawk-Eye, Focusing Hawk-Eye, varios shutters and lenses, carrying cases, tripods, film cartridges, processing equipment, flash powder and printing frames.
Kimball, Charles P. 24mo. [5 7/8 x 4 1/4 inches], 139 pp., adverts affixed to pastedowns. Publisher's full pebbled cloth, titled in gilt on the upper board with the slightest of wear at the spine ends; a near fine copy. The first edition of 1850 is exceedingly rare; this third printing of 1890 includes additional pages of omitted names, with two "Donahues" added. Howes K-134.
Lyons, Nathan, editor Elephant folios [17 1/2 x 11 1/2 inches] folded, as issued, to 8 3/4 x 11 1/2 inches. Varying paginations, illustrated from b&w photographs and drawings. Many issues bear address labels for Roger Mertin, John Szarkowski, Peter Galassi, Grace Mayer, and others. A few issues are in good condition with slight toning at the edge - the majority are near fine to fine. This serial publication began publication in March, 1972 and ceased in 2018. Often, double numbered issues were published. This long and nearly unbroken run contains 64 numbers in 92 issues, which include duplicates, the number of which are shown in ( ) : Volume 1, No. 3, 4 (2), 5, 6, 7 (2), 8 (4), 9 (2), 10 [October 1972 - February 1974] Volume 2, No 1, 2, 3 (2), 4, 5 (11), 6 (2), 7 (3), 8 (2), 9, 10 [ March 1974 - April 1975] Volume 3, No 1, 3, 4, 6, 9 [May -June 1975 - March 1976] Volume 4, No. 1 & 2, 4, 5 (3), 6, 7, 8 (2), 9, 10 [May - June 1976 - April 1977] Volume 5, No. 1& 2, 3 (2), 4, 5 (2), 6 (3), 7 (2), 8 (2), 9,10 [May - June 1977 - April 1978 Volume 6, No. 1, 3, 4, 5, 6, 7 [Summer 1978 - February 1979] Volume 7, No. 1 & 2 (2) [ Summer 1979] Volume 8, No 6, 7 [January - February 1981] Volume 9, No. 1 & 2, 4, 5, 7 (2), 9, 10 (2) [ Summer 1981 - May 1982] Volume 10, No 1 & 2, 5, 8 [Summer 1982 - March 1983].
[Young, Edward] 32mo. [90mm x 150cm], 263 pp. Contemporary calf with five raised bands and red spine label in gilt; edge-rubbed, front and rear joints partially cracked but firm. Second and final blanks have been excised, with owner's name in ink dated 1777 on the first blank and the signature of James Buchanan (not likely President Buchanan) on the top margin of the title page. Text toned, occasional light spotting, with a few blank tips creased. A good copy. The collation of this early printing conforms with OCLC 16571645: Pages misplaced as follows: 81,86, 87, 84, 85, 82, 83, 88, 89, 94, 95, 92, 93, 90, 91, 96; signature F1,F4, F3, F2.
PRC NEWS LETTER/ IN THE LUPE. 23 Issues. Volume 19, No. 7, September 1995 – Volume 24, No. 3, May/June 2000[PHOTOGRAPHIC RESOURCE CENTER] 4to., 8 pp., b&w illustrations from photographs. Most are stapled wrappers. Very good to fine. Many bear the address label of Peter Galassi at MoMA. A broken run of 23 Issues. Volume 19, No. 7, September 1995 - Volume 24, No. 3, May/June 2000. Plus, 40 duplicate issues. News, reviews and exhibitions in the greater Boston area and New England.
Two 11 x 14 inch sheets printed recto only in full color. Moderate soil and wear. Very good. Although these images are uncredited, Margaret Bourke-White, in the course of her work as a still photographer, was the production photographer for the 1943 RKO anti-fascist film, The North Star. The film was one of several such projects undertaken by Hollywood at the behest of the government in order to clarify the state of Soviet/U.S. relations brought on by the war, and to promote a sympathetic understanding of the pllight of the common Russian peoples in the face of Nazi invasion. Samuel Goldwyn enlisted Lewis Milestone (All Quiet on the Western Front) as director; Lillian Hellman was screenwriter; Aaron Copland and Ira Gershwin were the composers of the score. The cast included Anne Baxter, Dana Andrews, Walter Huston, Farley Granger, and Erich von Stroheim.