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Andrew Cahan: Bookseller, Ltd.

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GUIDE DE L'AMATEUR DE PHOTOGRAPHIE OU EXPOSÉ DE LA MARCHE À SUIVRE DANS L'EMPLOI DU DAGUERRÉOTYPE ET DES PAPIERS PHOTOGRAPHIQUES

GUIDE DE L’AMATEUR DE PHOTOGRAPHIE OU EXPOSÉ DE LA MARCHE À SUIVRE DANS L’EMPLOI DU DAGUERRÉOTYPE ET DES PAPIERS PHOTOGRAPHIQUES

Soleil, J.-F. [Jean-Baptiste François] 16mo., 79 pp. Contemporary quarter morocco with raised bands and titled in gilt, with marbled paper over boards; silk ribbon marker. Scattered foxing. Although not called for, bound in is a fine albumen photographic portrait of the author, mounted on card stock; credited in blind "H. Badie, Photographe, B. Sébastopol 17." Nicolas Henri Badié, a Parisian portrait photographer was active at this address, 1860. A very good copy. Jean-Baptise François Soleil (1798 - 1878) was a noted Parisian maker of optical instruments, and like the firm of Vincent and Charles Chevalier, he made instruments for noted scientific researchers. From 1823 on, he worked with Fresnel to develop his first annular lenses for use in lighthouses; this brought Soleil into contact with François Arago. In 1834, the future photographic pioneer, Luis Jules Duboscq apprenticed with Soleil and married one of his daughters. It was through Duboscq that Soleil began making daguerreotypes; there exist stereo daguerreotypes made by the two in collaboration. In 1840, Soleil introduced an actinometer for determining exposure times. In this small volume, Soleil provides simplified instructions for making daguerreotypes based upon the latest improvements of Daguerre's process. Further, he presents Talbot's calotype and the paper processes of Bayard, Lassaigne, Becquerel, et al. Roosens and Salu No. 2819. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 8. WorldCat lists a single copy of this book, without the portrait frontispiece, at the Bibliothèque Municipale de Lyon. An exceedingly rare publication, enhanced with a portrait of the author/photographer.
  • $7,500
  • $7,500
ESTHÉTIQUE DE LA PHOTOGRAPHIE Text by M. Bucquet

ESTHÉTIQUE DE LA PHOTOGRAPHIE Text by M. Bucquet, R. Demachy, F. Coste, E. Mathieu, C. Puyo, R. de la Sizeranne., L. Vidal and E. Wallon.

Bourgeois, Paul, director Folio, [vi], 96, [97-101] pp., 14 full-page plates on a heavy woven paper, of which 12 are b&w halftones and 2 are photogravures, each with printed tissue guards; 96 b&w halftone photographs in text with elaborate Art-Nouveau borders and unique page designs (mise-en-page). This copy, which is No. 30 of 75 special copies has an additional suite of the 14 full-page plates, printed on a fine tissue which is inset onto a heavy woven paper. Additionally, there are 47 unnumbered leaves, printed recto/verso of the of 96 halftone photographs and borders, printed without the text. Bound in half morocco and marbled paper over boards, with 5 raised bands and titled in gilt on the spine; the original Art-Nouveau printed wrappers are bound in. A few of the printed tissue guards are creased; there is faint spotting or toning on the black margins of some plate mounts, and a few of the leaves are lacking a tiny semicircular divot at the blank fore edge. A very good or better copy. With photographic contributions by P. Bergon, Mme Binder-Mestro, P. Bourgeois, M. Bucquet, F. Coste, A. Da Cunha, R. Demachy, A. Gilibert, R. C. Jacquin, Ledard, E. Mathieu, C. Petit, C. Puyo, W.H. Stewart, E. Wallon and other members of the Photo-Club de Paris. Imaging Paradise p. 205, "This series of essays on aspects of photographic practice, Esthétique de la Photographie, can be considered the manifesto of the pictorialist movement in France. Its purpose was as much display as debate, published in time to impress foreign practitioners attending the international congress of photography at the Paris World's Fair of 1900. In accord with the subject matter, the book itself is aesthetically pleasing, designed with art nouveau flourishes. Two gravure plates are printed by Dujardin - one work each by the uncontested masters Demachy and Puyo. The remaining twelve plates and imaginatively laid out in-text reproductions, offering a cross-section of work by Photo-Club de Paris members, are printed off the finest halftone blocks then available by the firm of Jean Malvaux of Brussels. Léon Vidal, doyen of photomechanical printing, expressed his parting approval: "Bibliophiles and image connoisseurs of the future will gain subtle satisfactions from photography. The book which these lines conclude fully bears this out." Roosens and Salu No. 8516.
  • $2,250
  • $2,250
TRAITÉ DE PHOTOGRAPHIE DERNIERS PERFECTIONNEMENTS APPORTÉS AU DAGUERRÉOTYPE [QUATRIÈME ÉDITION]

TRAITÉ DE PHOTOGRAPHIE DERNIERS PERFECTIONNEMENTS APPORTÉS AU DAGUERRÉOTYPE [QUATRIÈME ÉDITION]

Lerebours, N [Noël] - P [Paymal] 8vo., [vi], 203 pp., folding engraved plate, plus 14 pp. catalogue (possibly lacking a terminal leaf). Publisher's original printed blue wrappers, which are chipped at the spine ends and have a 3-inch separation along the front joint. There is scattered foxing to the text and engraved plate, with one leaf of the catalogue crudely opened. On the upper tip of the front wrapper, the author has signed and inscribed, "Hommage l'auteur, N P Lereboures." A very good, moderately worn, presentation copy. N.P. Lerebours is most noted for his publications EXCURSIONS DAGUERRIENNES (1841-1844) the first large-scaled publication illustrated from photographs, as well as for his manufacture of apparatuses, of which he was among the first. In this work, he discusses the underlying theory of the photographic process, and the numerous practical methodologies of the day. Largely concerned with the daguerreotype, with a compilation of writings by the inventors or practitioners themselves - the list of reads as a European directory of the most famous of the period. There are sections on the galvanographic process to make prints from daguerreotypes, and the gravure process of Fizeau. Although stated as the fourth edition, it should be referred to as the fourth enlarged and revised edition; his earlier publications had various other titles and were less than half the length of this work. The appended priced catalog lists all manner of photographic apparatus. There are several pages concerned with his publication, EXCURSIONS DAGUERRIENNES, and the various contents that could be ordered. In Catalogue 52, Commemorating the Centenary of Fox Talbot and Daguerre 1839 - 1939, E. P. Goldschmidt called this, "the first standard hand-book of photography." WorldCat locates eight copies in European libraries, with a single North American copy held by the University of Ottawa. Roosens and Salu No. 2842. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 18.
  • $3,000
  • $3,000
POTSDAM

POTSDAM

Baur, Max 12mo., [1] pp., and 10 b&w gelatin silver photographs, 3 1/2 x 2 5/16 inches or the reverse, tipped to mounts 5 1/2 x 4 1/2 inches, and one photograph, 3 x 2 inches on a 5 x 3 3/4 inch mount. Housed in the original three-point card portfolio, with a printed label on the upper cover. There is slight silvering to the images. The ten larger photographs are signed in type beneath the image, while the smaller photograph is signed in ink by the photographer beneath the image. On its blank reverse is a handwritten salutation in German, dated 1953, which translates to: "We are on a pilgrimage all our lives. One place is more enjoyable, the other more serious. Let's try to keep as much jot as possible everywhere and pass it on until we come home. From my heart, many good wishes for the future." Near fine. Max Baur (German, 1898-1988) has received renewed attention as the subject of MAX BAUR: IN THE BAUHAUS SPIRIT. Baur's life and career choices were effected greatly by the two World Wars. He began in publishing, ultimately making an interest in the experimental medium of photography a business. He made postcard images of scenes throughout Germany that illustrate how strongly he was influenced by the graphic work being done at the Bauhaus. His first publication contained scenes in Potsdam, a city he moved his family and business to after seeing vistas of the city's Sanssouci Park in a film. IN THE BAUHAUS SPIRIT lists the publisher for this work as Karl Specht Verlag, Berlin. This edition however, was self-published by Baur's own firm in Potsdam. These photographs may predate the 1937 Karl Specht publication, but were certainly created before World War II, which left Potsdam in ruins and forced Baur to relocate to Berlin. The Specht edition has many more illustrations, but none have original photographs as found in this portfolio.
  • $250
RÉPERTOIRE ENCYCLOPÉDIQUE DE PHOTOGRAPHIE COMPRENANT PAR ORDRE ALPHABÉTIQUE TOUT CE QUI A PARUS ET PARAIT EN FRANCE ET À L'ÉTRANGER DEPUIS LAS DÉCOUVERTE PAR NIEPCE ET DAGUERRE

RÉPERTOIRE ENCYCLOPÉDIQUE DE PHOTOGRAPHIE COMPRENANT PAR ORDRE ALPHABÉTIQUE TOUT CE QUI A PARUS ET PARAIT EN FRANCE ET À L’ÉTRANGER DEPUIS LAS DÉCOUVERTE PAR NIEPCE ET DAGUERRE, DE L’ART D’IMPRIMER AU MOYEN DE LA LUMIÈRE, ET LES NOTIONS DE CHIMIE, PHYSIQUE ET PERSPECTIVE QUI S’Y RAPPORTENT.

La Blanchère, Henri de 6 volumes. 8vo., [Vol. 1] viii, 508 pp.; [Vol. 2] [iv], 488 pp.; [Vol. 3], [iv], 376 pp.; [Vol. 4] [iv], 390 pp.; [Vol. 5] [iv], 389 pp.; [Vol. 6] [iv], 411 pp.; hundreds of b&w wood engravings. Engraved seal vignettes on each title page. Contemporary binding of quarter morocco and marbled paper over boards with four raised bands with title and decorations in gilt on the spine. A few slight scuffs to the spines; there is scattered foxing in Vols. 1 & 2, and to a much lesser degree in the others. There is a dampstain at the margin of the last few leaves of Vol. 3, and a faint tidemark to the margin of the first few leaves of Vol. 6. Affixed to the front pastedown of the first volume is the label of a Parisian bookseller. A very good to near fine, complete set. Pierre-René-Marie-Henri Moulin du Coudray de la Blanchère, commonly known as Henri de La Blanchère, was born at La Flèche, 1821. His first studies were in forestry, then natural sciences. In 1848, he adopts photography as an aide to his scientific work. By 1856, he has opened a photographic studio in Paris, perfected a waxed paper process based upon that of Gustave Le Gray, and became a member of the Société Francaise de Photographie. He was a prolific writer and experimenter, and exhibited his photographs until his death in 1880. An outstanding encyclopedia of all the photographic materials, formulas, apparatuses and applications known to date, including photomechanical reproduction, with a generous number of illustrations. This is referred to as the first encyclopedia of photography; it is an exhaustive text book of photographic and photomechanical processes. The first two volumes constitute 1538 alphabetically arranged subject articles with an index. The next four volumes were serially issued monthly over a four year period, with each part alphabetically arranged, with each volume indexed. Uncommon, with Worldcat locating full sets at only these United States libraries: Columbia University, Eastman House, Harvard Fine Arts, University of Michigan, New York Public, and the Harry Ransom Center, University of Texas-Austin. Roosens and Salu No. 3541.
  • $3,500
  • $3,500
MÉTHODES SIMPLIFIÉES DE PHOTOGRAPHIE SUR PAPIER

MÉTHODES SIMPLIFIÉES DE PHOTOGRAPHIE SUR PAPIER

Monckhoven, D. [Désiré ] van 8vo., 132 pp., 2 tipped in paper samples and 1 engraved plate; bound in at the end are the 10 folding plates from Monckhoven's 1859, RÉPERTOIRE GÉNÉRAL DE PHOTOGRAPHIE PRATIQUE ET THÉORIQUE., which include a chromolithograph, a photolithograph, engraved plates showing optics, lenses, developing equipment, stereoscopes, and equipment for making and printing photolithographs. Contemporary quarter gilt decorated morocco and marbled paper over boards; slightly rubbed at the edges. There is slight toning to the blank endpapers and at the top blank margin, with light occasional foxing to the additional plates. A very good copy. In this work, Monckhoven has enlarged and improved upon his prior writings on the calotype found in his TRAITÉ GÉNÉRAL DE PHOTOGRAPHIE. 1856, with the addition of albumen coatings, etc. There are two samples of sensitized paper: a coated waxed paper with extra-rapid double iodine, prepared to Mr. Marion's formula tipped to p. 62; and a chloride albumen sample tipped to p. 90. Roosens and Salu No. 2082. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, fails to list this title. Joseph, Steven F., Belgian Photographic Literature of the 19th Century, No. 622, citing the print run at 1500 copies, with NYPL, UCLA, Harvard and University of Rochester as the only North American holdings. E. P. Goldschmid, Catalogue 52, .Commemorating the Centenary of Fox Talbot and Daguerre 1839 - 1939, called this, "rare."
  • $1,650
  • $1,650
UNTITLED CYANOTYPE OF FLOWERING VINES

UNTITLED CYANOTYPE OF FLOWERING VINES

Tiffany, Louis Comfort Vintage cyanotype photograph, circa 1890 - 1900, measuring 8 1/16 x 6 1/8 inches, mounted on light brown board 12 x 10 7/8 inches and stamped signed "Louis C. Tiffany" beneath the image at the lower right corner. Written in pencil on the mount is "24", and there is a small chip to the lower right corner of the board. The reverse of the board is blank. Fine. "Tiffany was America's design master at the turn of the century. Most people know his lamps, many know his revolutionary and internationally heralded leaded-glass windows, and some know of his mosaics and interior design. But few have any idea that he was also a photographer whose interest in the medium went beyond the help it could be on a practical level and extended to the regions of photographic art. His many subjects included people, plants, boats, and landscapes. The ownership stampâ€"Louis C. Tiffanyâ€"often can be found on the mats around the images, identifying them as photographs taken during his travels as early as the 1870s. As the artist's photographs grew in quantity, a number was added to the mat for filing purposes, and they were incorporated into a broader collection maintained by his companies. In this way, Tiffany's personal pictures, impressions always artfully composed, continued to be an essential part of the creative process for decades." Charles Homer Morse Museum of American Art. The majority of Tiffany's surviving photographs are albumen prints.
  • $7,500
  • $7,500
DAGUERREOTYPIE FRAICHES EXPLICATIONS SUR L'EMPLOI DE SA LIQUEUR INVARIABLE

DAGUERREOTYPIE FRAICHES EXPLICATIONS SUR L’EMPLOI DE SA LIQUEUR INVARIABLE, SUR LES MOYENS QU’IL MET EN USAGE POUR EN OBTENIR LE MAXIMUM DE SENSIBILITÉ ET EN RETIRER LES AVANTAGES DE TRANSPARENCE, DE VIGUERUR ET DE COLORIS, CACHET PARTICULIER DE SES ÉPREUVES; PRÉCÉDÉES D’UNE HISTOIRE GÉNERALE ABRÉGÉE DE LA PHOTOGRAPHIE.

Thierry, J. 8vo., 194 pp.,[1], illustrations in text, at chapter heads. Publisher's original printed wrappers which are moderately soiled; the spine has been expertly repaired with the original title, date and price laid-down, the blank remainder is in facsimile; new endpapers have been added. The blank front upper tip is replaced with similar paper, and blank upper tip of the last two leaves are worn and soiled. A very good copy. Little has been written or known of this daguerreotypist from Lyon. He published a short and concise manual of 24 pp. in 1844, and a few daguerreotypes of his making have appeared at auctions in recent years. This daguerreian manual containing the latest improvements in process, is followed by a short history of photography to date; it contains an additional chapter that discusses the "American process" of daguerreotype. The index does not include this extra chapter. WorldCat locates twelve copies of this works; only two copies, the Musée d'histoire naturelle - Geneva, and the Rijksmuseum Amsterdam contain the extra chapter. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 41, pagination not noted. Roosens and Salu No. 2876 with pagination as 178 pp.
  • $3,000
  • $3,000
A SMALL ARCHIVE OF CATALOGUES AND LETTERS OF AN EARLY PRACTITIONER

A SMALL ARCHIVE OF CATALOGUES AND LETTERS OF AN EARLY PRACTITIONER

[HESS-IVES CORPORATION] Ives, Frederic Eugene and Henry Hess This collection, once owned by George H. Holt, contains the following: HESS-IVES HICHROGRAPHY. 8vo., 12 pp., illustrations from b&w photographs. String-tied decorative stiff wrappers. Faint dampstain; owner's name on the front wrapper. A three page price list is laid-in with holograph corrections. Very good. [with] HESS-IVES HICHROGRAPHY. Philadelphia: Hess-Ives Corporation, February 1916. 8vo., 31 pp., b&w and color illustrations. Decorative stiff wrappers. Previous owner's neat signature on the front wrapper. Faint dampstain and wrinkling. A near very good copy. [with] A folded typed two-page detailed instructions for exposing, developing and printing the "Hicrome" color prints. [with] A folded one-page typed letter signed and dated June 27, 1917, by F. E. Ives on Hess-Ives Corporation letterhead, addressed to Mr Holt, whose signature is on the printed catalogues. [with] Two folded, recto printed, single sheet advertisements, each picturing two of the four different Hicro cameras with prices. The catalogue dated December 1915, is the introductory catalogue for the ingenious camera that was capable of producing direct color photographs (Hichrography) from three negatives simultaneously exposed, as well as conventional b&w. The camera, available in 3 sizes (another was introduced three months later) is pictured and priced. This process was awarded the first United States patent in color photography. The laid-in price list also includes plate holders, film, paper and chemicals. The February 1916 catalogue is the second issued by the manufacturer, and increased the number of camera sizes to four. In his June 1917 letter to Mr. Holt, F.E. Ives states that he will be sending additional Hipacks, as well as his 5 x 7 camera for the Hiblock process (an adaptation of Ducos du Haron's tripack) along with holders which should be returned for processing. Ives' further writes that he is almost ready to demonstrate his "moving picture color process", on which he held three pending patents; tipped to the letter is a 2 1/4 frame sample.
  • $1,500
  • $1,500
TRAITÉ DE PHOTOGRAPHIE SUR PAPIER AVEC UNE INTRODUCTION PAR M. GEORGES VILLE.

TRAITÉ DE PHOTOGRAPHIE SUR PAPIER AVEC UNE INTRODUCTION PAR M. GEORGES VILLE.

Blanquart-Evrard, M. [Louis Désiré] 8vo., l, 199 pp. Contemporary cloth-backed marbled paper over boards, rubbed along the edges. The foxing on the title page diminishes to mild as the text progresses; the last 80 pages show a faint dampstain along the lower edge, which increases towards the last leaves. Helmut Gernsheim's HISTORY OF PHOTOGRAHY, 1969, p. 187-189, notes that Blanquart-Évrard's advancements in printing marked the beginning of a new era of photography by introducing a "very considerable improvement of Talbot's calotype process." The calotype offered very contrasty images and were lacking in halftone sensibilities; Talbot's process brushed the silver nitrate onto the paper, where Blanquart-Évrard floated the paper in the silver solution, which provided a surface impregnated with silver nitrate and therefore, much more light sensitive and able to more fully record gradations in tonality. In this 1851 publication, he provided a procedural for the preparation of glass plate negatives with albumen, and subsequently, he introduced albumen paper for positive prints which revolutionized the production and clarity of the paper print. A rare and important manual which covers all the early paper processes. Roosens and Salu No. 925. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, does not list this title indicating its scarcity. Imagining Paradise p.165.
  • $1,850
  • $1,850
L'ART DE LA PHOTOGRAPHIE PAR DISDÉRI AVEC UNE INTRODUCTION PAR LAFON DE CAMARSAC.

L’ART DE LA PHOTOGRAPHIE PAR DISDÉRI AVEC UNE INTRODUCTION PAR LAFON DE CAMARSAC.

Disdéri, [André-Adolphe-Eugène] Thick 8vo., 367 pp., illustrations in text. Publisher's original printed wrappers. The wrappers are soiled and chipped at the edges with a few short tears; the spine cover is chipped and worn; the front wrapper and first signature are separated but still attached; tips of first and last leaves are curled. In all, a bit worn but still a good copy. André-Adolphe-Eugène Disdéri (1819 - 1889) a self-taught daguerreotypist, researched and improved upon the existing collodion-on-glass negative process, which he outlined in his first publication, Manuel Opératoire de Photographie sur Collodion Instantané, 1853. That same year, he returned to Paris and opened the largest studio in Paris, which spread across two floors. It was there that he introduced his carte-de-visite portraits which were a great financial success. For the 1855 Paris Exposition Universelle, he formed the Société du Palais de l'Industrie and obtained the rights to photograph all the products and works of art exhibited at the Exposition. Josef Maria Eder writes, "Disdéri was considered the outstanding portrait photographer of his time in Paris. Napoleon III appointed him court photographer. In 1861 he instructed French officers in photography under orders from the minister of war. Disdéri's popularity is best shown by the fact that his character was introduced in 1861 as a star attraction on the stage of a small vaudeville theater in Paris by a realistic representation featuring his bald head and tremendous beard." In this, his best known and most influential book, Disdéri provides an introduction to the materials of photography, including photomechanical processes, a thorough discussion of the collodion process, and in the final part he discusses his approach to the practice and the art of photography, defending it as more than a mechanical operation, with comparisons to painting. WorldCat locates thirteen copies, with Getty Research Institute, the National Gallery of Art, and Clark Art Institute as the only U.S. holdings. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 134. Roosens and Salu No. 4246. The copy of Anatole de Baudot (1834 - 1915) noted French architect, signed and dated 1862 on the verso of the flyleaf.
  • $1,000
  • $1,000