Photography

Hardcover. New York, PowerHouse, 1st, 2004, Book: Very Good, Dust Jacket: None, Non-paginated. Illustrated with full color photographs. Clean, bright copy. Rocking on tour with America"s heavy metal superstars--Kiss, Poison, Iron Maiden, Slaughter, Ted Nugent, Dokken, and Cinderella--photographer David Yellen tailgated among the headbangers, metalheads, burnouts, and self-styled fanatics waiting for the show or hanging around backstage hoping to meet their idols. The results are a captivating record of Yellen"s trip to metal"s Shangri-la.

Hardcover. New York, Viking Press, 1st, 1961, Book: Very Good, Dust Jacket: Fair, 153 pages. Hardcover with dust jacket. Color/b&w photographs. Brodart covered dust jacket shows heavy wear on all edges. closed tear on upper front, spine edge. The internationally renowned photographer and filmmaker Eliot Elisofon (1911-1973) demonstrates the means he used to produce the distinguished pictures that made him famous. A frequent contributor to Life magazine, he also created an enduring visual record of African life from 1947 to 1973.

Softcover. New York, Aperture Magazine, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 88 pages. Aperture Magazine. Features: Josef Koudelka, Jan Tumlir, Fred Ritchin, Robert Hariman, David Campany, more. Illustrated with full color and black & white photography. Light wear. Clean, tight copy.

Softcover. Los Angeles, J. Paul Getty Museum, 1st, 2010, Book: Good, Dust Jacket: None, 208 pages. Softcover. Black and white photographs. Light edgewear to wrappers, spine shows chips and creases. Reprint of the B&W photo essay first published in 1967-68 examines daily lives of African-Americans during the Civil Rights era. Text adapts Freed's diary entries and interviews. 208 pages.

hardcover. London, Phaidon, 1st thus, 2000, Book: Very Good, Dust Jacket: Very Good, Hardcover, 108 pages. First trade edition of a book originally self-published in a small edition in 1978. A b&w photo essay on Richards' hometown of Dorchester, Massachussetts. With a new afterword by the photographer. In addition to including all the original photographs and text, this expanded edition includes pictures Richards took of the racial strife in nearby South Boston in the 1970`s as well as additional text.

Softcover. Chicago, Center for American Places, 1st, 2008, Book: Very Good, Dust Jacket: None, 119 pages. Softcover. Black and white pictures. Light edgewear to wrappers.

Hardcover. New York, Abbeville Press, 1st, 1991, Book: Very Good, Dust Jacket: Very Good, 279 pages, hardcover with dust jacket. B&w illustrations throughout. SIGNED BY AUTHOR on title page. Mild wear to dust jacket top edge. Light fading to top boards. Foxing and faint soiling to text block. A bright and tight copy.

Softcover. New York , Aperture, 1st, 2006, Book: Very Good, Dust Jacket: None, Softcover. 88 pages. Winter 2006. Photography quarterly with an essay on authenticity in news photography, women in the middle east and photographs by Marilyn Bridges, Jessica Dimmock, Patti Smith and others. A clean, tight issue.

Hardcover. US, Prestel, 1st, 2017, Book: Very Good, Dust Jacket: None, Hardcover with no dust jacket. Like new still in publisher's shrink wrap.

Hardcover. NY, The Quantuck Lane Press, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover, 120 pages in a dust jacket. Like new in publisher's shrink-wrap. 90 color portraits and landscapes celebrate the people and buildings of a struggling yet dynamic community. Sometimes haunting, sometimes ironic, always striking, these images form an eloquent visual testament to the Harlem we can see and remember.

Hardcover. US, Princeton Architectural Press and Reed College, 1st, 2006, Book: Very Good, Dust Jacket: None, 200 pages. Like new in publisher's shrink-wrap. "Snapshot Chronicles" is a visual exploration of the creative outpouring made possible by the camera. Friends, family, travel, domestic life, special occasions, the workplace, farm and city life these were all intermingled in early albums in surprising and dynamic forms. Four essayists weave together the history of the photo album, making them not just a part of our past but a significant aspect of Americana.

Softcover. US, Damiani, 1st, 2013, Book: Very Good, Dust Jacket: None, 360 pages. Softcover. Clean, unmarked copy with only minor wear to wrappers. Like new in publisher's shrink-wrap. This volume is a catalogue raisonne of the work of Brazilian photographer Klaus Mitteldorf (born 1953) from 1983 to the present. Now primarily involved in fashion photography, Mitteldorf began his career as a surf photographer in Brazil in the 1970s.

Softcover. US, Damiani, 1st, 2014, Book: Very Good, Dust Jacket: None, 110 pages, softcover. Like new in publisher's shrink-wrap. Absence of Subject and Two Crowns of the Egg are Somoroff's most intriguing books of photography. In this edition of Two Crowns, the still life art work is as stunning as the female nudes. Of note, the rare combinations of objects (such. books of literature, high polished knives, exquisite dishes) and life matter (such pomegranates, honey, eggs, human skulls) set one's imagination in fire. These strange image compositions are as odd as the pairing of words by Postmodern poet Giannina Braschi who writes love poems to objects, animals, beings. The scholarly introduction by art historian Donald Kuspit is respectable but a bit dry. Regardless the imagery and poetry tower over any essay that one could write about them.

Hardcover. Charta, 1st, 2010, Book: Very Good, Dust Jacket: None, Like new in publisher's shrink-wrap. 112 pages. Electroclash, eighties retro, tiaras, tartan and makeup: it's all there in Nicole Trevillian's photo-record of London's new music clubs and the birth of Electroclash, from 2000 to 2010. At clubs such as the famous Trash, Nag Nag Nag, Electric Stew, Jacked, Return to New York, Drama, Computer Blue, DURRR and Smash and Grab, Trevillian captures the energy flash of this moment.

Hardcover. New York, Doubleday and Co., reprint, 1963, Book: Very Good, Dust Jacket: Very Good, Hardcover. Photographs and text by Edward Steichen. Includes a biographical outline. Illustrated end pages. 249 black and white plates. Measures 11.5x10 inches. Edward Steichen (1879-1973) was the most frequently featured photographer in Alfred Stieglitz' groundbreaking magazine Camera Work during its run from 1903 to 1917. Later he worked for Conde Nast magazines Vogue and Vanity Fair. After World War II he became the Director of the Department of Photography at New York's Museum of Modern Art. Note: This book is the First edition, second printing (The book was originally published in 1963 with duotone and color plates, this second printing is in black and white only). In a very good dust jacket.

Hardcover. New York, Knopf, 1st, 1976, Book: Very Good, Dust Jacket: Very Good, Photographs by Andre Kertesz; edited by Nicolas Ducrot. 192 pages; 184 full-page, gravure-printed b&w plates; 9 x 11.25 inches. A lovely collection of Kertesz's photographs of New York City, most published here for the first time.

Hardcover. New Mexico, Museum of New Mexico Press, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover, 276 pages. Combining images from early masters and well-known fine art photographers with text and observations from noted writers, this is one of a kind book. It provides stimulating perspectives on Santa Fe's transformation over the last 160 years, presenting a historical and contextual perspective on the important role photography has played in documenting and shaping Santa Fe's image. Includes selected images from more than one hundred noted photographers.

Hardcover. New Haven, Yale University Art Gallery, 1st, 2015, Book: Very Good, Dust Jacket: None, New Haven, Connecticut Yale University Art Gallery 2015 Hardcover, illustrated photographic boards with white lettering. 140 pages with bw photos throughout. Published in conjunction with the exhibition Donald Blumberg Photographs: Selections from the Master Sets at Yale University Art Gallery, August to November 2015. With an introduction by Jock Reynolds. "Words and Images from the American Media gathers over 162 images that Donald Blumberg has photographed directly from newspapers and television screens since the 1960s.

Softcover. Hanover, NH, Hood Museum of Art, 1st, 2012, Book: Very Good, Dust Jacket: None, 70 pages. Softcover with light edgewear to paper wrappers. Crisp photographs throughout. Clean, tight copy.

Hardcover. Livingston MT, Clark City Press, 1st, 1992, Book: Very Good, Dust Jacket: Very Good, Hardcover, 250 B&w photographs of Hollywood stars & lifestyles by one of Life magazine's original photographers. "A collection of portraits by one of the original four Life photographers features candid, offscreen shots of such Hollywood stars as Errol Flynn, Greer Garson, Alfred Hitchcock, young Elizabeth Taylor, and Orson Welles."

Hardcover. University Park, Pennsylvania State University , 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover with black cloth boards in dust jacket, oblong quarto, 265 pages, illustrated in b&w. Book near fine with handsome boards and tight binding, text clean and unmarked.

Hardcover. Santa Monica CA, RoseGallery/DAP, 1st, 2007, Book: Very Good, Dust Jacket: None, Red and burgundy cloth boards with yellow stamped lettering. 144 pages. Color and b&w illustrations, portraits. Eyes in His Eyes reintroduces some of the artist's overlooked masterpieces, and reveals, for the first time, a broad selection of never-before-seen images from his private archives. In his 80-year career, Alvarez Bravo printed, published and exhibited only a thousand images. This portfolio, culled with the help of the artist himself, and completed after his death, is full of unfamiliar abstractions, portraits, landscapes and street photography.

Hardcover. London, Thames & Hudson, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover, 224 pages. In this latest celebration of his art Bailey brings together for the first time the best of all his "beauty" photographs from the 1960s up to the present day. Commissioned by the best-known fashion magazines of the time, these portraits of what Vogue once called "The Bailey Kind of Girl" include models such as Jean Shrimpton, Marie Helvin, Penelope Tree, and Bailey's wife, Catherine Dyer. Blended with these are Bailey's startling ethnographic portraits of, for example, Asaro mud men and Indian dancers, and his own paintings. In his illuminating introduction, Robin Muir sets these photographs in the context of the period in which they were taken and reminds us that for over forty years Bailey has challenged our notions of female beauty with his own highly personal vision. The sensational color images collected here testify that few are more expert than this photographer on a subject that is today preoccupying us more than ever. No admirer of either beauty or Bailey will want to be without this book. 110 color photographs.

Softcover. GR, Steidl, 1st, 2010, Book: Very Good, Dust Jacket: None, Two softcover volumes in a card slipcase. 750 total pages. Lost since 1939, the Mexican suitcase contains nearly 4,500 negatives documenting the Spanish Civil War by Robert Capa, Chim (David Seymour), and Gerda Taro. These films had traveled from Paris via the south of France to Mexico City, where, almost seventy years later, they were rediscovered and now reside in the collection of the International Center of Photography.

Hardcover. Washington DC, Smithsonian, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover, 260 pages. Working for the government's Farm Security Administration in the 1930s, photographers set out across the country to capture the human face of the Depression. Walker Evans' portraits of sharecroppers and Dorothea Lange's images of migrant families today stand as the most popular images from the FSA's project. Yet, in their own time, the pictures functioned as urgent, powerful reminders that one-third of the nation was in a real crisis. Focusing on these and other well-known FSA photographs, Finnegan examines how popular magazines constructed complex and often contradictory messages about poverty. Picturing Poverty also explores a moment in American history when visual images took center stage as the nation struggled with economic, political, and social strife. By striving to understand the original context of the photographs, Finnegan shines new light on the meanings of poverty, the Depression, and the various roles of the media. At once a persuasive analysis of FSA images and a balanced commentary on the role of the media, Picturing Poverty is above all a look into the difficult issue of how the mass media presents social issues to Americans.

Hardcover. London, Dewi Lewis, 1st, 1998, Book: Very Good, Dust Jacket: None, Hardcover, 80 pages. A photo essay depicting the British Army struggling to come to terms with contemporary life. No dj issued.

Softcover. NY, Aperture Foundation, 1998, Book: Very Good, Dust Jacket: None, Softcover, 80 pages. A large, beautifully designed photography publication with many full page photographs in black and white and color. Glossy wraps. A new generation of Czech and Slovak photographers--heirs to the legacy of such modern masters as Josef Sudek and Frantisek Driktol--will be the subject of the August 1998 issue of Aperture, featuring images never before published in the West. In the Aperture tradition of investigating the contemporary photography of individual nations, Crossing Borders probes the cultural, social, and emotional climate of the post-Communist era as experienced by twenty-three photographers.

Hardcover. NY, powerHouse, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, 112 pages. Time Frames, Michael Spano's long-awaited first monograph, catalogues the artist's exploration of spatial and temporal dimensions in photography. The book is divided into five chapters: Panoramas, Grids, Portraits, Multi-Exposures, and Diptychs; each employs a distinctive technical process to provide a new way of looking at life in New York City. Panoramas (1977-1983) show interacting urbanites moving through elongated frames as the lens of an extremely wide field camera pans during exposure. Grids (1980-1990) captures eight moments on a single negative as Spano moves through a sequence of events, pre-determinedly exposing a portion of the grid every four seconds. Portraits (1984-1990) focus on individual inhabitants transformed and etched out from their settings through the solarization and blurring forms into an atmospheric world. Multi-Exposures (1985-1998) combine solarizations with multiple perspectives. These single-negative layered compositions orchestrate and compress selected intervals of time and space into one image. Diptychs (1998-1999) fuse two distinct moments on one negative where scale, focal planes, and perspectives shift and comprise a dual image of urban spaces.

Hardcover. Dark Horse Books, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover, 216 pages. For 15 years Preston has been photographing cartoonists in their natural habitats, the studios in which they work. Revealing the faces behind the familiar drawings, Preston aims his lenses at artists engaged in virtually every realm of cartooning, including superhero comics (Alex Ross, Todd McFarlane); newspaper strips (Cathy Guisewite, Berke Breathed); alternative and underground comics (R. Crumb, the Hernandez brothers); and animation (Chuck Jones, Joseph Barbera). The best portraits capture the spirit of the subjects' work. Mad mainstay Sergio Aragones is surrounded by toy figurines. Loopy caricaturist Arnold Roth's mug sports a wacky grin. Art Spiegelman, known for his formal mastery of the comics medium, looks dead serious. The studio of gritty urban realist Frank Miller looks out on a brick wall. Most welcome are valedictory portraits of titans in the comics field who have passed on since Preston photographed them, including Will Eisner, Jack Kirby, and Carl Barks. Fans of cartooning and of photographic portraiture should enjoy Preston's evocative images of these often-reclusive figures in their working sanctums.

Hardcover. NY, Norton, 1st, 1997, Hardcover,224 pages, 93 full-color photographs. Much has been written about Alfred Stieglitz and his role in establishing photography as an art. Little attention, however, has been paid to the pictorial photographers who followed Stieglitz, among them Imo Jean Cunningham, Edward Weston, Clarence H. White, and a host of others -- those who, in a widespread movement, approached photography in a painterly fashion, creating beautiful images through the use of careful lighting, manipulated tones, soft focus effects, and artistic compositions. In this important volume, Christian A. Peterson finally gives the pictorialists of the first half of the twentieth century their due. He describes the backgrounds of the movement, their methods, the photo clubs they belonged to, and their work, illustrated here with ninety-three stunning reproductions. The movement seemed to die out, Peterson suggests, with the rising popularity of 35mm photography in mid-century, when the care and slow working procedures required by large-format cameras became unpopular.

Hardcover. Hatje Cantz, 1st, 2007, Book: Very Good, Dust Jacket: None, Hardcover, 84 pages. When David Goldblatt received the world-renowned Hasselblad Award in 2006, he had been making photographs of the South African landscape and culture for more than 50 years. Born in 1930 in a gold-mining town near Johannesburg, his parents were Jewish refugees from Lithuania, and they raised him with an emphasis on tolerance and antiracism. In 1975, at the height of apartheid, Goldblatt explored white nationalist culture in Some Afrikaners Photographed, and in the 80s he observed workers on the Kwandebele-Pretoria bus, many of whom traveled eight hours every day to work and back. His late-90s solo show at New York's Museum of Modern Art focused on architectural work, and showed off Goldblatt's uncanny ability to discover a society through its buildings and landscapes. His photographs of architectural structures revealed the ways that ideology had defined his home country's landscape. No dj issued.

Hardcover. NY, Grossman, 2nd Ed., 1969, Book: Very Good, Dust Jacket: Very Good, Hardcover, revised and enlarged, this is the 2nd American edition. A fine copy in a near fine dust wrapper. With stills from several of Frank's earliest films. With an introduction by Jack Kerouac.

Hardcover. NY, Abrams, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover, 200 pages. The photography that Americans invented in the 1960s and ?70s was as fresh and vital as their music. Photographers of those years believed in their medium?s unlimited capacities of expression. Between the publication of Robert Frank?s The Americans (1958) and the coming of post-modernism, the photographers featured in this book embarked on their own personal quests. Whether they roamed the world, like Lee Friedlander and Garry Winogrand, or sought out its dark corners, like Larry Clark and Nan Goldin, they shared a fierce devotion to their medium and its unique qualities. The generation that created this work knew it was remarkable. Today, with Gilles Mora as a guide, we can look back on it with even greater appreciation, since we know that these were indeed the last photographic heroes. Also includes work by Joel Meyerowitz, William Eggleston, and many others.

Softcover. Taschen, 1st, 2002, Book: Very Good, Dust Jacket: None, Softcover, 334 pages. Color and b&w photographs.

Hardcover. Gettysburg PA, privately printed, 1st, 1977, Book: Very Good, Dust Jacket: Very Good, Hardcover, 246 pages.

Hardcover. NY, Abrams, 1st, 1994, Book: Very Good, Dust Jacket: Very Good, Hardcover, 240 pages. Here, brought together for the first time, are great self-portraits of the masters of photography from the 1850s to the present, including Andre Kertesz, Nadar, Cecil Beaton, Edward Weston, Irving Penn, Duane Michals, and Cindy Sherman. A probing essay by Robert A. Sobieszek illuminates each of the 149 images.

Hardcover. New Haven CT, Yale University Press, reprint, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover, 208 pages. Between 1936 and 1941 Walker Evans and James Agee collaborated on one of the most provocative books in American literature, Let Us Now Praise Famous Men (1941). While at work on this book, the two also conceived another less well-known but equally important book project entitled Many Are Called. This three-year photographic study of subway passengers made with a hidden camera was first published in 1966, with an introduction written by Agee in 1940. Long out of print, Many Are Called is now being reissued with a new foreword and afterword and with exquisitely reproduced images from newly prepared digital scans. Many Are Called came to fruition at a slow pace. In 1938, Walker Evans began surreptitiously photographing people on the New York City subway. With his camera hidden in his coat--the lens peeking through a buttonhole--he captured the faces of riders hurtling through the dark tunnels, wrapped in their own private thoughts. By 1940-41, Evans had made over six hundred photographs and had begun to edit the series. The book remained unpublished until 1966 when The Museum of Modern Art mounted an exhibition of Evans's subway portraits.

Hardcover. Scalo, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover, 176 pages. The catalogue to Robert Frank's (born 1924) 2001 exhibition at the Museum Folkwang in Essen. Though the artist is best known for his seminal photobook The Americans (1959) and his experimental film Pull My Daisy (1959), until this publication, little scholarship existed on the intersection between Frank's work in the disciplines of photography and film. Hold Still, Keep Going fills that void, exploring the influence of film on Frank's photographic work, and the interaction between the still and moving image that has engaged the photographer and experimental filmmaker since the late 1950s. The book adopts a nonchronological approach, including photographs, film stills, 35mm filmstrips, as well as photomontages that present Frank's most famous series alongside less known work; from these varied contents, the volume offers revealing juxtapositions, rendering the seemingly disjointed arc of Frank's art more cohesive. Text, from handwritten phrases on photographs (of which "HOLD STILL-keep going" is but one example) to the dialogue in his films, emerges as a crucial tool, one that is also central to Frank's photo-diaries. Including a new essay from Tobia Bezzola, director of the Museum Folkwang, this edition highlights some of the more obscure work by perhaps the world's best-known living photographer, and is an essential addition to all photography and film collections.

Softcover. Tokyo, Bijutsu Shuppan-Sha, 1st, 1989, Book: Very Good, Dust Jacket: None, Softcover, 111 pages. Japanese photographer on the road from Xi'an to Kashi and back again. Color throughout.

Hardcover. NY, Limited Editions Club, Ltd. Ed., 1986, Book: Very Good, Dust Jacket: None, Near Fine slipcase with a sunned backstrip Quarto (7-1/2" x 11-1/2") handsewn and handbound in full crimson Oasis goatskin leather stamped in black. The original French with the acclaimed English translation by Paul Schmidt on facing pages. Copy #794 of 1000 numbered copies illustrated with 8 hand-pulled dust-grain photogravures by Robert Mapplethorpe printed in two colors on handmade paper and SIGNED by the photographer and the translator. "Of the arresting photographs used to illustrate the book, several of the images rank among the photographer's most famous".

Hardcover. New York, Bullfinch Press, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, 128 pages. Hardcover with dust jacket. Light abrasions on bottom corners. Light edgewaer to dust jacket. Clean, tight copy.

Softcover. New York, Rizzoli, 1st, 1991, Book: Very Good, Dust Jacket: None, Non-paginated. Softcover with light wear to paper wrappers. Color pictures throughout. Clean, tight copy.

Hardcover. New York, Farrar, Straus and Giroux, 1st Edition, 1977, Book: Very Good, Dust Jacket: Very Good, 207 pages. Hardcover. Cover boards bound in dark gray cloth, gilt title on spine. Some light fading to covers at top and bottom of spine (shelfwear). Gray endpapers. Dust jacket price-clipped, some light tanning and chipping to edges of dj (see image). Pages clean and unmarked. Foreedge has some light spots of soil and a touch of tanning (see image). Binding tight. Spine straight. Sontag examines a wide range of problems, both aesthetic and moral, raised by the presence and authority of the photographed image in the lives of everyone today. Appendix "A Brief Anthology of Quotations" included.

Hardcover. NY, Harper, 1st, 2020, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 672 pages. 16 pages of photos. What Becomes a Legend Most is the first definitive biography of this luminary--an intensely driven man who endured personal and professional prejudice, struggled with deep insecurities, and mounted an existential lifelong battle to be recognized as an artist. Philip Gefter builds on archival research and exclusive interviews with those closest to Avedon to chronicle his story, beginning with Avedon's coming-of-age in New York between the world wars, when cultural prejudices forced him to make decisions that shaped the course of his life. Compounding his private battles, Avedon fought to be taken seriously in a medium that itself struggled to be respected within the art world. Gefter reveals how the 1950s and 1960s informed Avedon's life and work as much as he informed the period. He counted as close friends a profoundly influential group of artists--Leonard Bernstein, Truman Capote, James Baldwin, Harold Brodkey, Renata Adler, Sidney Lumet, and Mike Nichols--who shaped the cultural life of the American twentieth century. It wasn't until Avedon's fashion work was exhibited at the Metropolitan Museum of Art in the late 1970s that he became a household name. Balancing glamour with the gravitas of an artist's genuine reach for worldy achievement--and not a little gossip--plus sixteen pages of photographs, What Becomes a Legend Most is an intimate window into Avedon's fascinating world. Dramatic, visionary, and remarkable, it pays tribute to Avedon's role in the history of photography and fashion--and his legacy as one of the most consequential artists of his time.

Softcover. Washington DC, Giles, 1st, 2015, Book: Very Good, Dust Jacket: None, Softcover, 80 pages. Beautiful and poignant photographs by African American and other photographers (selected from the large and growing photography collection of the Smithsonian National Museum of African American History and Culture), accompanied by three short, insightful essays, reveal the rich and significant contributions African Americans have made to to our great American heritage.

Softcover. Alexandria VA, self-published, 1st, 1979, Book: Very Good, Dust Jacket: None, Softcover, 250 pages, blue wrappers with white title and sketch of lighthouse. A collection of historical facts and b&w photographs of the Lake Champlain ares, mostly New York. Covers with light edgewear. SIGNED BY GLENN on the title page. Otherwise clean. Scarce.

Hardcover. New Haven CT, Yale University , 1st, 1989, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. Catalogue of an exhibition at Yale University Art Gallery, 10 November 1989 - 3 January 1990. Hardcover, 8.75 x 11 inches, 126 pages, illustrated, annotated.

Hardcover. NY, Alfred A. Knopf, 1st, 1964, Book: Very Good, Dust Jacket: Good, Hardcover in a bright, price-clipped dust jacket. 414 pages, numerous b/w illustrations, owner's gift inscription on endpaper, slight foxing, text clean and sound. Small paper scar at bottom of spine where sticker was removed.

Hardcover. Yale University Press, 1st, 2014, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards, 143 pages. An unprecedented look at a moving photographic series that chronicles the gay communities of Los Angeles and San Francisco from 1969 to 1972. For more than forty years, American photographer Anthony Friedkin (b. 1949), creating full-frame black-and-white images, has documented people, cities, and landscapes primarily in his home state of California. During the culturally tumultuous years of 1969 and 1970, Friedkin made a series of photographs that together offer an eloquent and expressive visual chronicle of the gay communities of Los Angeles and San Francisco at the time. This is the first book to explore the series, titled The Gay Essay, in depth, within the broader historical context that gave rise to it. 1969 witnessed the Stonewall riots in New York City and was a turning point in the history of community building and organized political activism among homosexuals in the United States. The Gay Essay provides a singular, intimate record of this crucial moment. Friedkin's portraits, taken in streets, hotels, bars, and dancehalls, demonstrate a sensitivity and an understanding that has imbued the photographs with an enduring resonance. This handsome book features seventy-five full-page plates and is accompanied by engaging essays and a poem by Eileen Myles.