catalog photography

Hardcover. Germany, Steidl, 1st, 2014, Book: Very Good, Dust Jacket: None, When Sam Taylor-Johnson (born 1967) climbed the famous mirrored staircase of Chanel's headquarters at 31 rue Cambon, Paris, she did not quite know what to expect. Her destination was Coco Chanel's private apartment on the second floor; her mission, to photograph it.

Hardcover. Germany, Steidl, 1st, 2014, Book: Very Good, Dust Jacket: None, 76 pages. Hardcover with no dust jacket. Very clean, unmarked copy still in publishers shrink wrap. When Sam Taylor-Johnson climbed the famous mirrored staircase of Chanel's headquarters at 31 rue Cambon, Paris, she did not quite know what to expect. Her destination was Coco Chanel's private apartment on the second floor; her mission, to photograph it.

Hardcover. New Haven CT, Yale University Press, 1st, 2023, Book: Very Good, Dust Jacket: None, Hardcover, pictorial boards, 169 color plates. An introduction to the postmodern photographs of Allan Chasanoff, whose work interrogates and subverts the notion of photography as a truthful record of the real. From the 1960s onward, Allan Chasanoff (1936-2020) maintained a daily photographic practice, producing tens of thousands of images that pushed the limits of the medium and questioned its reliability as a document of reality. Preferring to experiment away from the art world, Chasanoff rarely exhibited his photographs, his art remaining unknown to all but a select circle of friends and collaborators. This catalogue is the first to survey his beguiling work. Monika Sziladi, Chasanoff's archivist, contributes an outline of the artists life and practice, tracing the development of his art from his early experiments with light, shadow, and color in his lens-shot photographs to his late-career foray into 3D printing, which he viewed as the latest frontier of photography. Bright, clean copy.

Softcover. New York, Charta, 1st, 2006, Book: Very Good, Dust Jacket: None, 95 pages. Softcover. Very clean, unmarked copy still in shrink wrap. 80 photographs in black and white. A collection of portraits from throughout the 1960's.

Hardcover. Torino, Italy, Hopeful Monster Editore, 1st, 2003, Book: Very Good, Dust Jacket: None, 45 pages. Hardcover with no dust jacket. Color and black and white photographs throughout. Clean, tight copy. Italian Text.

Hardcover. New York, Sports Illustrated, 1st, 2010, Book: Very Good, Dust Jacket: Very Good, IHardcover, 256 pages, illustrated throughout in color. Light edgewear to dust jacket, else a clean, tight copy. In it's 47 years of publication, "Sports Illustrated"'s annual Swimsuit issue has put the 'super' in the careers of countless supermodels. The man who showcased these beautiful faces in such beautiful places? Legendary photographer Walter Iooss Jr., who now shares his personal catalogue of swimsuit shots through the years, annotated with recollections, journal entries, personal collages and private snapshots. With 272 large-format pages of iconic imagery.

Hardcover. NY, Museum of Modern Art, 1st, 1978, Book: Very Good, Dust Jacket: Good, Hardcover, Brown cloth boards with gilt titles, in a lightly worn, price-clipped dust jacket. 180 pages, 91 illustrations (6 in color), text by Dennis Longwell. Includes a catalog of the plates, an essay on Steichen's printing techniques, a selected bibliography and an index to the plates. Covers with mild soil, interior clean and bright. Related clippings laid in.

Hardcover. New York, MoMA, 1st, 1978, Book: Very Good, Dust Jacket: Fair, 180 pages. Hardcover with price clipped dust jacket. Dust jacket has rips and tears to edges. Inch chunk missing from top front. Chipping and fraying to spine dust jacket. Black and white photographs throughout.

Hardcover. New York , The Museum of Modern Art, 1st, 2006, Book: Very Good, Dust Jacket: None, 375 pages, many b&w, some color illustrations. A stunning catalog from the world-renowned film archives of The Museum of Modern Art, New York. From Charlie Chaplin to Andy Warhol to Martin Scorsese, Still Moving contains over 500 stills from silent, documentary, animated, avant-garde, independent and Hollywood movies, representing the complete art and history of the moving image. Color printed boards.

Hardcover. New York, Abrams, 1st, 2016, Book: Very Good, Dust Jacket: Very Good, 256 pages. Hardcover with dust jacket. Very clean, like new in publishers shrinkwrap. The book features images by a who's who of legendary photographers: Anton Corbijn, Patrick Demarchelier, Steven Klein, Annie Leibovitz, Helmut Newton, Irving Penn, Mario Testino, Tim Walker, and Bruce Weber. The book includes a foreword by Anna Wintour and is punctuated with Posnick's personal memories and irreverence.

Hardcover. NY, Rizzoli/Electa/Brooklyn Museum, 1st, 2020, Book: Very Good, Dust Jacket: None, Glazed boards, 176 pages in color and b&w. Documents the infamous New York disco club in the 1970s. There has never been--and will never be--another nightclub to rival the sheer glamour, energy, and wild creativity that was Studio 54. This catalog accompanies an exhibition at the Brooklyn Museum exploring how Studio 54 was a unique zeitgeist of an era.From the moment it opened in 1977, Studio 54 celebrated spectacle and promised a never-ending parade of anything goes. Although it existed for only three years, it served as a catalyst that brought together some of the most famous, creative, and strangest people in the world. It quickly became known for its all-ages celebrity guest list and its uniquely chic clientele of superstars and freaks of all races and sexual preferences who would often show up half-dressed or in costume. From the cutting-edge lighting displays and sound system to its elaborate sets that would change on a whim, altering the environment and ambiance, it was the beginning of nightclub as performance art.

Softcover. NY, Hans P. Kraus, Jr., 1st, 1987, Book: Very Good, Dust Jacket: None, Softcover, 115 pages. Black and white reproductions of photos throughout. A catalog of early photographs offered for sale by Hans P. Kraus, Jr., focusing on the work of photographer William Henry Fox Talbot. This includes scholarship on his life, work and associates. Clean copy.

Hardcover. Boston, New York Graphic Society/ Little, Brown and Company, 1st, 1986, Hardcover in a bright. price-clipped dust jacket. Monograph to accompany an exhibition curated by Newhall and James Enyeart, with a catalog raisonne and a general selection of full page black and white (with some color) images. One of the best of the Weston monographs, with careful attention to the range, quality and meaning of his work. 123 plates plus frontis photo of Weston in the field with his 8x10 on tripod. Clean copy.

Softcover. London, Tate Publishing, 2008, 2008, Book: Very Good, Dust Jacket: None, 123 pages. Softcover. Extensive color photographs throughout. Clean, unmarked copy with only minor wear to wrappers.

Softcover. London, Tate Publishing, 1st, 2008, Book: Very Good, Dust Jacket: None, 123 pages. Softcover. Extensive color photographs throughout. Clean, unmarked copy with only minor wear to wrappers.

Hardcover. London, Art / Books Publishing, 1st, 2013, Book: Very Good, Dust Jacket: Very Good, 240 pages. Hardcover with dust jacket. Very clean, like new in publishers shrink-wrap. A tight copy. Terence Donovan was one of the foremost photographers of his generation--among the greatest Britain has ever produced. He came to prominence in London as part of a postwar renaissance in art, fashion, graphic design and photography, and--alongside David Bailey and Brian Duffy (photographers of a similar working-class background)--he captured and helped create the Swinging London of the 1960s. Donovan socialized with celebrities and royalty, and found himself elevated to stardom in his own right, and yet, despite his success and status, there has never been a serious evaluation of Donovan's fashion work: he allowed no monographs to be published during his lifetime. Terence Donovan Fashion is therefore the first publication of his fashion photographs. Arranged chronologically, and with an illuminating text by Robin Muir (ex-picture editor of Vogue), the book considers Donovan in the social and cultural context of his time, showing how his constant experimentation not only set him apart, but also influenced generations to come. Designed by former art director of Nova magazine and Pentagram partner David Hillman, and with images selected by Hillman, the artist's widow Diana Donovan and Grace Coddington, creative director of American Vogue, this volume is indisputably a landmark publication in the history of fashion photography.

Hardcover. Princeton NJ, Princeton University Press, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover, 288 pages. The impact of the humble American snapshot has been anything but humble. Any American who takes a snapshot contributes to a compelling and influential genre. Since 1888, when George Eastman introduced the Kodak camera and roll film, the snapshot has not only changed everyday American life and memory; it has also changed the history of fine art photography. The distinctive subject matter and visual vocabulary of the American snapshot--its poses, facial expressions, viewpoints, framing, and themes--influenced modernist photographers as they explored spontaneity, objectivity, and new topics and perspectives. A richly illustrated chronicle of the first century of snapshot photography in America, The Art of the American Snapshot is the first book to examine the evolution of this most common form of American photography. The book shows that among the countless snapshots taken by American amateurs, some works, through intention or accident, continue to resonate long after their intimate context and original meaning have been lost.The catalogue of a fall 2007 exhibition at the National Gallery of Art in Washington, DC, The Art of the American Snapshot reproduces some 250 snapshots drawn from Robert Jackson's outstanding collection and from a recent gift Jackson made to the museum. Organized decade by decade, the book traces the evolution of American snapshot imagery and describes how technical, social, and cultural factors affected the look of snapshots at different periods.

Hardcover. New Haven CT, Yale University Press, 1st, 1999, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. 336 pages. An exploration of the ways in which some of the most influential artists of the 19th and 20th centuries used photography in their painting and sculpture. Paintings, sculpture and photographs by such artists as Bonnard, Degas, Gauguin, Moreau, Munch, Picasso and Rosso are discussed and reproduced. Illustrated in color and B/W, index. Clean copy.

Hardcover. NY, Amphoto, 1st, 1981, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, lightly edgeworn dust jacket. 192 pages with 80 color pages and over 80 black and white illustrations. This book goes behind the scenes in the fascinating world of fashion photography. It shows how the illusion of fashion photographs is created--shows the people, planning, and hard work behind these striking and sensual images. A combination of finished fashion photos, background shots, and interviews with top people in fashion, Moves step-by-step through the intricate process of producing a fashion photograph for a major magazine, newspaper, or catalog. Minor wear to dust jacket, clean copy.

Softcover. Germany, Steidl, 1st, 2015, Book: Very Good, Dust Jacket: None, 96 pages. Softcover. Very clean, unmarked copy still in publishers shrink-wrap. Color photographs throughout. This combination of portraiture, still-life and landscape photography mirrors the eclectic influences and materials which Ghesquiere synthesizes in his collections a bold, unconventional flow whereby innovation unceasingly rejuvenates tradition.

Softcover. Germany, Steidl, 1st, 2015, Book: Very Good, Dust Jacket: None, 96 pages. Softcover. Very clean, unmarked copy still in publishers shrink-wrap. Color photographs throughout. This combination of portraiture, still-life and landscape photography mirrors the eclectic influences and materials which Ghesquiere synthesizes in his collections a bold, unconventional flow whereby innovation unceasingly rejuvenates tradition.

Softcover. Rochester NY, George Eastman House, 1st, 2000, Book: Very Good, Dust Jacket: None, Softcover, 127 page book with 40 black & white and color images by Stieglitz. Essays by Eugenia Parry, Laura Downey and Therese Mulligan. A complete illustrated catalog in rear of the collection O'Keeffe left to George Eastman House in 1951.

Softcover. Los Angeles, Museum of Contemporary Art, 1st, 2000, Book: Very Good, Dust Jacket: None, Softcover, pages. A photograph can serve as as both witness and catalyst, art object and call to action. In this catalog of a pivotal exhibition of works from the Ralph R. Parsons Photography Collection at the Museum of Contemporary Art, Los Angeles, photographs capture the heartbeat and mindset of America. Works by French photographer Brassai set the stage; the bulk of the exhibition features photographs by Robert Frank, Helen Levitt , Diane Arbus, Lee Friedlander and Garry Winogrand, among others. When many of these works were first shown, they were met with criticism and outrage, but today, we've accepted them as profound documents of our nation and era. Includes essays by exhibition curator Cornelia H. Butler, as well as Max Kozloff, A.D. Coleman, Liz Kotz and Emily Aer. Dimension: 9 1/4 x 11 1/2 inches, 125 duotone & 11 color reproductions, Exhibition Catalog.

Softcover. Los Angeles, Museum of Contemporary Art, 1st, 2000, Book: Very Good, Dust Jacket: None, Softcover, pages. A photograph can serve as as both witness and catalyst, art object and call to action. In this catalog of a pivotal exhibition of works from the Ralph R. Parsons Photography Collection at the Museum of Contemporary Art, Los Angeles, photographs capture the heartbeat and mindset of America. Works by French photographer Brassai set the stage; the bulk of the exhibition features photographs by Robert Frank, Helen Levitt , Diane Arbus, Lee Friedlander and Garry Winogrand, among others. When many of these works were first shown, they were met with criticism and outrage, but today, we've accepted them as profound documents of our nation and era. Includes essays by exhibition curator Cornelia H. Butler, as well as Max Kozloff, A.D. Coleman, Liz Kotz and Emily Aer. Dimension: 9 1/4 x 11 1/2 inches, 125 duotone & 11 color reproductions, Exhibition Catalog.