NewYork

Hardcover. Harrisburg PA, National Historical Society, reprint, 1988, Book: Very Good, Dust Jacket: None, Hardcover, glossy green pictorial boards. No DJ as issued. Volume 6 of the Architectural Treasures of Early America. From material originally published as White Pine Series of Architectural Monographs edited by Russell F. Whitehead and Frank Chouteau Brown. 239 page book with historic photographs and home plans. Clean copy.

Hardcover. Harrisburg PA, National Historical Society, reprint, 1987, Book: Very Good, Dust Jacket: None, Hardcover, glossy green pictorial boards. No DJ as issued. A like new copy, no marks. Volume 2 of the Architectural Treasures of Early America. From material originally published as White Pine Series of Architectural Monographs edited by Russell F. Whitehead and Frank Chouteau Brown. 236 page book with historic photographs and home plans. Clean copy.

Hardcover. NY, Harry N. Abrams, 1st, 1997, Book: Very Good, Dust Jacket: Very Good, Hardcover, 179 pages, illustrated throughout in b&w. Light shelf-wear to dust jacket, else a clean, tight copy.

Hardcover. NY, powerHouse Books, 1st, 2019, Hardcover in a bright dust jacket. For some 70 years, Leo Goldstein's East Harlembodyof work remained mostly untouched and unseen.The silver gelatin prints were catalogued in 2016,and a selection is gathered here for the first time.The photographs were taken over a number of years,beginning in 1949 when Goldstein was a memberof the Photo League.The East Harlem corpus, edited by Regina Monfort,represents an important and unique addition to thephotographic history of New York City. Because thereare no negatives in existence, it was of particularimportance to preserve the images in book form andmake them available to the public.The selected images reflect the postwar years in theEast Harlem community, which would grow intoa center of Puerto Rican culture and life in the U.S.From the families portrayed gathering on stoops, tothe kids at their shoeshine stations, to youths playingball in the streets, to posters on neighborhood walls,Goldstein's images of East Harlem provide a windowinto the socio-economic, cultural, and politicallandscape of the time.

Hardcover. New Haven CT, Yale University Press, 1st, 2019, Book: Very Good, Dust Jacket: None, Hardcover, pictorial boards, 232 pages. The question "What is American art?" might conjure the hyperrealism of Raphaelle Peale and William Harnett, the bold graphic style of Stuart Davis and Jacob Lawrence, or the Precisionist forms of Charles Sheeler. Little known, however, is that such notions of American art are significantly owed to a Russian Jewish immigrant named Edith Halpert. The founder of the Downtown Gallery in New York, Halpert shaped an identity for American art, declaring that its thrilling heterogeneity and democratic values were what most distinguished it from the European avant-garde. For forty-plus years, Halpert's gallery brought recognition and market success to now-legendary American artists--among them Arthur Dove, Marsden Hartley, and Georgia O'Keeffe, in addition to the artists mentioned above. She relentlessly championed nonwhite, female, and unknown artists and was a formative advisor in the shaping of many of the nation's most celebrated art museums and collections, from San Francisco to Boston. Not content with those achievements, she also pioneered the appreciation and collecting of American folk art. Richly illustrated with works that passed through her groundbreaking gallery, this book tells the extraordinary and largely overlooked story of her career and legacy. The artists Halpert launched into the American canon are household names--and this book compellingly argues that hers should be, as well. In publisher's shrinkwrap.

Hardcover. US, Glitterati, 1st, 2015, Book: Very Good, Dust Jacket: Very Good, Like new in publisher's shrink-wrap. Hardcover, 272 pages. In his debut book of photography, with a foreword by one of the luminaries of NYC culture and entertainment, Adrian Buckmaster's monograph presents a staggeringly beautiful collection of portraits - a cross-section of humanity in all of its glorious diversity, from the ordinary to the extraordinary and everything in-between. Having spent his early years shooting commercial beauty and fashion, Buckmaster soon shifted focus to more personal projects, challenging conventional notions of beauty and celebrating the eccentricities of those whom society might classify as "misfits." Echoes of Buckmaster's early career remain, in the form of exquisite costuming, make-up, and scenic design. Despite an element of performance, there is an undeniable rawness to these portraits, in which subjects are both aware of the camera's gaze and sympathetically self-conscious, robing and disrobing, revealing and concealing. Buckmaster's photographic genius is encapsulated in his uncanny ability to fastidiously art direct while simultaneously stripping away layers of formality and convention. Arranged in three movements: Imposing, Revealing, and Inventing, this collection progresses from traditional portraiture to increasingly intimate portrayals, as subjects expose, create, and invent themselves. Included in this endlessly varied spectrum of characters are Burlesque performers, families, brides, lovers, and all manner of tattoos and body piercings. There are classical reclining nudes, reminiscent of Edouard Manet's Olympia or Titian's Sleeping Venus, dancers with incredible physical strength and dexterity, women costumed as peacocks and geishas, a contortionist inside a trunk, even a green-skinned man, bejewelled like an Indian deity.

Hardcover. Harrisburg PA, National Historical Society, reprint, 1988, Book: Good, Dust Jacket: None, Hardcover, glossy green pictorial boards. No DJ as issued. Volume 9 of the Architectural Treasures of Early America. From material originally published as White Pine Series of Architectural Monographs edited by Russell F. Whitehead and Frank Chouteau Brown. 248 page book with historic photographs and home plans. Light soil to fore-edge of text block. Otherwise clean.

Softcover. New York, Peter T. Tunney , 1st, 1992, Book: Very Good, Dust Jacket: None, Non-paginated. Softcover. Extensive color photographs throughout. Illustrated end papers. Mild soil to back cover, otherwise clean, tight copy.

Softcover. Buffalo NY, Blazevox Books, 1st, 2017, Book: Very Good, Dust Jacket: None, Softcover, 58 pages, illustrated in color. A tribute to New York City in words and pictures by the two poets. Clean copy.

Hardcover. New York, Fifth Avenue Association, 1st, 1924, Book: Very Good, Dust Jacket: None, Hardcover, 124 pages of text and full color and black & white illustrations followed by large section of advertisements. Book measures: 12.25" X 9.25". Light rubbing to cover corners. Clean, unmarked pages.

Hardcover. New York, Fifth Avenue Association, 1st, 1924, Book: Good, Dust Jacket: None, Hardcover, 124 pages of text and illustrations followed by 66 pages of ads. Hinges tender. Green cloth covers with full color pastedown on front. Light rubbing to cover corners. Clean, unmarked copy.

Hardcover. Baltimore, The Johns Hopkins University Press, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover in a dust jacket. 374 pages, b&w photos. Clean, unmarked copy with only minor wear to dust jacket. "At the dawn of the nineteenth century, Saratoga Springs hosted no more than a thousand hardy travelers yearly, Newport floundered in the midst of a fifty-year commercial decline, and Coney Island's beach resembled a wind-swept wilderness. A hundred years later, the number of summer visitors to Saratoga had increased a hundredfold, the antics of high society at Newport transfixed America, and at least five million pleasure seekers visited Coney annually. 'Those who talk of the mushroom growth of our Western cities,' declared an astounded writer for Harper's Weekly in 1878, 'might better spend their wonder and enthusiasm upon our Eastern watering-place.'" -- From the Introduction. Fifty-nine illustrations enliven Sterngass's unique study of the commodification of pleasure that occurred as capitalist values flourished, travel grew more accessible, and leisure time became democratized.

Softcover. New York, Peninsula Press, Reprint, 1994, Book: Very Good, Dust Jacket: None, 103 pages. Spiral bound reprint edition privately printed by Peninsula Press in 1994. Previous owners name stamped at top of title page. Black & white illustrations. Clean, unmarked text.

Softcover. New York, Whitney Museum of American Art, 1st, 1984, Book: Very Good, Dust Jacket: None, Exhibition catalog. 110 pages, illustrated throughout color and b&w. Gray pictorial stiff wrappers. Light wear and rubbing to covers and spine, else a very nice. tight,. clean copy.

Hardcover. New York , powerHouse Books, 1st, 2012, Book: Very Good, Dust Jacket: None, Hardcover, non-paginated, illustrated throughout with photos in color. Minor shelf-wear to laminated boards, remainder mark to bottom edge. Clean, tight copy. A series of photographs capturing a gritty, glamorous, and authentic old- school New York, well before Mickey Mouse took over Times Square and scrubbed it clean. Curators and editors Beatriz and Hilton Arial Ruiz have collected and preserved the work of local street photographer Bill Butterworth, and have drawn from his work to create a revealing portrait of the Forty-Deuce, inside and out-- capturing the unique street life and street style of the era.

Softcover. Fleischmanns NY, Purple Mountain Press, Revised Ed., 2009, Book: Very Good, Dust Jacket: None, Softcover, 314 pages, b&w illustrations. Second Edition with supplement. Small ink name on title page. Otherwise, like new.

Hardcover. NY, Harry N. Abrams , 1st, 2021, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards, 352 pages. A visual history of 100 years of filmmaking in New York City, featuring exclusive interviews with NYC filmmakers. Fun City Cinema gives readers an in-depth look at how the rise, fall, and resurrection of New York City was captured and chronicled in ten iconic Gotham films across ten decades: The Jazz Singer (1927), King Kong (1933), The Naked City (1948), Sweet Smell of Success (1957), Midnight Cowboy (1969), Taxi Driver (1976), Wall Street (1987), Kids (1995), 25th Hour (2002), and Frances Ha (2012). A visual history of a great American city in flux, Fun City Cinema reveals how these classic films and legendary filmmakers took their inspiration from New York City's grittiness and splendor, creating what we can now view as "accidental documentaries" of the city's modes and moods.In addition to the extensively researched and reported text, the book includes both historical photographs and production materials, as well as still-frames, behind-the-scenes photos, posters, and original interviews with Noah Baumbach, Larry Clark, Greta Gerwig, Walter Hill, Jerry Schatzberg, Martin Scorsese, Susan Seidelman, Oliver Stone, and Jennifer Westfeldt. Extensive "Now Playing" sidebars spotlight a handful of each decade's additional films of note.

Hardcover. Baltimore, Johns Hopkins University Press, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 276 pages, b&w illustrations. Few people have had as profound an impact on the history of New York City as William J. Wilgus. As chief engineer of the New York Central Railroad, Wilgus conceived the Grand Central Terminal, the city's magnificent monument to America's Railway Age. Kurt C. Schlichting here examines the remarkable career of this innovator, revealing how his tireless work moving people and goods over and under Manhattan Island's surrounding waterways forever changed New York's bustling transportation system. After his herculean efforts on behalf of Grand Central, the most complicated construction project in New York's history, Wilgus turned to solving the city's transportation quandary: Manhattan - the financial, commercial, and cultural hub of the United States in the twentieth century - was separated from the mainland by two major rivers to the west and east, a deep-water estuary to the south, and the Harlem River to the north. Wilgus believed that railroads and mass transportation provided the answer to New York City's complicated geography. His ingenious ideas included a freight subway linking rail facilities in New Jersey with manufacturers and shippers in Manhattan, a freight and passenger tunnel connecting Staten Island and Brooklyn, and a belt railway interconnecting sixteen private railroads serving the metropolitan area.

Hardcover. NY, Harper & Brothers, 1st, 1949, Book: Very Good, Dust Jacket: None, Hardcover, black cloth covers with yellow lettering. No dust jacket. 161 pages illustrated with 72 striking black-and-white photogravures by Berenice Abbott. Having spent most of the 1920s in Paris photographing such famous literati as James Joyce, Jean Cocteau and Andre Gide, Abbott returned to New York with the intention "to do in Manhattan what Atget did in Paris. " Throughout the 30s she captured New York "with a straightforward style that nodded toward 19th-century classicism while signaling a new sort of stripped-down modernism" (Roth, 100). Included here are her images of such artists as Isamu Noguchi, Edward Hopper, John Sloan and William Auerbach-Levy, each in their studios, along with numerous glimpses into the buildings, people and life of Greenwich Village. Text by Henry W. Lanier, editor, writer and son of renowned southern poet Sydney Lanier. Bright, clean copy.

Hardcover. NY, Nesterman Publishing., 1st, 1943, Book: Very Good, Dust Jacket: None, Hardcover, maroon cloth stamped in gilt. 263 pages, b/w illustrations by Al Coleman. SIGNED BY BOTH AUTHORS on the front fly leaf. A memoir of growing up on farms in central and western New York before the turn of the century. A hilarious account that recalls all the joys and a few of the mishaps that accompanied Horse and Buggy days on the farm. Clean, tight copy.

Hardcover. NY, Random House, BC Ed., 1968, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. Copyright page states first printing, but no price on flap, probably a book club edition. Colorfully illustrated boards with black cloth spine, with gilt lettering; white DJ with red and orange illustration and lettering; 255 pages, profusely illustrated. Long before Harlem became one of the trendiest neighborhoods in the red-hot real estate market of Manhattan, it was a metaphor for African American culture at its richest. Allon Schoener's celebrated Harlem on My Mind is the classic record of Harlem life during some of the most exciting and turbulent years of its history, a beautiful and poignant reminder of a powerful moment in African America history. Including the work of some of Harlem's most treasured photographers, among them James Van Der Zee and Gordon Parks, there are photographs of Harlem's literary lights Langston Hughes, Countee Cullen, and Richard Wright; its politicians Marcus Garvey, Malcolm X, and Adam Clayton Powell Jr.; and its musicians Ethel Waters, Duke Ellington, and Billie Holiday. The book also includes the photographs of the everyday folk who gave life to this legendary community. Clean copy.

Hardcover. Chicago, University Of Chicago Press, 1st, 2013, Book: Very Good, Dust Jacket: Very Good, Hardcover, 364 pages, illustrated throughout in color. Clean, unmarked copy with only minor wear to dust jacket. Wandering the streets of Harlem for the past forty years, Camilo Vergara has noticed and miraculously recorded those moments of great human invention that have been largely overlooked by the official chronicles of architecture and urban history. For this reason, his photographs are unique and indispensable.

Hardcover. Chicago, University of Chicago Press , 1st, 2013, Book: Very Good, Dust Jacket: Very Good, Hardcover, 364 pages, illustrated throughout in color. Clean, unmarked copy with only minor wear to dust jacket. Photographer Camilo Jose Vergara has been chronicling the neighborhood for forty-three years, and Harlem: The Unmaking of a Ghetto is an unprecedented record of urban change. Vergara began his documentation of Harlem in the tradition of such masters as Helen Levitt and Aaron Siskind, and he later turned his focus on the neighborhood's urban fabric, both the buildings that compose it and the life and culture embedded in them. By repeatedly returning to the same locations over the course of decades, Vergara is able to show us a community that is constantly changing--some areas declining, as longtime businesses give way to empty storefronts, graffiti, and garbage, while other areas gentrify, with corporate chain stores coming in to compete with the mom-and-pops. He also captures the ever-present street life of this densely populated neighborhood, from stoop gatherings to graffiti murals memorializing dead rappers to impersonators honoring Michael Jackson in front of the Apollo, as well as the growth of tourism and racial integration. Woven throughout the images is Vergara's own account of his project and his experience of living and working in Harlem. Taken together, his unforgettable words and images tell the story of how Harlem and its residents navigated the segregation, dereliction and slow recovery of the closing years of the twentieth century and the boom and racial integration of the twenty-first century. A deeply personal investigation, Harlem will take its place with the best portrayals of urban life.