Strand, MarkBiblio.com
1964réf. 61611Iowa City: Stone Wall Press 1964. First edition limited to 225 copies this no. 41; 8vo pp. 53 3; original red cloth gilt-stamped spine publisher's slipcase. Fine copy from the library of Kim Merker. This copy inscribed by Strand to Merker: "To Kim / Who published the first and most recent - elegantly beautifully. With high regard and abiding affection. / Mark Strand." Berger Printing & the Mind of Merker 16: "Mark was a student at the Writers Workshop at the time." This is his first book. Stone Wall Press unknown
2010réf. C93930Aperture/Fundacion Televisa. As New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 356 pages; 429 illustrations including 100 in color. Catalogue Raisonne Catalog Raisonné Complete Works Catalogo Razonado Obra Completa Raisonnee -- with a bonus offer-- - May be EITHER: out of print OOP and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition; inquire for details; Paul Strand in Mexico tells the story of the photographer's journeys through Mexico in the early 1930s. In search of a fresh start Strand traveled to Mexico City in late 1932 at the invitation of Carlos Chavez the eminent Mexican composer and conductor. The work he created during this key period reflects a time of intense productivity creative renewal and the evolution of Strand's foundational idea of the "collective portrait" in which he depicted a region through photographs of individuals still lifes and studies of architecture and religious subjects. The first publication to chronicle this pivotal time in Strand's career 1932-34 Paul Strand in Mexico demonstrates how through his photographic studies and work in film Strand deepened his involvement with Mexican art society and revolutionary politics. Shedding new light on this little-known chapter of Strand's life a scholarly analysis by James Krippner Associate Professor of History at Haverford College Pennsylvania brings together primary research from distinguished archives and institutions in both Mexico and the United States and Mexican photo-historian Alfonso Morales contributes an essay contextualizing this remarkable body of work within the canon of Mexican photography and film of the 1930s. Additionally the appendix serves as the catalogue raisonne of Strand's entire photographic output in Mexico. The culmination of Strand's time in Mexico was his collaboration with Emilio Gomez Muriel and Academy Award-winning director Fred Zinnemann on the groundbreaking film Redes The Wave 1936. A remastered DVD version of the film is included with this essential volume. Paul Strand 1890-1976 is one of the great photographers of the twentieth century. As a youth he studied under Lewis Hine at the Ethical Culture Fieldston School going on to draw acclaim from such illustrious sources as Alfred Stieglitz. After World War II Strand traveled around the world--from New England to Ghana to France to the Outer Hebrides--to photograph and in the process created a dynamic and significant body of work. . 2010. 1597111376 . Aperture/Fundacion Televisa hardcover
réf. 104594Dresden Verlag der Kunst 1962. . First edition; 4to 28 x 23 cm; presentation inscription by photographer on half title page reads 'To Mohamed and Aicha Ouda with friendship and much affection. Paul Strand. Cairo. April. 1965.' numerous black & white photographic illustrations; publisher's printed grey cloth pictorial dust wrapper chipped and worn; overall a very good copy. One of the most influential photographers of the twentieth century Paul Strand 1890-1976 was born in New York City and went on to study under Lewis W. Hine before becoming a commercial photographer in 1912 following Alfred Stieglitz in his commitment to 'straight' photography. In 1933 he was appointed chief of photography and cinematography in the Secretariat of Education in Mexico. After 1942 he concentrated on still photography for his records of life in many parts of the world. This presentation copy is inscribed by Paul Strand to Mohamed Ouda and his wife. Ouda 1920-2006 was an Egyptian thinker and writer. He was one of Egypt's staunchest Nasserists whose motto in life was 'You never own anything. It is things that own you' - a motto which earned him the title of 'the Egyptian Gandhi'. Dresden, Verlag der Kunst, 1962. hardcover
1974réf. 20293New York: Aperture 1974. Numbered limited edition. Hardcover. vg. 1/350. Sm. quarto. 182pp. Black cloth in matching slipcase with original publisher's paper band. Two tiny stains on front cover. Profusely illustrated with b/w reproductions of photographs on glossy paper. Includes excerpts from correspondence interviews documents chronology and selected bibliographies. Profile by Calvin Tomkins. Accompanied by a hand-pulled dust-grained 5 1/2" x 7" gravure Fisherman Gaspè 1937 of an Iris window-mounted on stiff sleeve and protected by printed tissue guard within gray paper folder all in original shipping sleeve. Gravure was made from the original negative. Blind-stamp of Paul Strand Estate on lower right margin of sleeve. Gravure in fine book in near fine condition. All items in publisher's large original shipping box. Rare. Aperture hardcover
2010réf. 93930Aperture/Fundacion Televisa. New. 2010. Hardcover. 1597111376 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 356 pages; 429 illustrations including 100 in color. Catalogue Raisonne Catalog Raisonné Complete Works Catalogo Razonado Obra Completa Raisonnee Aperture/Fundacion Televisa hardcover
1973réf. 593154New York: Atheneum 1973. Hardcover. Near Fine. First edition hardcover issue. Yellow cloth gilt. Slightest soiling on the spine near fine issued without dust jacket. Published as a paperback original this is one of approximately 10 copies prepared by the publisher in hardcovers for the use of the author. This copy Inscribed by Strand using most of the front fly to fellow poet Donald Justice and his wife Jean: "for Don and Jean with love and thanks and better story in the making Mark Strand. Iowa City. Sept. 1973. The Yewell Street Story is merely a diversion." Laid into the book are seven pages carbon typed manuscripts on rectos only of a long poem by Strand "The Untelling" and the final poem in the book not identified as being by Strand except for a small pencil note "Strand" on the first page likely in Justice's hand. The seven-page manuscript has one small hand-correction and has been neatly folded into thirds else fine. The hardcover issue is rare. The association is significant. The carbon typescript is a bonus. Atheneum hardcover
1967réf. 329383New York: Da Capo Press 1967. Second edition. Prefatory note by Leo Hurwitz new note for this edition by Strand and a statement of homage by David Alfaro Siqueiros. One of 1000 numbered copies signed by Strand. Twenty photogravures. 8pp. 1 vols. Folio. Folded signatures and loose sheets laid into stiff wrapper enclosed in folding cloth covered chemise and board slipcase minor wear to slipcase. Second edition. Prefatory note by Leo Hurwitz new note for this edition by Strand and a statement of homage by David Alfaro Siqueiros. One of 1000 numbered copies signed by Strand. Twenty photogravures. 8pp. 1 vols. Folio. A masterful reworking of the 1940 original prepared under the photographer's supervision with the photogravures hand printed from the original plates on BFK Rives by Albert Delong. Strand took the original photographs in 1932-33 as a prelude to his work on the film Los Redes and the 1940 edition under the title Photographs of Mexico was limited to 250 copies. Da Capo Press unknown
1980réf. 16001New York: Aperture 1980. First edition Deluxe issue. Hardcover. vg. 1/450. Tan cloth title stamped in gray and white on cover with matching slipcase in original publishers shipping box. Some tearing to tape on box abrasions on part of title on fore-edge of box. Illustrated with 94 reproductions of black and white photographs by Paul Strand. Includes original 7 1/2" x 9 1/2" hand-pulled dust-grain photogravure Iris 1928 mounted on heavy card stock 13 3/4" x 16 3/4". Photo protected by printed tissue guard signed by Hazel Strand all resting in paper- and original shipping sleeve. Blind-stamp of the estate in margin on paper sleeve. Preface by Paul Metcalf. Afterword by Beaumont Newhall. Shipping box and photogravure in very good book and slipcase in near fine condition. Paul Strand 1890-1976 was an American photographer and filmmaker who helped establish photography as an art form in the 20th century. Film credits include Manhatta 1921 Redes 1936 and Native Land 1942. Nancy Newhall 1908-1974 was a photography critic and founder of the influential photographic magazine 'Aperture'. Aperture hardcover
réf. elala5097New York: Da Capo Press 1967. Second Edition Limited to 1000 numbered copies signed by Strand. A seminal work by a legendary figure in 20th century American photography. Based on photographs taken by the author on his travels through Mexico in 1932-33 the striking photogravures depict architecture landscape the indigenous people and religious folk sculpture. Strand's work first made its appearance as Photographs of Mexico in a limited edition of 250 copies in 1940 with the printing of the steel-faced gravure plates by master platemaker Otto Wackernagel being supervised by Strand himself and executed by Charles Furth and the Photogravure and Color Company. This second edition utilized the original Wackernagel plates but they were now printed by Albert Delong at the Andersen Lamb Company of Brooklyn. Strand was even more pleased with this version remarking: they have been able to get even more out of these twenty beautiful plates in printing the second edition.this work I think is superlative.Delong.has made these plates sing. "The images are a celebration of the subjects pride dignity and endurance and are a clear testament to Strands belief that the photogravure process is capable of yielding the finest results achievable in photographic printmaking." The Aperture Foundation 2012. folio. pp. 7. 20 photogravure plates with tissue guards. plates & text loose as issued in original paper wr. cloth & board chemise & paper slipcase. A fine copy [New York]: Da Capo Press, [1967] hardcover
2013réf. 12138SEVEN DAYS Dieu Donne Press 2013 first edition a very fine copy consisting of loose leaves laid into a clamshell box. A major collaborative effort of this fine press item being the writing of Mark Strand with the images by Frederic Amat and the calligraphic writing by theatrical designer Robert Wilson with the silk screen printed for this edition by Oriol Treserra and Xavier Todo of Taller Vallirana Barcelona. The paper was custom made by Paul Wong of Dieu Donne Papermill New York. Susan Gosin and Estela Robles assisted with the design while the letterpress of Peter Kruty printed the poem and colophon which was set in the typeface Strand Serif design by Russell Maret. The box was design and produced by Angels Arroyo. Of the 40 copies in this edition 25 numbered and 15 proofs all SIGNED by Mark Stand Frederic Amat and Robert Wilson on the colophon this is #5 of the artists proofs. Dieu Donne Press unknown
2013réf. 142638Brooklyn NY: Dieu Donné 2013. loose leaves laid into a folding chemise clamshell box. Dieu Donné. square 4to. loose leaves laid into a folding chemise clamshell box. unpaginated. Privately printed in a limited edition of 50 copies of which this is one of 35 numbered copies signed by Mark Strand. A near fine copy. A major collaborative effort of this fine press item being the writing of Mark Strand with the images by Frederic Amat and the calligraphic writing by theatrical designer Robert Wilson with the silk screen printed for this edition by Oriol Treserra and Xavier Todo of Taller Vallirana Barcelona. The paper was custom made by Paul Wong of Dieu Donne Papermill New York. Susan Gosin and Estela Robles assisted with the design while the letterpress of Peter Kruty printed the poem and colophon which was set in the typeface Strand Serif designed by Russell Maret. The box was designed and produced by Angels Arroyo. Dieu Donné unknown
2013réf. 142504Brooklyn NY: Dieu Donné 2013. loose leaves laid into a folding chemise clamshell box. Dieu Donné. square 4to. loose leaves laid into a folding chemise clamshell box. unpaginated. Privately printed in a limited edition of 50 copies of which this is one of 15 'artist's proof' copies signed by Mark Strand. A near fine copy. A major collaborative effort of this fine press item being the writing of Mark Strand with the images by Frederic Amat and the calligraphic writing by theatrical designer Robert Wilson with the silk screen printed for this edition by Oriol Treserra and Xavier Todo of Taller Vallirana Barcelona. The paper was custom made by Paul Wong of Dieu Donne Papermill New York. Susan Gosin and Estela Robles assisted with the design while the letterpress of Peter Kruty printed the poem and colophon which was set in the typeface Strand Serif designed by Russell Maret. The box was designed and produced by Angels Arroyo. Dieu Donné unknown
1955réf. 25259Milano/Torino: Giulio Einaudi Editore 1955. Cloth. Near Fine/Near Fine. A lovely Paul Strand collection including 3 long warm letters to his good friend Cipe Pineles pioneering graphic designer and art director -- Seventeen Vogue Vanity Fair Glamour. In the handwritten letters which date from 1954 1955 and 1962 and are 3 4 and 3 pgs. long respectively Strand among other things reflects on the 1955 1st edition of Un Paese a very sharp copy of which we present here with the letters. The book and its dustjacket are very clean and each is solid and easily Near Fine. And the 3 letters are also bright clean and eminently legible. An uncommon look through these correspondences at the musings of a major photographer toward his own recently published work. The 3 letters and the book all being offered together as an archive. Giulio Einaudi Editore unknown
2009réf. 142656New York: Harlan & Weaver 2009. three broadsides loosely inserted into custom cloth chemises then inserted into a custom cloth slipcase. 84.5 x 60 cm 33.25 x 23.5 in. three broadsides loosely inserted into custom cloth chemises then inserted into a custom cloth slipcase. The Golden Frogs of Panama provides an intimate view of Strands working process. The evolution of his poem is mapped out in cursive long hand punctuated by several drawings of wide-eyed frogs; Strand's erasures revisions and additions are evident. Writing echoes the printmaking process: each medium produces drafts or proofs and thus a physical history of its progress. Strand exploits this concept by laying out his drafts for The Golden Frogs on one page the usually unseen history of his works development exposed and further redefined as image. His handwriting is the painters gesture the lines of a mind in active thought - abstract and calligraphic but ultimately readable. As Jorie Graham says in a related catalogue essay "What is more capable of representing reality - a drawn image or a word" The Golden Frogs of Panama was printed from a direct gravure plate in black ink on Hahnemühle bright white paper in an edition of 20. A small edition of prints hand colored by the artist were also available. It is a bleed print. The plate was made by Renaissance Press New Hampshire. The broadsides are about 36 x 48 inches with Mark Strands holograph manuscript of the poem covering the entire canvas the text interspersed with watercolor illustrations of frogs. The canvas/manuscript traces the development of the poem The Golden Frogs of Panama. Strand began using this medium after he suffered a back injury and found that writing in a standing position was easier for him. The poem was inspired by an article he read in The New Yorker describing their extinction. Mark Strand b.April 11 1934 in Summerside Prince Edward Island - d. November 29 2014New York was a American man of letters. Strand who would go on to win many awards in his career including the Pulitzer Prize thought highly enough of this his first collection to include ten of these poems in his 1980 Selected Poems. The text: Mark Strand The Golden Frogs of Panama 2009 The dying sun gives way to the sightless moon A dusting of dead leaves darkens the lawn The Golden Frogs of Panama are gone. "Never too soon" says the clean-shaven man Slouched in the rear of a black limousine; "Never too soon" he repeats looking down At his manicured nails "so what if the green Is gone from Green Hill if the north is flooded with rain And the southern jungles are dry as bone Its time to move on." The Golden Frogs of Panama are gone. And the polar bear and whooping crane And soon the panda and gorilla will go down One by one never to be seen again Not by us not by anyone. Harlan & Weaver unknown
réf. 142478Brooklyn NY: Dieu Donné 2013. heavy illustrated handmade paper wrappers paper cardstock slipcase. Dieu Donné. oblong 4to. heavy illustrated handmade paper wrappers paper cardstock slipcase. 2 pages of prose with two full-page paper collages. With illustrations by the author and selections of poetry by nine of his friends. They are: Joseph Brodsky Louise Glück Jorie Graham William Merwin Vijay Seshadri Charles Simic Derek Walcott Rosanna Warren and Charles Wright. Privately printed in a limited edition of 15 copies of which this is one of 10 numbered copies signed by Mark Strand. A fine copy in fine slipcase. Method was written designed and illustrated by Mark Strand. The two prose pieces he wrote for this edition are partnered with two of his collages created from paper he produced with the help of Susan Gosin at Dieu Donné Papermill. Meredith Walker cut and assembled the collages for the edition. The type was designed and set by Russell Maret. The text set in 13 point Strand Serif was letterpress printed by Peter Krunty. Barbara Mauriello bound the edition using custom handmade paper designed by Mark Strand and produced by Paul Wong and Amy Jacobs. Dieu Donné unknown
1963réf. 89275New York: Brooklyn College 1963. Presentation copy from one of America's most influential photographers First edition presentation copy inscribed by Paul Strand on the rear wrapper "To Cipe and Will with affection Paul" - a superb association linking one of the great photographers of the 20th century with two of the most influential figures in American graphic design. Cipe Pineles long associated with Condé Nast and later the first woman to serve as autonomous art director of a mass-market magazine transformed editorial visual culture in the 1930s and 40s championing the use of fine artists in commercial illustration and breaking multiple professional barriers. Her husband William "Bill" Golden rose to become the seminal art director of CBS before his early death in 1958. Accompanying the book is a group of three intimate ingeniously handmade cards sent by Paul Strand and his third wife the photographer Hazel Kingsbury Strand spanning more than two decades of friendship. Each combines personal news with visual elements assembled for the recipients - small affectionate constructions that verge on artists' books and speak directly to the Strands' shared creative life and to their long professional connection with CBS. One 1951 celebrates Pineles and Golden's adoption of their son with Hazel noting Strand's ongoing work; another 1958 sent from their home at La Briardière and decorated with Hazel's sampler discusses Strand's "Scotch book" project later published as Tir a'Mhurain 1962; and the last 1974 illustrated with a winter photograph of their house reflects on advancing age work in progress and mutual friends in London and New York. WorldCat lists copies of 16 Gravures at only four institutions Yale Currier Museum of Art New Hampshire Institute of Art Library and the Harry Ransom Center. Small quarto pp. 16. 16 black and white illustrations on 8 plates. Original moderate orange printed wrappers. Edges lightly rubbed couple of nicks to head of front wrapper. An excellent copy. unknown
1822réf. 2128Lithogr. front. portrait of Greve XVI 526 8 pages 1 large folded table "Giesser Zettel fuer Buchbinder" and 4 numbered large folded plates ; 2 16 16 with a foreword by the author to his fellow colleagues XX 2 388 pages and 7 numbered folded lithogr. plates. Cont. light blue boards gilt label to spine. All edges gilt top and lower corners of edges gauffered. 180 x 105 mm. Binding rubbed extremeties worn labels minimally chipped. Mejer 1804 ; Pollard & Potter 36 ; Schmidt-Künsemüller 7261. First edition of arguably the most important German bookbinding manual of the first half of the 19th century. Ernst Wilhelm Greve born 1787 was originally from Copenhagen but worked most of his life in Berlin as a bookbinder. Volume I with a remarkable large plate 515 x 405 mm which according to an advert in volume II was also published separately depicting numerous examples of fillets borders signs vignettes and ornaments after designs by the Berlin based artist and engraver Thieme numbered 1 through 170 each design is priced individually and could be ordered directly from the artist and furthermore including a four-page publicity leaflet by Greve quoting tools papers and other bookbinding materials which could be purchased at his bookbindery. The four-page subscriber's list contains ca 100 subscribers with 32 of them being bookbinders or apprentice bookbinders. A fresh and clean copy quite unusual for such a manual and very rare thus. Maurer
réf. 324487New York: Strand/Hoffman 1976. Limited to 50 copies #13 signed in the shaky hand of the photographer. Folio. Green cloth dropbox. Laid in loose. Limited to 50 copies #13 signed in the shaky hand of the photographer. Folio. Strand/Hoffman unknown
2004réf. 142475New York NY: Thornwillow Press Ltd 2004. full crushed light brown moroccan goatskin eight inlaid gems Opals Citrines and Carnelians in a circular pattern with the title in gilt on the front board marbled endsheets cloth clamshell box with leather spine title in gilt on spine. Thornwillow Press. small oblong 8vo. full crushed light brown moroccan goatskin eight inlaid gems Opals Citrines and Carnelians in a circular pattern with the title in gilt on the front board marbled endsheets cloth clamshell box with leather spine title in gilt on spine. 34 pages. Monotypes by Wendy Mark. Limited to 1000 copies of which this is one of 4 unique manuscript copies bound thus. Signed by Mark Strand and Wendy Mark on the half-title and title pages as well as the publisher Luke Ives Pontifell on the colophon. Fine in fine clamshell box. Produced under the direction of Luke Ives Pontifell at his Thornwillow Press on handmade paper. From the artist: "This whimsical and beautiful poem by former U.S. Poet Laureate Mark Strand celebrates the many virtues joys and challenges of candy. The monotypes by Wendy Mark were made especially for this edition and were reproduced from her originals using offset lithography." Having received her Masters of Fine Arts from Columbia University Wendy Mark has been producing wonderfully illustrative art primarily to coincide with poetical works. Not only has she worked with Mark Strand on this project but she has worked with other authors such as Charles Simic and Paul Muldoon among others. Thornwillow Press, Ltd unknown
2016réf. 142375Limited to 24 copies of which this is one of 14 deluxe portfolios. A fine copy of this magnificent portfolio illustrating Strand's poem written in 1990. Twelve chine collé woodcuts and three letterpress pages interleaved with Kitakata Japan paper housed in a linen clamshell box with constructed inner folder. Each woodcut signed by Briggs colophon signed by Briggs and Strand. Colophon bears Roman numeral unique number for the each of the 14 portfolios. The cloth covered portfolio box inner chemise folder and letterpress pages were designed by Alice Leora Briggs and Kelly Leslie. Portfolio box and folder were constructed by Jace Graf of Cloverleaf Studios Austin Texas. From the artist's website: "Alice Leora Briggs born in an oil boomtown in West Texas grew up in Idaho's Snake River Valley and woke up later on la frontera the borderlands of the U.S. and México. Her investigations into human frailties have generated thousands of drawings woodcuts letterpress broadsides site-specific installations and books. Her artworks have been featured in over fifty solo exhibitions and are in over thirty-five public collections including Crystal Bridges Museum of American Art Library of Congress Oxford's Bodleian Library and Yale's Beinecke Rare Book and Manuscript Library. Publications include Dreamland: The Way Out of Juárez 2010 an illuminated manuscript-police blotter with writer Charles Bowden The Room 2016 a suite of twelve woodcuts with poet Mark Strand and Abecedario de Juárez: An Illustrated Lexicon 2022 with photojournalist Julián Cardona. Briggs was a Fulbright Scholar at the Academy of Fine Arts and Design in Bratislava Slovakia and received a Guggenheim Fellowship in 2020." Austin TX: Flatbed Press 2016. Briggs Alice Leora. The box measures 25.25 x 21.75 x 1.375 inches. Individual prints interleaved with Japan Kitakata paper. Flatbed Press
1619réf. 23330N. Y.: Camera Work 1916-1917. First only editions of the final two issues of Alfred Stieglitz's monumental photographic periodical Camera Work including in number 48 the earliest appearance in print of the work of Paul Strand and in number 50 an issue entirely dedicated to the work of Strand. Limited to 500 copies printed. "The work of Paul Strand was the first photography to excite Stieglitz in a long time. He saw Strand as practicing a truly photographic version of the kind of forceful representation he found in painters like Picasso and Matisse and he presented Strand's work as a clean break even changing the time-tested production methods of Camera Work Strand's photogravures were printed on thicker paper and with different inks." - Roth 101 pp. 42-43. Issue No. 48 includes six photographs by Strand six halftones by Steiglitz of installations at his gallery 291 and single photographs by Frank Eugene Arthur Allen Lewis and Francis Bruguiere. Issue No. 49/50 includes eleven original photogravures all after work by Strand among them "The White Fence" "Abstraction Porch Shadows" and "Abstraction Bowls". One cannot overestimate the importance of these two issues of Camera Work. As Milton Brown has noted the appearance of Strand's portrait series herein "was a revelation. Even today they are strikingly powerful images; they were then a new stage in photographic realism. The close-up views and cropping of negatives cut off the subjects from their environment sometimes even breaking the frame and riveting attention entirely on the physiognomic and psychological revelation of individuality character and social condition. . . . Strand's experiments with abstraction and the machine were his unwitting contribution to the history of photography: the portraits basic to the rest of his development are the first clear expression of his own aesthetic philosophy." - Milton W. Brown "The Three Roads" in Paul Strand: Essays on His Life and Work. Edited by Maren Stange. Aperture 1990 p. 29. Although not noted in the volumes these two issues of Camera Work came from the collection of James Johnson Sweeney at various times the Curator of Painting and Sculpture at MOMA the second Director of the Guggenheim Museum and the Director of the Museum of Fine Arts Houston. . Among the most sought-after issues of Camera Work these two numbers are complete and in remarkable condition. The plates are clean free of foxing and creasing. The text blocks are clean bright and sound largely unopened. A bit of offsetting from plates to the facing pages as usual somewhat more pronounced in No. 49/50 but not affecting the images themselves. Wrappers are clean with only very light wear; the hinges are firm and there is no creasing or darkening of the spines. Overall both issues are in near fine and extremely scarce thus. . 2 volumes small folio illustrated with 9 and 11 original photogravures respectively original printed wrappers. Among the most sought-after issues of Camera Work these two numbers are complete and in remarkable condition. The plates are clean free of foxing and creasing. The text blocks are clean bright and sound largely unopened. A bit of offsetting from plates to the facing pages as usual somewhat more pronounced in No. 49/50 but not affecting the images themselves. Wrappers are clean with only very light wear; the hinges are firm and there is no creasing or darkening of the spines. Overall both issues are in near fine and extremely scarce thus. . Camera Work unknown
