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PHOTOGRAPHS.
The Master Collection. Book 1. Geneva, RotoVision, 1980, In-4° pleine percaline grise sous jaquette pelliculée illustrée d'une photo en couleurs. Nombreuses planches de photographies en couleurs et en noir et blanc. 112 pages. Texte en anglais. EO.
Reference : 2804
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Librairie La Rose de Java
M. Hubert Bouccara
11, rue Campagne Première
75014 Paris
France
01 43 20 55 30
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NOS CONDITIONS DE VENTE Conforme aux usages de la librairie ancienne et moderne, tous les ouvrages présentés sont complets et en bon état, sauf indication contraire. L'exécution des commandes téléphonées est garantie mais sans règle absolue, la disponibilité des livres n'étant pas toujours vérifiable lors de l'appel. Au delà de huit jours les livres réservés seront remis en vente. Les frais de port sont à la charge du destinataire. Les livres sont payables à la commande. Aucun livre ne sera expédié sans être réglé en totalité. Suite aux modifications des tarifs de la Poste, tout colis supérieur à 3cm d'épaisseur sera désormais expédié en colissimo. Vos règlements par chèque en Euros hors France ou chèque en devise doivent être majorés de 15 Euros. Nous acceptons les règlements par chèque bancaire ou postal, mandat postal ou international, carte bancaire, Visa, Eurocard, MasterCard. Les règlements par virements bancaires ou contre remboursement ne sont pas accéptés. Conditions of sale: All of our books are complete and in good antiquarian condition unless stated otherwise. Orders by telephone are accepted with the understanding that availability of the requested book may not always be confirmed at the time of the call. Reserved books will be held for a period of eight days before being put back on sale. Delivery charges and postal fees are the responsibility of the buyer. Books must be paid for at the time of the order; no book will be sent without being paid first.
5 book(s) with the same title
6 original photographs from the siege of Sebastopol, Crimean Peninsula. - [EARLIEST EXTANT PHOTOGRAPHS OF BATTLE SCENES - ""SOME OF THE MOST IMPORTANT CULTURAL DOCUMENTS OF THE FALL OF SEBASTOPOL""]
[Beato & Robertson, presumably September 1855.] 6 rare original photographs on salted paper measuring 225 mm x 295 mm, all mounted on cardboard measuring 430 mm x 355 mm with stamp and paperlabel to upper right corner, do not touch the photograph. The collection consists of 5 photographs of the interior of the Redan/Russian Battery/Malakoff and 1 view of the bombed Sebastopol. 3 photograph with creasing to upper corner and 1 photograph with two small hole. Description of photos written in pencil on mount-cardboard, not affecting photographs.
Six rare original photographs taken by Beato and Robinson from the fall of Sebastopol in the autumn of 1855, constituting some of the very earliest extant photographs of battle scenes. The Crimean war photographs mark the beginning of Beato's first major campaign in what would be a long and remarkably eventful career. The Crimean War was the first conflict to be reported first-hand in the newspapers, the first to make use of the telegraph, the first to be represented in the illustrated press, and the first to be photographed. In certain respects, it is regarded as the first modern war, in the sense that it employed modern methods of representation, and those representations began to play some part in the machinery and politics of warfare. Robertson and Beato's photographs played a seminal role in showing the destruction of Sebastopol to people in the West and in shaping the public opinion of the horrors of war. Robertson were in the mid-1850s working in the mint at Constantinople and received in 1855 a commission from print publisher Dominic Colnagi to go to the Crimea and cover the final stages of the Crimean war. It is generally assumed the Beato accompanied Roberto to the Crimean front. ""Sebastopol exercised a magnetizing fascination, despite, or perhaps because of, the danger. There were soldiers, sailors, war artists, journalists, war tourists, soldiers' wives, and professional photographers all trying, in their different ways, to represent the inside of Sebastopol" to see what the war had done. Yet, like the war itself, Sebastopol remained elusive, an object which at once demanded and defied representation. It was a mesmerizing place, abandoned yet not empty fallen yet dangerous beautiful even in its damaged state, yet a disgusting site of mangled and decaying bodies bereft, yet a treasure house of abandoned objects, which some of the visitors immediately began to plunder.The most haunting pictures of the war are the curious, quiet photographs by James Robertson and Felice Beato" works which are all the more powerful for their understatement.Robertson's photograph of the interior of the Redan, taken not long after it had been abandoned by the Russians, is a masterpiece of understatement. Contemporary viewers would have had quite a detailed knowledge of the siege from the newspaper reports, and might have had a fairly good idea of what the image meant. But even if one has little military knowledge, the photograph has tremendous power. Robertson merely documented places, landscapes, things. The fact that photography was fairly primitive, in technical terms, gave it a kind of honest simplicity which, one might argue, got lost as cameras and techniques became more sophisticated. Ulrich Keller goes so far as to say that Robertson's 'sparse' photos 'come close to that impossibility: the image without a rhetoric'. His pictures of Sebastopol convey a real sense of anguish and loss, which one can feel even now, across the years.James Robertson (1813/14-1888) was a British engraver who had a long career at the imperial mint in Constantinople. For about fifteen years he was also active as a photographer, working with his brother-in-law, Felice Beato. They photographed in the Crimea in the autumn of 1855 and spring of 1856.26 Their photographs are, [...], some of the most important cultural documents of the fall of Sebastopol."" (Tate, Sebastopol: On the Fall of a City)""Felice Beato's photographic career spans the whole of the second half of the nineteenth century, during which he established an enduring reputation as a photographer of conflict. After working in the Middle East, he travelled to India in 1858 to photograph the aftermath of the Indian Mutiny, moving on from there to China, where he produced a graphic record of the Second Anglo-Chinese War. He later worked as a photographer in Japan, Korea, and the Sudan, before finally settling in Burma for the last part of his career. In common with many photographers, Beato is known on at least one instance to have re-arranged a scene for dramatic effect, and on the occasion of this photograph a witness noted that 'Signor Beato was there in great excitement, characterising the group as 'beautiful' and begging that it might not be interfered with until perpetuated by his photographic apparatus.'""(British Library)
[Photographs of Italy]. - [MAGNIFICENT COLLECTION OF PHOTOGRAPHS OF ITALY]
[Circa 1870-1880]. An extensive series of 132 stunning photographs of Italy and Italian artwork, most measuring 25 x 17 cm, some slightly smaller, some slightly larger, all mounted on leaves measuring 30x42 cm. and bound in three exquisite near contemporary (ab. 1900) oblong black half morocco bindings with four raised bands, gilt spines, boards with elaborately gilt corners, gilt border and to the middle of front boards a gilt vignette, gilt title (""Italian"" i.e. either Norwegian or Danish for Italy). and gilt volume-number. Housed in three equally elegant half morocco boxes with with gilt spines, marbled edges, and with middle of boards corresponding to those of the bindings. The boxes are also from ab. 1900. The boxes have a few traces of wear, but all in all, the set is in splendid condition.Many of the photographs have numberings and several of them also mention the motiv.Volume I contains 46 photographs, 8 by (Giacomo or his son Carlo) Brogi, 1 by Pompeo Pozzi, 4 by Maug and 33 unsigned. Most of the pictures are of ancient Roman buildings and renaissance art works. A few of the photos are from Milan.Volume II contains 49 photographs, 2 by Volpato and 2 by Brogi, the remaining 45 are unsigned. The first half depicts ancient Roman statues renaissance painting. The last part consists of photos portraying vast landscapes around the bay of Naples and Mount Vesuvius and cityscapes Volume III consists of 37 unsigned photographs of artworks mainly from Museo di Napoli.
An extensive and stunning collection of photographs from Italy, a splendid example of a Victorian Grand Tour photo album from Milan in the north down to Rome and ending in Napoli, photos prepared while the traveler shopped and visited the Italian sites.Photography studios in different Italian cities developed different specialties and were especially oriented towards the three genres of portraiture, views and art reproductions, of which the present collection is a fine example. ""Among the activities of the most renowned firms (Brogi and Pozzi), there was ample space for the reproduction of works of art and monuments most representative of the art historical tradition and natural beauty of Italy. Nature was not only seen as such, but as an integral part of the landscape, and essential element of a whole in which nature and history, culture and nature harmoniously balanced and completed each other"". (Hannavy, Encyclopedia of Nineteenth Century Photography)Most of the photographs by Brogi are presumably from his first Pompeii campaign from 1879-1880 which we exhibited in Milan the year after.
Photographs of Philippines
Philippines, years 50/60. 1 set of original photographs from Philippines, depicting natural sceneries, buildings, houses and people. Some pictures wear the Gerald Thomson (Masonic Temple) stamp, some others by Hamilton Wright from New York. All photographs in good condition. 12 photographs (26*20 cm) and 6 photographs (18*13 cm)
Original photographs on Luzon Island, Manila, Jolo, etc.
NATIONAL GEOGRAPHIC MAGAZINE, VOL. 183, N° 6, JUNE 1993 (Contents: Chesapeake Bay-Hanging in the Balance, By Tom Horton Photographs by Robert W. Madden. The Iceman, By David Roberts Photographs by Kenneth Garrett Paintings by Greg Harlin...)
National Geographic Society. 1993. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 134 pages. Illustré de nombreux photos en couleur. Quelques planches dépliables.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon
Contents: Chesapeake Bay-Hanging in the Balance, By Tom Horton Photographs by Robert W. Madden. The Iceman, By David Roberts Photographs by Kenneth Garrett Paintings by Greg Harlin. Silence of the Songbirds, By Les Line Photographs by Scott Goldsmith. Corn, the Golden Grain, By Robert E. Rhoades Photographs by Peter Essick. Bangladesh: When the Water Comes, By Charles E. Cobb, Jr. Photographs by James P. Blair. Classification Dewey : 420-Langue anglaise. Anglo-saxon
NATIONAL GEOGRAPHIC MAGAZINE, VOL. 184, N° 6, DEC. 1993 (Contents: Himalayan Caravans, Article and photographs by Eric Valli and Diane Summers. Glass: Capturing the Dance of Light, By William S. Ellis Photos by James L. Amos. The Superior Way of Life...)
National Geographic Society. 1993. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 137 pages. Illustré de nombreuses photos en couleur. 1 planche dépliable.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon
Contents: Himalayan Caravans, Article and photographs by Eric Valli and Diane Summers. Glass: Capturing the Dance of Light, By William S. Ellis Photographs by James L. Amos. The Superior Way of Life, By Noel Grove Photographs by Medford Taylor. St. Petersburg, Capital of the Tsars, Article and photographs by Steve Raymer. Passion Vine Butterflies, Article and photographs by DarlyneA. Murawski. Classification Dewey : 420-Langue anglaise. Anglo-saxon
