8 292 résultats
194247882Jerusalem: Printed by Azriel Press for Keren Ha-Yesod 1942. First edition. Softcover. g to near fine. Large quarto. 11 3/4 x 9". Unpaginated. 14 pages each. B/w photo-illustrated wrappers with photomontage and red and black lettering on the covers. These scarce promotional pieces of ephemera published by the Karen Ha-Yesod fundraising organization were issued to coincide with the photographic exhibition "To Arms and to Work the Face of the People and the Land". Here we have 5 copies of the same publication one in Hebrew one in English one in Czech one in Yiddish and one in Russian. They promotes both the military training of Jewish soldiers and the agricultural/settlement efforts in building toward a Jewish state in Mandatory Palestine.<br /> <br /> Profusely illustrated throughout with 82 b/w photographic reproductions showing these activities often with visual parallels drawn between the military and land cultivation via the layout and framing of the images especially the front cover. Images throughout also include depictions of other activities including education recreation construction industry manufacturing and Jewish religious activities. The back cover shows a regiment of marching Jewish soldiers lead by a British commanding officer with a text quote from Chaim Weizmann. The publication was edited by Israeli historian and then head of Keren ha-Yesod Nathan Michael Gelber 1891-1966 and features photographs by leading Israeli photographer Zoltan Zvi Kluger 1896-1977.<br /> <br /> Text in Hebrew English Czech Russian and Yiddish.<br /> <br /> The Russian and Yiddish language editions are moderately age-toned throughout with tiny chipping at the upper margin of both covers of the Yiddish copy. Russian edition with light pen markings on the front cover. English edition with minor rubbing to extremities and a few light stains to the covers. Hebrew edition with light rubbing and rippling along edges. Front cover with a tear at the bottom resulting in slight loss of text. Rippling continued throughout the pages along the top section. Copies in good to near fine condition overall. All copies protected in modern mylar. Quite scarce. Yiddish title: ק×מף ×ון ×רבייט<br /> Hebrew title: ×œ× ×©×§ ולמשק! ×רץ ישר×ל ×‘×‘× ×™× ×”<br /> Exhibition: ×œ× ×©×§ ולמשק ×¤× ×™ ×¢× ×•×רץ - תערוכה ××ž× ×•×ª×™×ª של קרן היסוד<br /> Alternate Translate: To Arms and to Work!<br /> <br /> Keren ha-Yesod was established at the World Zionist Conference held in London in 1920 to provide the Zionist movement with resources needed for the Jewish people to return to the Land of Israel. It came in response to the Balfour Declaration of 1917 which confirmed support from the British government for the establishment in Palestine of a "national home" for the Jewish people. Keren ha-Yesod immediately established fundraising organizations around the world. Early leaders included Chaim Weizmann Albert Einstein and Ze'ev Jabotinsky. During World War II and in its aftermath Keren ha-Yesod established emergency campaigns sometimes in partnership with other organizations. Funds were also used to help the Allied war effort and after the liberation of the concentration camps to smuggle massive numbers of survivors into the Land of Israel in defiance of British immigration restrictions. Many of Keren ha-Yesod's leaders perished in the Holocaust; the organization had to recover quickly in face of the staggering needs during those fateful years. <br /> <br /> There are also known Greek Hungarian Polish and French language versions of this publication. The various versions all are extremely similar in terms of content with only the slightest variation in terms of text placement. Printed by Azriel Press for Keren Ha-Yesod unknown
190252612Düsseldorf: Verlag der Dt. Nat. Kunstausstellung 1902. First edition. Loose leaf. Very good to fine condition. Oblong Quarto. 35 original silver gelatin prints. Original brown leather portfolio with gilt emblem and gilt lettering on gilt-framed cover. Red silk inside front cover and portfolio flaps. The bottom flap gilt-stamped Otto Renard Paul Adam Buchbinderei Düsseldorf.<br /> <br /> Album of thirty-five original photographs 9 3/4 x 11 1/4" by court photographer Otto Renard that document National Art exhibtion of 1902 by room. The photographs include a exterior panorama view of the newly built Art Palace its courtyard an interior view of the dome the large gallery the large hall and various galleries with work of artist groups and art organizations e.g. Kunstgenossenschaft Berlin Secession Berlin Dresden Düsseldorf 6 Munich Luitpold Group Munich Secession Munich Art Association Rhineland and Westfalia Art Alliance "Hagen" from Vienna 2 Art Collective Vienna Secession Vienna recreation room Secession Vienna the Van der Velde room the art historian gallery 5 old Japanese art. The exhibition includes paintings furniture sculpture and statuettes and a variety of interiors. The Art Palace was built for the 1902 Industry and Craft Exhibition for the Rhineland Westfalia and neighboring districts. <br /> <br /> The building of the Kunstpalast was in large part due to the efforts of Fritz Roeber director of the Düsseldorf Art Academy the painter Georg Oeder and the art historian Paul Clement in the late 1800s who were able to convince Heinrich Lueg director of the association for commerce that the time for another great art and commerce exhibition had come. The goal was the establishment of a new permanent venture for art exhibitions that was to become the center of the arts in the Rhinelands and Westfalia. Lueg took the lead and started the planing for the Kunstpalast already in 1898. The goal was to exhibit the development of the past 20 years in a formidable gallery and the 1900 Paris World exhibition was the model for the undertaking. Despite the fact that some of the planned buildings were not ready by the opening of the two exhibitions it opened on May 1st and closed on October 20th 1902 the exhibitions became a huge success. Two OCLC entries.<br /> <br /> Text in German. Portfolio with light wear one inch closed tear at top right of portfolio cover. Some light worm damage in silk of inside front cover and right flap. Few plates with minor damage at edges and lightly age-toned in margins. Images fine. Otto Renard 1855-1943 was known for his documentation of art exhibitions among them the 1902 art and commerce exhibition in 1902. The distinction "Hof Fotograf Court photographer" he earned while working at the court of Zar Nikolaus II. Renard returned to Germany after the turn of the century to open photo-studios in Düsseldorf and Aachen. He became wealthy due to his invention of a photo-paper moved to Berlin and then to Darmstadt. Verlag der Dt. Nat. Kunstausstellung unknown
1888ABC_47975Cairo 1888. 34 albumen prints ca. 22 x 27 cm mounted on cream cardstock ca. 28 x 35.5 cm. Remarkable collection of 34 stunning photographic prints of Egypt all numbered titled and signed in the negative by photographer Jean Pascal Sébah 1872-1947 who owned the leading studio for Orientalist photography. He was even named the official photographer of the Sultan of Turkey together with his business partner Polycarpe Joailllier 1848-1904. The majority of the images in the present collection show streets and buildings from lesser known Egyptian cities and scenes of daily life. Larger collections of Sébah's work are relatively rare on the market.Sébah continued the business of his father Pascal Sébah 1823-1886 one of the first photographers working in Egypt. Pascal rose to prominence because of his well-organized compositions careful lighting and quality of his prints. The majority of his photographs are of tourist destinations and locals. Jean Pascal inherited his father's good eye but was more interested in depicting lesser known locations. His photos of people also appear more spontaneous. The present collection includes photographs of El-Souroughieh street and the Khalig canal in Cairo the Virgin Mary's tree in Matariya a local with a buffalo a group of seated men in a mosque a sugarcane market locals working on a sugarcane field a group of boys fishing and the hustle and bustle along the Nile.With a small purple ownership stamp of an anchor in mirror image and the letters "S A" near the top edge of one of the photographs of the Nile. The cardstock is very slightly foxed and yellowed and has somewhat warped from past temperature fluctuations. The prints have somewhat yellowed around the edges but are otherwise in good condition.l Cf. Saretzky The history of photography online. unknown
1888ABC_47975Cairo 1888. 34 albumen prints ca. 22 x 27 cm mounted on cream cardstock ca. 28 x 35.5 cm. Remarkable collection of 34 stunning photographic prints of Egypt all numbered titled and signed in the negative by photographer Jean Pascal Sébah 1872-1947 who owned the leading studio for Orientalist photography. He was even named the official photographer of the Sultan of Turkey together with his business partner Polycarpe Joailllier 1848-1904. The majority of the images in the present collection show streets and buildings from lesser known Egyptian cities and scenes of daily life. Larger collections of Sébah's work are relatively rare on the market.Sébah continued the business of his father Pascal Sébah 1823-1886 one of the first photographers working in Egypt. Pascal rose to prominence because of his well-organized compositions careful lighting and quality of his prints. The majority of his photographs are of tourist destinations and locals. Jean Pascal inherited his father's good eye but was more interested in depicting lesser known locations. His photos of people also appear more spontaneous. The present collection includes photographs of El-Souroughieh street and the Khalig canal in Cairo the Virgin Mary's tree in Matariya a local with a buffalo a group of seated men in a mosque a sugarcane market locals working on a sugarcane field a group of boys fishing and the hustle and bustle along the Nile.With a small purple ownership stamp of an anchor in mirror image and the letters "S A" near the top edge of one of the photographs of the Nile. The cardstock is very slightly foxed and yellowed and has somewhat warped from past temperature fluctuations. The prints have somewhat yellowed around the edges but are otherwise in good condition.l Cf. Saretzky The history of photography online. unknown
1870ABC_501171870. Oblong album ca. 31.5 x 35.5 cm. Near-contemporary half red velvet spine rubbed/faded beige and multi-colour floral cloth sides decorated with brown woven ribbon trims the velvet and cloth cover greenish-blue pebble-grained cloth boards blue marbled endpapers the pastedowns covered with red silk. With 125 black-and-white photographic prints mounted on cardboard accompanied by numerous handwritten annotations in French on the album pages. 45 ll. A substantial and historically important late 19th-century photograph album comprising 125 photos documenting British India and Ceylon present-day Sri Lanka. Of the total 100 photographs depict India and 25 Ceylon. The album offers a wide-ranging visual survey of architecture urban life religious monuments landscapes botanical subjects and scenes of daily activity during the high colonial period. 21 photographs within the album are identified to named photographers or studios. 7 prints bear the imprint of Charles Thomas Scowen 1852-1948 of Scowen & Co. Kandy and Colombo with a further 3 issued from Scowen negatives by the Colombo Apothecaries Company after that firm acquired Scowens stock in the early 1890s. Scowen was one of the most accomplished photographers active in 19th-century Ceylon establishing his studio in Kandy by 1876 and later opening in Colombo. His work produced primarily for the tourist and commercial market is distinguished by technical refinement clarity of detail and strong compositional qualities and is today represented in major institutional collections including the Getty Museum and the Metropolitan Museum of Art. The album also contains 1 identified photograph by Bourne & Shepherd the pre-eminent photographic firm of 19th-century India renowned for its architectural and landscape views and for its official role at imperial events such as the Delhi Durbar. 2 photographs are attributed to Lala Deen Dayal 1844-1905 the most celebrated Indian photographer of his generation court photographer to the Nizam of Hyderabad and recipient of a Royal Warrant from Queen Victoria his work is widely regarded for both artistic merit and documentary importance. Further identified material includes one photograph by the Bombay studio of Edward Taurines 5 architectural views attributed to Charles Lickfold 1846-1909 in Ahmedabad one view of the Ellora caves attributed to John Johnston and one Ceylon photograph by the German Alfred William Amandus Plâté 1859-1931.The Indian and Pakistani section includes extensive architectural and topographical views from Lahore Amritsar Peshawar Jaipur Amber Ahmedabad Baroda Vadodara Aurangabad since 2023 Chhatrapati Sambhajinagar Ellora Caves Bijapur Hyderabad Golconda Pondicherry now Puducherry Trichinopoly now Tiruchirappalli and Madurai. Among the Lahore subjects are views of the Wazir Khan Mosque the Badshahi Mosque the Shalimar Gardens and the tomb of Jahangir Amritsar is represented by the Golden Temple Jaipur and Amber by palace complexes zenana quarters gateways and lakeside views Ahmedabad by the Jami Masjid Sidi Saiyyed Mosque Rani Sipri Mosque and Jain temples; while the Deccan is illustrated through monuments at Aurangabad Daulatabad Fort Bijapurs Gol Gumbaz and Ibrahim Rauza and Hyderabad and Golconda fortifications.The Ceylon section presents Colombo harbour and jetty views Kandy and its lake Peradeniya Botanical Gardens Nuwara Eliya tea cultivation scenes indigenous fishing craft and a number of carefully composed botanical studies including breadfruit talipot palms bamboo ferns and ficus. The album ends with a panoramic view of Aden Yemen then an important British coaling station and strategic port at the entrance to the Red Sea.The binding shows some wear with the fabric around the boards and on the pastedowns slightly loosened. Some of the unidentified photographs display mild sepia tonal fading consistent with age. The final unidentified photograph in the India section exhibits some surface loss the album shows some foxing browning and occasional staining to the card mounts not affecting the photographs. Otherwise in good condition.l Cf. Edwards "Photography in colonial India" Emire and Art: British India 2017 pp. 110-143; Paranavitana"Image in Photographic Print in the Context of Nineteenth and Early Twentieth Century Sri Lanka." 2009; Shinde "Photography in India" Studii si cercetari de istoria artei Seria Arta plastica 10.54 2020 pp. 107-118. hardcover
000501Photographic Image. Very Good. No Binding. 40 x 30 CM possibly 1910's or earlier photographic portrait of the last Ottoman chief rabbi Hakham bashi who was one of the most eminent rabbis in the Middle East. Chaim Haim Nahum Effendi 1872-1960 was a Jewish scholar jurist and linguist of the early 1900s. He was born in 1872 in Izmir. He was sent by his parents to a yeshiva in Tiberias after which he studied at a French lycée for his secondary education and obtained a degree in Islamic law in Istanbul. Thereafter he attended a rabbinical academy in Paris from which he received his semicha. At the same time he studied linguistics history and philosophy at the Sorbonne's school of oriental languages. Upon his return to Istanbul Nahum occupied various teaching positions including at the Turkish military academy. While there he became acquainted with many of the leaders of the Young Turk movement who gained power in 1908. In 1909 Nahum succeeded Moses Levi as Hakham Bashi or chief rabbi of the Ottoman Empire. During the peace negotiations following Turkish War of Independence that followed World War I Nahum was a member of the Turkish delegation that signed the Lausanne Treaty. For his services to the Turkish government he was given the title of efendi. In 1923 he received an invitation from Moise Cattaoui Pasha head of the Jewish community of Cairo to become chief rabbi of Egypt. He was appointed a Senator of Egypt's Legislative Assembly and was a founding member of the Royal Academy of the Arabic Language. Among his many scholarly works was a translation into French of all Ottoman firmans or edicts sent to the governors and rulers of Egypt by the Sublime Porte from the Turkish conquest of Egypt in 1517 until the late 1800s. From Egypt Rabbi Nahum was also active in international affairs establishing contacts between Jews throughout the world. Early in his rabbinical career he visited Ethiopia and convinced that the "Falashas " were Jews arranged to have a few brought to Egypt and educated there. He was also eager to foster future Jewish leadership and sent young men to study at the Sephardic Rabbinical Seminary located on the island of Rhodes which at that time belonged to Italy. Several of these former students are still pursuing active schorlary work to this day. Wikipedia and Dr. Victor Sanua. 0. unknown
1880List1314Northern California 1880. 4to one album in burgundy cloth the other oblong brown pebbled cloth. Seventy-one sepia-toned and cyanotype photographs most measuring 6 ½ x 4 ½ inches. Near fine with some light wear to albums photographs very good or better with very good contrast some showing a hint of fading. A very early pair of vernacular photograph albums centering on the experiences of a wealthy family in San Francisco Monterey and the surrounding areas in the late 1880s. The bulk of the images show the family and their unidentified circle in domestic scenes with the vernacular architecture and landscapes of the Bay Area on full display. Other images show landmarks including Golden Gate Park the Francis Scott Key monument various views of the first Hotel del Monte in Monterey which would burn in 1887 dating the photographs to the period prior to the fire. The album also includes photographs of African American families. <br /> <br /> The image quality is generally quite strong and the photographer was either a professional assembling the album which includes many portraits of family and presumed friends for themselves or the work of a highly skilled amateur. The Initials on the front pastedown are “M.J.R.†though this could be a later owner. The albums were from the estate of the muralist Clara Fargo Thomas who was a resident of New York and could possibly have been from one of her family members though we are unable to glean much detail from the contents. The few annotations offer little clues one just reading “5/11/89 - Golden Gate Park†and another identifying a house as 509 Webster St. in San Francisco though the typical Victorian architecture and sloped street of the house suggest it could have just been a photograph of San Francisco’s unique architecture. <br /> <br /> The photographs of the people give insight into the lives of the new wealthy class of San Francisco residents of the late 19th century with others interestingly showing rural scenes and people. The photographer also had an eye for the flora of the region which is displayed throughout. It is unclear what the relationship of the African-American subjects was to the photographer and why they appear in the album. Overall a compelling group of images and the earliest example of vernacular photograph albums of California images we can find in the trade. unknown
1958D3695San Francisco and Honolulu 1958-1962. Fine. A Collection of 7 Typed Signed Letters from Ansel Adams to Nick Dean presented in three custom boxes as follows: Group of 5 Typed Letters Signed by Ansel Adams in custom box. Hawaii and California 1958. Five typed letters all of them signed by Ansel Adams with his handwritten corrections and asides. And too charming not to mention: Where letters have punch-holes for a 3-ring binder Adams doodles faces around the holes. Most are one page with text on both sides two are one page with text on the recto only. Dated 4 February 1958 to 7 July 1958 some are typed on Memos from Honolulu others on Adams' personal stationery imprinted with his San Francisco address. Adams covers the gamut -- from the personal to the professional from the highly technical to the more philosophical. He remarks on his readings Dylan Thomas and also writes "I am terribly worried about photography and my/our place in it. The MMA business under Steichen is a very depressing and destructive situation" but he also talks excitedly about film different types of cameras and darkroom chemistry and techniques. Includes an interesting list compiled by Adams for Dean of his nominations for an upcoming photography exhibition -- it offers 28 photographers 18 of which have little checkmarks in red ink next to them. Marginalia reveals the checkmarks to mean "AA choice -- Shhh!" Adams' passion for photography as well as the landscape are revealed again and again throughout. One aside: "All Washington is trembling with abject fear! I sent off a telegram in the form of a blast to the Secretaries of the Interior and Commerce and to the Director of the NPS on the Tenaya Lake desecration. The battle is joined! I could not take any more of it. Tell Rosy to get the locals ready for a big fight!" / Typed Letter Signed by Ansel Adams. San Francisco 1961. Three pages typed on the rectos only the first on Adams' personal stationery imprinted with his name San Francisco address and phone number and the last two on plain white paper. Signed by Adams with a few handwritten asides and corrections. A dense wonderful letter addressed "Dear Nick and Zabette." Adams talks about the construction of his house in Carmel "road entrance about 1500 feet down the road from Edward Weston's place." and his rough year "I have been low in imagination and only medium in health" but the tone is overwhelmingly introspective philosophical serious and kind. Adams discusses the state of Modern Photography and Art at length what he feels his early influences and "breaks" were and how to make a living at creative photography while staying enthusiastic and true to oneself. Compelling and touching. In fine condition housed in a lavish custom box cloth backed in green morocco with gilt-stamped lettering on spine. / Typed letter signed by Ansel Adams. California 1962. Two full pages typed letter signed "Ansel" with his handwritten corrections and asides dated March 17 1962. On Adams' personal stationery imprinted with his name address 24th Avenue San Francisco and phone number. Addressed "Dear Nick" Adams congratulates him on an upcoming exhibit discusses a Polaroid book cameras Type 49 Type 55 P/N the completion of his house in Carmel health and injuries or lack thereof a De Cordova exhibit and Nick's critique of it and then goes on to examine the state of photography "commercial photography is getting worse." and other photographers including Minor "Jerry" and Don Worth. Perhaps best of all Adams' thoughts on Art are interspersed throughout including but certainly not limited to "I am beginning to think that the trouble with Art is when it becomes Art!" A wonderful letter revealing both the personal and professional sides of a renowned American photographer. In fine condition housed in a blue cloth chemise with gilt-stamped leather spine label. / Overall a spectacular collection -- all letters are in fine condition housed in 3 lavish custom boxes one for each year 1958 1961 1962. For further details please send us an inquiry. <br/><br/> hardcover
1930213351930. LGBTQ Lesbian Archive of 29 photographs ca. 1930s-1960s documents intimate companionship romantic affection and gender nonconformity among women in mid-twentieth-century America during decades marked by censorship employment discrimination and criminalization of homosexual conduct. The images preserve visual evidence of lesbian self-fashioning and relational life prior to organized lesbian liberation supporting research into private queer domesticity coded public affection and gender presentation within pre-Stonewall communities. The archive includes formal studio portraits candid outdoor scenes and staged domestic interiors capturing women embracing reclining together holding hands and gazing into one another's eyes. Particularly striking images include two women reclining in grass leaning in for a kiss; a couple embracing on a city sidewalk in confident public display; and a snow-covered ceremony scene in which one woman wears a tailored suit while the other appears in a white gown evoking marriage ritual symbolism.<br /> <br /> Archive of 29 black-and-white silver gelatin photographs. Circa 1930s-1960s. Sizes range from approximately 2.5 x 4 inches to 4 x 6 inches. Several images feature women in suits and ties juxtaposed with partners in dresses visually articulating butch-femme dynamics or broader gender fluidity. One 1940s photograph inscribed en verso reads "We'll dance at your wedding!" underscoring ceremonial and relational themes. Photographs vary between posed and candid compositions.<br /> <br /> Produced in an era when lesbian relationships were largely relegated to coded privacy the archive offers concentrated visual documentation of emotional intimacy and gender variance prior to second-wave feminism and gay liberation. Minor handling wear present; images remain crisp and well defined. Overall very good condition. A cohesive mid-century lesbian photographic record emphasizing affection partnership and gender presentation. unknown
140944934New York: Yoko Ono 1971. First edition. First edition. Signed by Yoko Ono on colophon in brown marker with symbols inscribed Aiu Yoko '72." Unpaginated. Bound in publisher's wraps. Page 5 stamped "Copyright 1972 by Yoko Ono." Good with chip to front wrap archival tissue repair to that chip and along fore edge of front wrap; wraps toned with age and lightly stained dampstain running along bottom edge margin. Four names filled-in by former owner under "Fly Record" with purple marker. <p>A self-published catalogue for a nonexistent exhibition of the Japanese-born conceptual artist's work at the prestigious Museum of Modern Art. Consists of a series of b/w photographs identifying different flies spotted around New York formatted as postcards all of which are present.Arrows point out the alleged location of the miniscule insects in scenes of New York life. Photo of John Lennon by Ono included. Rare especially signed. Yoko Ono unknown
073928New York: Harry N. Abrams Inc. Publishers 1990. Facsimile Mounted Prints in Clamshell Case. Near Fine. Very Large Folio: . Pablo Picasso. This edition which reunites for the first time the preliminary studies on paper that Picasso made for Guernica was printed on April 18 1990 by Akademische Druck-u Verlagsanstalt in Graz Austria. Forty-two color reproductions of select art from Pablo Picasso's work mounted in thirty-one carton mats all present. Housed in a large clamshell case in black with white lettering and color illustration of another facsimile of Picasso's works on paper affixed. Title is from enclosed booklet cover which contains forty-five numbered detailed studies of each piece of art along with the story of the Genesis of Guernica with artistic analysis. Booklet contains many smaller reproductive images of Picasso's works as well. Booklet is 20 pp. Artwork included is mounted as two-pieces per mount and as one piece per mount. Mounts with art measure 23.75" tall x almost 15.75" wide respectively as does the accompanying booklet. Large clamshell case measures 24.75" tall x 16.25" wide x 3" thick. <br><br>CONDITION: All mounted plates are fine. Facsimile art is vivid and striking. Laid in text booklet and clamshell case are VG. Booklet shows moderate wrinkling and some leaves have split along the side of the spine fold at the foot about a third of the way up yet does not badly compromise the booklet's integrity. Case shows indentation along the front spine indicating a heavy book had once been placed on top. Light fading and some soiling on case with a 1/2 inch chip at the head of the back of the clamshell box. Even so this collection is stunning and the art pieces are magnificent. At over 18 lbs. due to this item's size and weight an additional shipping charge will apply and will be delivered with signature required. Full refund if not satisfied. <br><br>EXCERPTS FROM THE BOOKLET: "Few names are as evocative as that of Guernica. The ruthless bombardment of this small Basque town a regional capital and ancient pilgrimage site became one of the blackest and bloodiest spots in the history of the twentieth century. Today it no longer represents only the massacre of a civilian population and a point of no return in the rise of Fascism: Picasso's painting gave to the name of Guernica the scope of a universal symbol that expresses the barbarism of modern warfare. After its militant exhibitions in 1937 Paris and 1939 New York its long exile and its final arrival in Madrid this 'living legend' is displayed behind bulletproof glass in the Cason del Buen Retiro of the Prado Museum. .<br><br>Picasso executed forty-five sketches between May 1 and June 4 1937 some of which stand on their own as complete drawings. They included six compositional studies four studies of the horse one of the bull one of the horse and bull alone ten of heads of the horse and bull ten studies of female heads six of the woman with a dead child one of the horse and the woman with the child three heads of dead warriors a study of a man with raised arms and two studies of hands. He used a variety of mediums: pencil india ink gouache and oils; and supports: white blue and brown paper plywood and canvas.<br><br>These studies are not only extraordinary drawings in their own right but they also show the different states of mind through with Picasso passed as he was working on the painting. They are like a seismograph of his thoughts and feelings and so they permit us to understand what he really wanted to paint in Guernica. <br><br>A study of these sketches reveals the progress of the artist at work - his hesitations his searching the choices he made. They show the slow formation of the images the maturation of the initial idea the successive contributions the departures; in short Picasso's way of working and as such they constitute the laboratory of Guernica. Harry N. Abrams, Inc., Publishers unknown
170528Japan: late 19th century. Untraced albumen prints showing vistas from across Japan An album of large hand-coloured albumen prints mainly depicting areas popular with tourists such as Yokohama Nagasaki and Hakone. Many are not listed in Bennett's bibliography. Photography arrived in Japan shortly before the 1867 Meiji Restoration when both Westerners and Japanese started to set up studios. The likes of Tamamura Kozaburo Ogawa Kazumasa Kajima Seibei and Usui Shusaburo became popular domestically and internationally and albums of photographic prints became a popular item among tourists. The present example is made up of 63 prints the majority of which were produced by unidentified studios. Those that can be traced include a shot of three washer women by Adolfo Farsari the owner of one of Yokohama's most profitable photographic firms and whose work was praised by the likes of Rudyard Kipling. They also include a shot of a bamboo garden by Ogawa the pioneer of Japanese collotype printing and two scenic landscapes from Hakone by Kajima the "Millionaire Photographer". The remaining prints show many famous locations from across Japan such as Nagasaki harbour Mukojima in Tokyo the Great Buddha at Kamakura and the main street of Yokohama. There are also many prints of women in traditional Japanese clothing riding rickshaws and admiring the cherry blossoms in spring. Landscape folio album 249 x 350 mm. With 63 hand-coloured albumen prints most landscape 4 portrait of which 48 full-page approximately 220 x 282 mm and 15 smaller approximately 93 x 139 mm 36 featuring human subjects mounted recto on thick grey boards 3 times mounted recto and verso many with captions or glass plate negative numbers. Contemporary blue cloth string recently renewed front board lettered in gilt binder's ticket of Carter's Ink Co. on rear pastedown. Boards lightly soiled tips bumped leaves toned at edges and a little bowed towards rear prints slightly toned: a very good copy. hardcover
1958JC3695San Francisco and Honolulu 1958-1962. Fine. A Collection of 7 Typed Signed Letters from Ansel Adams to Nick Dean presented in three custom boxes as follows: Group of 5 Typed Letters Signed by Ansel Adams in custom box. Hawaii and California 1958. Five typed letters all of them signed by Ansel Adams with his handwritten corrections and asides. And too charming not to mention: Where letters have punch-holes for a 3-ring binder Adams doodles faces around the holes. Most are one page with text on both sides two are one page with text on the recto only. Dated 4 February 1958 to 7 July 1958 some are typed on Memos from Honolulu others on Adams' personal stationery imprinted with his San Francisco address. Adams covers the gamut -- from the personal to the professional from the highly technical to the more philosophical. He remarks on his readings Dylan Thomas and also writes "I am terribly worried about photography and my/our place in it. The MMA business under Steichen is a very depressing and destructive situation" but he also talks excitedly about film different types of cameras and darkroom chemistry and techniques. Includes an interesting list compiled by Adams for Dean of his nominations for an upcoming photography exhibition -- it offers 28 photographers 18 of which have little checkmarks in red ink next to them. Marginalia reveals the checkmarks to mean "AA choice -- Shhh!" Adams' passion for photography as well as the landscape are revealed again and again throughout. One aside: "All Washington is trembling with abject fear! I sent off a telegram in the form of a blast to the Secretaries of the Interior and Commerce and to the Director of the NPS on the Tenaya Lake desecration. The battle is joined! I could not take any more of it. Tell Rosy to get the locals ready for a big fight!" / Typed Letter Signed by Ansel Adams. San Francisco 1961. Three pages typed on the rectos only the first on Adams' personal stationery imprinted with his name San Francisco address and phone number and the last two on plain white paper. Signed by Adams with a few handwritten asides and corrections. A dense wonderful letter addressed "Dear Nick and Zabette." Adams talks about the construction of his house in Carmel "road entrance about 1500 feet down the road from Edward Weston's place." and his rough year "I have been low in imagination and only medium in health" but the tone is overwhelmingly introspective philosophical serious and kind. Adams discusses the state of Modern Photography and Art at length what he feels his early influences and "breaks" were and how to make a living at creative photography while staying enthusiastic and true to oneself. Compelling and touching. In fine condition housed in a lavish custom box cloth backed in green morocco with gilt-stamped lettering on spine. / Typed letter signed by Ansel Adams. California 1962. Two full pages typed letter signed "Ansel" with his handwritten corrections and asides dated March 17 1962. On Adams' personal stationery imprinted with his name address 24th Avenue San Francisco and phone number. Addressed "Dear Nick" Adams congratulates him on an upcoming exhibit discusses a Polaroid book cameras Type 49 Type 55 P/N the completion of his house in Carmel health and injuries or lack thereof a De Cordova exhibit and Nick's critique of it and then goes on to examine the state of photography "commercial photography is getting worse." and other photographers including Minor "Jerry" and Don Worth. Perhaps best of all Adams' thoughts on Art are interspersed throughout including but certainly not limited to "I am beginning to think that the trouble with Art is when it becomes Art!" A wonderful letter revealing both the personal and professional sides of a renowned American photographer. In fine condition housed in a blue cloth chemise with gilt-stamped leather spine label. / Overall a spectacular collection -- all letters are in fine condition housed in 3 lavish custom boxes one for each year 1958 1961 1962. For further details please send us an inquiry. <br /> <br/><br/> hardcover
40974Paris Académie des Sciences 1841-1915. 4to ca. 26 x 21 cm. In a later custom-made blue box 29.5 x 23.5 x 7.0 cm with a printed label on the front top board. = Includes early and original articles by Dominique Arago Louis Daguerre Gaudin Leon Foucault H. Fizeau Lerebours Edmond and Daniel Becquerel A. Poitevin Niepce de St. Victor Elie de Beaumont H. Talbot Chevreul Aimé Civiale J. Girard J. Janssen G. Lippmann L. Boutan Izarn and P. Villard. Several have a library stamp on the title of the Comptes Rendus but not in the text. Amongst the early ones: "Lettre de M. Daguerre à M. Arago avec rectifications essentielles" 1841; "M. Regnault avec des résultats très curieux obtenus par M. Moser sur la formation des images daguerriennes et qui ont été adressés par M. de Humboldt" 1842; "M. Gaudin simplification du procédé pour la préparation des plaques destinées à recevoir des images photographiques" 1842; "Sur un nouveau procédé de polissage des plaques destinées à recevoir les images photographiques etc."; "Lettre de M. Daguerre à Arago and Marey Analyse cinématique de la locomotion du cheval" 1885. We added from the Annales de Chimie et de Physique "Daguerre lettre à Arago sur un nouveau procédé de polissage des plaques destinées à recevoir les images photographiques." 1843 and "Nouveau moyen de préparer la couche sensible des plaques. sur le même sujet" 1844. unknown
1885ABC_488551885. Contemporary gold-tooled dark purple quarter morocco brownish-purple pebble-grain cloth sides with a paper label "3" mounted on the front. Oblong ca. 38 x 27.5 cm. With 20 albumen prints 43 plates engraved and lithographed and 3 drawings. Remarkable album documenting the travels of HMS Calliope 1837-1883 a British warship in the first few years after her launch. The ship first sailed to Madeira and Tenerife after which she crossed the Atlantic Ocean to visit various harbour cities in Brazil Argentina Uruguay and Chile. Many of the illustrations and photographs include handwritten annotations about the ship's journey with the exact dates of when she arrived where. As such the album was likely compiled by someone who sailed on the ship during these years possibly a crew member. The album contains photographs drawings and plates relating to the places the Calliope visited between 1838-1840. It starts with photographs of Madeira and Tenerife like the Loo Rock in the harbour of Madeira locals carrying a tourist down the Pico Grande the town of Güímar in Tenerife and an age-old Dragon Tree. As the ship's next destination was Brazil the album contains a number of photographs and illustrations of Rio de Janeiro as well as a drawing of a picnic at the summit of the Corcovado. The Calliope then sailed to Buenos Aires and Santa Fe arriving in August 1838. This part of the album contains a drawing of a gaucho and 6 beautiful photographs by Samuel Boote 1844-1921 one of the most important photographers working in Argentina in the 19th century. His work shows the interior and exterior of the St. Felicitas Church in Santa Fe as well as daily life in this city. The ship then carried the British ambassador from Argentina to Montevideo arriving in June 1839 before continuing to Valparaíso. The final pages of the album contain a map of Montevideo views of Valparaíso and the mountains nearby and a drawing of a bridge.The plates in the album were taken from other works such as Journal of a voyage to Brazil 1824 by Maria Graham and A history of the Brazil 1821 by James Henderson. The photographs were taken in the 1880s which means the album must have been compiled several decades after this particular voyage of the Calliope. However as some of the annotations mention that a location looked different on the plate than when the Calliope arrived the album must have been compiled by a crew member.The Calliope sailed to China after the visit to Valparaíso to serve in the First Anglo-Chinese War 1839-1842. After she sailed to New Zealand and primarily operated in that region until she was converted into a floating chapel in 1855 and deconstructed in 1883. With the yellow bookseller's label of "A & N.C.S.Ld Stationery Dept. 105 Victoria St. S.W." mounted on the back pastedown. The leaves and plates are somewhat foxed likely lacking a plate or drawing on the recto of leaf 16. Otherwise in good condition. hardcover
1891ABC_47521Egypt: Zangaki brothers 1891. Original gold-stamped bubble-grained maroon cloth over boards modern maroon cloth spine and leather corners. Gold stamped title and year on the front white watered silk endpapers. Oblong album 31.5 x 41 cm. With 34 large albumen prints mounted on heavy cardstock leaves. Most of the photographs are numbered and captioned in French in the negative and signed 'Zangaki'. The last one is signed Sebah & Joallier. The Zangaki prints measure 22.5 x 28.5 cm; the Sebah & Joallier one is 20.5 x 26.5 cm. A large German album with 34 albumen prints of Egypt. The Greek brothers G. and C. Zangaki were photographers who worked in Egypt in the second half of the 19th century. Due to increased tourism to this region after the opening of the Suez Canal there was a large demand for souvenir photographs. Photographers like the Zangaki brothers as well as Sebah & Joallier catered to this. The Zangakis were among the first commercial photographers to produce large-scale images of Egypt. They travelled through the country with a portable darkroom to capture high-quality images of famous monuments and daily life though the latter were usually posed. These images were then printed and sold to tourists either separately or compiled into albums. According to John Hannavy the brothers "produced some of the finest images of late Victorian Egypt". The 34 photographs include: the great pyramid Cairo and the Nile dervishes and other exotic looking locals Egyptians standing on top of the sphinx obeliscs the Ramesseum Karnak temple the temple of Dendera the Great Pyramid Egyptians climbing the pyramid the mosque and tomb of Muhammad Ali Saqqara and many others.With two small library stamps on the first page not affecting the photograph. The book has been rebacked. The left side of the front board has faded and the corners are worn. Minor browning around the edges of the leaves. Back flyleaf loose. The photos are crisp and clear and the book is otherwise in good condition.l Erdem Views of Egypt by Georgios and Constantinos Zangaki: Examining a late nineteenth-century photographic album at the Art Gallery of Ontario thesis 2006; Hannavy Encyclopedia of Nineteenth Century Photography pp. 1036 1093 & 1521. Zangaki brothers, hardcover
191000018321.5 x 16 cm. Unsigned silver print photograph by Mirza an Indian photographer. Jannat al-Mu'alla Arabic: جَنَّة ٱلْمÙعَلَّاة romanized: Jannah al-MuÊ¿allÄh lit. 'The Most Exalted Paradise' also known as the "Cemetery of Ma'la" Arabic: مَقْبَرَة ٱلْمَعْلَاة Maqbarah al-MaÊ¿lÄh and Al-ḤajÅ«n Arabic: ٱلْØَجÙوْن is a cemetery to the north of Al-Masjid Al-Haram and near the Mosque of the Jinn in Makkah It is the place where the Islamic Prophet Muhammad's wife grandfather and other ancestors are buried.
060752San Sepolcro Aboca: Aboca Museum 2006. Facsimile. Hardcover. Near Fine/No Jacket as Issued. 24" x 17.5" x 2.5" respectively. A Complete Three Volume Set. This is a Limited Edition set #35 out of 1450 copies. "The Hortus Eystettensis is a magnificent pictorial record of the flowers grown in the greatest German garden of its time that of Prince Bishop of Eichstatt Johann Conrad von Gemmingen."This work changed botanical art overnight. The plates were of garden flowers herbs and vegetables exotic plants such as castor-oil and arum lilies. These were depicted near life-size producing rich detail. The layout was artistically pleasing and quite modern in concept with the hand-coloring adding greatly to the final effect." Wikipedia This set is a facsimile of Basilius Besler's wonderful work which was originally published in 1613. Latin text. It contains 367 full-page color plates with 1084 drawings of flowering plants. Full white vellum covers with decorative blind stamping. Each volume has 10 raised bands as well as two brown slips with gilt lettering on the spine. Size: 17 15/16th inches by 21 3/16th inches. The covers and spine have some light rubbing in spots as well as some small specks/stains. One cover has very light ghosting. Set is in near fine condition. These stunning illustrations originally hand drawn forever keep alive the memory of this beautiful garden of the past. As each volume is approx. 21" tall x 17.5" wide x 2.5" thick spanning approx. 7.5" on a shelf this very large very heavy set will require an additional shipping charge and will arrive with signature required upon delivery. Full refund if not satisfied. Aboca Museum hardcover
1890List2833Shasta County and Siskiyou County 1890. Fifteen photographs approximately 4 ½ x 7 ½ inches. Each mounted on heavy cardboard backing approximately 5 ½ x 8 ½ inches which is mounted on heavy cardboard of approximately 8 x 10 ½ inches. Unknown if photographs are stamped verso due to mounting. Some with recent captions on the largest mount; some captions likely incorrect see description. Fine contrast overall fine condition. Raper James Waters 1856–1937 was a professional photographer from Sacramento California. He was first active as a photographer in Gold Hill Nevada in the 1880s. Following this he returned to California and had studios in Berkeley and San Francisco between the late 1880s and mid-1920s. Offered here is a collection of fifteen of Waters’ photographs from around Mount Shasta likely from the late 1880s or 1890s.<br /> <br /> The photographs are mainly from places in Siskiyou County where Mount Shasta is located including shots of the towns of Sisson now Mount Shasta and Dunsmuir Sisson and Dunsmuir are on the Siskiyou Trail an ancient Native American footpath running from the San Francisco area to Portland Oregon. The Central Pacific Railroad Company completed a train line along the Siskiyou Trail in 1887; one shot from an unknown location shows railroad tracks rounding a curve among felled trees. Just outside of Dunsmuir is the Shasta Springs resort mislabeled here as Shasta Bottling Works famous for its springwater – the fountains of water in the photograph are from pressurized pipes coming from the springs.<br /> <br /> Other captioned photographs show Castle Crags hikers summiting Mount Shasta Mossbrae Falls and Castle Lake mislabeled as Crystal Lake. Photographs also show campers with their tent small houses a canoe on a lake and snowy winter scenes. Overall a striking set of photographs. unknown
biblio547Very Good. <p>silver gelatine emulsion 315cm X 39cm Signed and intitled on verso brown/sepia ink: <em style="text-indent: -103px;">On the river Evenlode a tributary of the Thames that runs past Blenheim Park</em> <em>Photographed by F H Evans A very rare and unusual photograph by Evans probably an early work of late 19e century Considering the large format of this print is uncommon Evans did only small size platinum print The photograph has been fold for years and be completely restored and cleaned by a professionnal An unique photograph unrecorded</em></p><p class="MsoNormal" style="margin-left: 40cm; text-indent: -774pt; mso-pagination: none;"><em></em></p> unknown
1890D4TCASY3Z0MCNew Zealand 1890. Including 13 Maori portraits 4 albumen prints of Hobart and locality a loose albumen print of the North Shore Native and Aquatic Regatta at Auckland in 1898. Collection of photographs mainly albumen prints showing 13 Maori portraits in full feather dress and 5 views of New Zealand and Tasmania. Included are i.a.:- Native girl. Full-length portrait of a standing Maori girl.- Photograph of a pinned down photo with a portrait of a standing Maori girl.- Chieftains of Hono Hono Kinikaiahi A half-length portrait of a standing Maori in front of wood-carved statue and a half-length portrait of a standing Maori with carved fan. - 2 full-length portraits of Maori couples.- Native boy. Portrait of a Maori boy with feather in hair.- A Maori beauty. Portrait of a Maori girl with large neck-lace & pendant. In good condition. ABE CAT Anthropology & Ethnography ABE CAT Costumes & Uniforms unknown
191000018421.5 x 16 cm showing the pilgrims and tents in Arafat during Hajj.
1941028483Los Angeles: Art Center School 1941. 1st Edition . Hardcover. Fine. Photographs. 35 Pages In Red Plastic Binder 13" X 10 1/4" With White Plastic Comb Spine. The Book Consists Of 32 Pages Of Photographic Paper On Card Each With A 10 1/4" X 8 3/8" High Quality Photographic Image At Top On Each Side Documenting All Kinds Of Class Settings In The Studios And In Outside Locations And 3 Pages Of The Same Paper Each With Four 4 3/4" Square Photographs Attached To The Pages On Each Side Portraits Of The Teachers For A Total Of 88 Photographs. There Is No Text Or Writing Of Any Kind Anywhere In The Book But It Is Very Similar To A Set Of Pages In The Art Center School Of Design Archives In Pasadena Punched For A Spiral Binding But Unbound Having Four More Pages Than This Set But Lacking Some Of The Photographs Present Here. Ansel Adams Is Shown Instructing Many Of The Classes As Are Fred Archer Clarence Bull James H. Doolittle Edward Kaminski Paul Dorsey C. K. Eaton Otto Hulmer A B Shore Herman Wall And Others. The Photographs Are Very High Quality Showing Excellent Composition And Detail. This Particular Collection Of Photographs May Be Unique And In Any Case A Quite Rare And Desirable For Collectors Of Photography And In Particular The Ansel Adams Collector. Adams Developed His Zone System Technique Of Photography In 1941 While Teaching At The Art Center. <br/> <br/> Art Center School hardcover
042230New York: The Limited Editions Club. Limited Edition. Hardcover. Fine. Illustrated. Signed by the artist. Rare Limited Edition Club. 62 sets numbered 1-62. Ours is #29 of 62. 1 Printer's proof and 2 archival proofs. This portfolio was editioned by Jon Goodman on Arches Cover. Contains: Kimono No. 2 1963: The Night of the Newly-Married Bride. Kimono No. 4 1963: Hard Times of Marriage. Kimono No. 6 1963. Widow in Mourning at the Funeral. Silver nylon clamshell case. White label laid in on front cover with black Japanese lettering. Black velvet interior. Full refund if not satisfied. The Limited Editions Club hardcover
1916321536Jersey City NJ 1916. Manuscript throughout. 61pp. neatly written in ink on ruled paper. Inscribed on the first page "To my only daughter Josie" and signed and dated on the final page. 12mo. Contemporary flexible leather covers. Binding worn. Manuscript throughout. 61pp. neatly written in ink on ruled paper. Inscribed on the first page "To my only daughter Josie" and signed and dated on the final page. 12mo. Born on November 9 1841 in Constance Baden-Württtemberg Germany Gubelman arrived in New York in May 1854. The following year he found work with famed mapseller J. H. Colton "as pupil to Jos. Schedler who was in charge of the engraving dept a ledding man as engraver of maps." In 1857 he relocates to Washington DC with Schedler to draw maps on boxwood for wood engraving though the following year he returned to New York working as an engraver for Forbes in New York being paid $8.00 a week.<br /> <br /> In 1858 he accepts his first job in photography:"On Dec. 20th I got a situation with Julius Brille on Chatham St. to retouch photograph & coloring the same under the tuition of Mr. Bathing a very able artist. Dr. Ehrman was also employed there as operator." Gubelman stayed in that position less than a year before moving to Memphis Tennessee to work in a family friend's grocery business. "I stayed one month in that business but it did not prove congenial to me so I secured a situation in Clark's Gallery the most noted in Memphis as a colorist" He returned to the grocery business shortly thereafter when the owner sold his interest to Gubelman's family. "The summer of 1860 was a very trying time in Memphis particularly for a good republican. The only thing to do was to keep mum a hard thing to do when you hear the most patriotic men of the nation abused like pick pockets. Homeguards were organized uniformed and drilled in the evening attending to business during the day and wearing the uniform as a protection against being pressed into the rebel army." He leaves the south under the pretense of purchasing stock for the store and smuggles himself north by flagging down a steamer on the Ohio River making his way back to Jersey City. <br /> <br /> His memoir continues: "I hired Campbell's Gallery at 60 Montgomery St he having gone into making plates for tintypes then just coming up. I improved in my chemical knowledge under Mr. Campbell done my own operating and colored photographs and made a fairly good living." In May however he enlists for 3-months service "in response to Pres. Lincoln's call for 75000." His service was largely uneventfully spending most of his time at Suffolk Virginia with the exception of being shipwrecked en route to Fortress Monroe. He mustered our honorably in September and joined by his parents moved to Trenton "where I founded the partnership Parker & Gubelman & opened a gallery on East State St. We did not succeed and due no doubt to inexperience of both of us." <br /> <br /> In May 1863 he "entered the employ of C.C. Giers at Nashville Ten. at a salary of $80 a month which was increased to $100 in Aug." After Giers retirement and a brief stint working "in a photo tent at a camp in Murfreesboro" he befriends Captain Welles who loans him $400 to open his own studio. "I located at Pulaski Ten. There was about 10000 soldiers and no photographer . There was a fine skylight on the square one flight up. I got an order from the Provost Marshal to take possession. On Jan. 11th 64 I came back to Pulaski with the needed stock and an old acquaintance who was a printer we went to work to fit up prepare chemicals that was collodion days when it took time to get in working order . In the first day I took in $37.00. By the middle of March I paid back the loan to Capt. Welles as he would take no interest I presented a gold watch to Mrs. Welles." <br /> <br /> By May however Union troops left Pulaski and Gubelman returned to Nashville with $500 in stock & $1000 in cash." He entered into partnership with his former boss Giers. "So we formed the firm C.C. Giers & Co. Mr. Giers put up $4000 cash & I $1000 in cash & $500 in stock we bought the Merrit Gallery for $5000. Mr. Giers was to have 2/3 interest." Just a few months later however with Sherman marching towards Atlanta Giers bought out Gubelman's share for $2600 and Gubelman again returned to Jersey City where he opened his own studio on Newark Avenue in May 1865. After describing the meeting his future wife his marriage and other family news Gubelman records the opening of a second gallery on Washington Street in Hoboken which would be sold two years later to Louis Nagel. <br /> <br /> He moves several times in the early 1870s but prospers: "For a number of years I was an exhibitor at the Am. Institute Fairs obtaining a number of medals. In 1878 I made an exhibit of Photo Portraits all sizes from cabinet size to 18 x 22 life size all from gelatin plates the first exhibit of its kind in this country. The same year I made an exhibit in Paris and obtained a bronze medal. All of which not only was a fine advertisement but materially helped to establish a fine reputation in every way. I was also the producer of the first photo prints of instantaneous views of yachts Steamers & Co. in N.Y. art stores." He goes into partnership in 1882 with Arthur Hargrave on W. 23rd street in New York which after several years became profitable. In 1888 he travelled with his family to Europe and while there he arranges for his son Leopold to study with Dr. Eder in Vienna "as I thought a scientific education in the photo-mechanical processes would insure his future."<br /> <br /> Gubelman profitably dissolves his partnership with Hargrave in 1892. The rest of the memoir is devoted to his European travels his family and his grandchildren. The memoir ends recording the death of his wife on April 7 1916 and with Gubelman signing and dating the memoir Jersey City May 3 1916. A pencil notation below presumably by his daughter Josie records her father's death on October 31 1916.<br /> <br /> Though unpublished the memoir is known from a transcript of a second copy of the memoir penned for his son Fred. The transcript is located at the George Eastman House though the whereabouts of the original manuscript presented to Fred is unknown though at one point belonged to his grandson Herbert Gubelman. For a detailed biography of Gubelman see Saretzky and Bilby whose article is based on a second copy of the transcript of the manuscript penned for Fred Gubelman and given to A.J. Peluso for a 1999 article in the Maine Antique Digest. Saretzky Gary D.; and Joseph C. Bilby "Photographers of the Civil War Era: Theodore Gubelman of Jersey City" in NJS: An Interdisciplinary Journal Winter 2021 unknown
