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Adams Ansel; Dean Nick; photography TLSABAA

Collection of 7 Typed Signed Letters from Ansel Adams to Nick Dean

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. hardcover books

African American Interest PhotographyABAA

Archive of photographs and letters regarding a pair of African American twin child actors

1935152255Los Angeles: N.p. 1935. Archive of material regarding a pair of prospective African American child actors including four black and white photographs of the children four autograph letters signed from a "Madame Fay" variously addressed to Mr. and Mrs. Martin Smith and an unnamed "Mr. Agent" and one typescript letter unsigned but seemingly from one of the Smiths responding to Fay's previous correspondence. Two photographs with the stamp of Adair's Studio at 4105 Central Avenue on the verso. Fay's letters which identify the children as twins broadly discuss her hopes of securing acting representation for the twins facilitated by the Smiths who seem to have had some connections within the film industry. The letters also frankly address Fay's financial hardships noting "I don't expect much for myself in the start buy if I only know that I have a Dependance I will feel safer. I don't think I shall ever be able to go into any ones kitchen and the lisence is so high for readings that unless I can't find any other sorce of Deasent living I hardly know what to do" sic all. Fay's note about licenses for readings as well as her distinctive moniker suggests that she also worked as a medium or psychic in addition to having previously worked for the Smiths. In her single letter to the unnamed agent Fay reiterates her desperation and states that she previously took the children to noted film and television comedy producer Hal Roach. She goes on to state her preference for the children working with a white agent and avoiding "the Central ave. agents". Central Avenue and 41st Street was the heart of African American life in Los Angeles in the early and mid-20th century a populous region commonly referred to as the "Black belt of the city" home to a rapidly growing African American community as well as numerous Black-owned enterprises. As a whole the archive presents an interesting and emotive glimpse into life on the edges of Depression-era Hollywood as well as the numerous difficulties and limitations faced by African Americans in gaining entry into the film industry. Photographs approximately 7.5 x 9.75 inches. Letters varying sizes. All materials generally Very Good plus lightly age-toned with some dampstaining to the letters. N.p. unknown books

Royal Books, Inc. · États-Unis1 200,00 $US≈ 1 015,32 €

Alaska Photographica: Early Film PhotographyABAA

ARCHIVE OF EARLY FILM PHOTOGRAPHS RETAINED BY GUERNEY HAYS A CINEMA SET AND LIGHTING SPECIALIST FROM OREGON WITH MANY PHOTOGRAPHS FROM THE SET OF The Chechahcos A 1924 AMERICAN SILENT FILM SET DURING THE KLONDIKE GOLD RUSH AND THE FIRST FILM SHOT IN ALASKA

1930WRCAM56103Various locations in Oregon and Alaska 1930. Approximately 325 photographs twenty postcards and real photo postcards a linen- backed map of Alaska and a few assorted ephemeral items all housed in a contemporary leather satchel. Generally minor wear some chipping to about twenty photographs. Overall very good. A treasure house of silent cinema photography from the Pacific Northwest and Alaska featuring over 300 images from THE CHECHAHCOS and other films produced in the orbit of the film's director Lewis H. Moomaw all retained by one of his crewmen Guerney William Hays. THE CHECHAHCOS released in 1924 was the first feature film shot in Alaska. "Cheechako" is a native word referring to a "greenhorn" or someone newly arrived in the mining districts of Alaska or northwestern Canada. A melodramatic tale of the Klondike Gold Rush the was directed by Lewis H. Moomaw of the Alaska Moving Pictures Corporation. The story was based in part on the experiences of the film's producer Austin E. Lathrop known as "Alaska's first home-grown millionaire." The film has been preserved in the National Film Registry and can easily be viewed on the internet. Offered here is a large collection of photographs and other ephemera once belonging to a CHECHAHCOS crew member named Guerney William Hays 1880-1952 including film stills snapshots from the set and other images of Alaska scenery. Many of the images match up with scenes from the completed film. The subject matter includes all that might be expected from a film produced in and about Alaska: glaciers dogsleds saloons archvillains and damsels in distress along with shots of the crew and technology that made the film possible. The largest and most professionally-produced photographs in the collection are eighty 8-x- 10-inch prints almost all of them clearly from the CHECHAHCOS shoot with twenty-one stamped on the verso by the Alaska Moving Pictures Corporation and with either a printed or manuscript title written along with the stamp reading "The Chechakos" the spelling of which was later tweaked to its release title. One of the stills shows the entire company of the Alaska Moving Pictures Corporation about 150 people in the snow beside their Pullman cars; two banners for the film company hang outside the rail cars. A separate shot of the film company shows their train at the entrance to McKinley Park with a banner hanging on the train reading "Private Car Alaska Moving Pictures Corporation Entrance to McKinley Park on the Alaska Railroad." Other stills show scenes from the film shots of the cast and crew preparing to start scenes posed scenes clearly intended for use as publicity stills cast group pictures behind-the-scenes shots of the cameramen and other crew with various equipment photographs of empty interiors perhaps to be used for continuity a few featuring the dog sled teams and more. In addition to documenting the production these images also present a rare view of Alaska in the early-20th century. The remaining 240 images most of which measure approximately 3 x 5 inches were likely not formally produced by the film company for use as publicity but are in fact production photographs and still stand as valuable visual documentation of the early filmmaking process. While some of these photos are more of the vernacular sort the great majority of the images show a mixture of preproduction production and set-related photographs from the film company's time in Alaska shooting THE CHECHAHCOS and from other production's attached to the career of Lewis H. Moomaw the film's director. A great number of these images were likely produced as working production photographs - executed for the use of the company during the shooting process scouting for locations documenting costumes set continuity set construction what might today be called craft services suggesting or documenting potential camera set-ups or as studies for potential publicity stills and more. While not created as traditional publicity products these images capture the early filmmaking process both in front of and behind the camera presenting a quite uncommon slice of film production history. The fact that they were produced during the production of a film in Alaska make them an even more valuable source of information on the filmmaking process in the 1920s in a most unusual place. Production stills are produced in very small quantities compared to publicity stills are often unique or close to unique records of a production have a much lower survival rate and are keenly sought after as historical records of the filmmaking process. One of the few captioned photographs shows four wives of the CHECHAHCOS cast and crew on a fishing expedition including Moomaw's wife and Mrs. Guerney Hays. A few other photographs show an actress posing with crude dummies that were apparently about to be sent to their doom in a canoe scene in the Alaskan wilderness. Other production photographs from Alaska feature scenes on glaciers one of which shows the exact spot from a moment in the opening minute of the film a young girl with a giant Alaskan crab who is also pictured in the larger professional images and is in the film film crews poised on icy ground dog sled teams identified locations in Skagway and more. One of the other films pictured here is likely CALL OF THE ROCKIES 1929. This western was filmed in Oregon the usual home of the filmmakers involved in the Alaska Moving Pictures Corporation with Moomaw as supervising producer. CALL OF THE ROCKIES was directed by Raymond K. Johnson one of the cinematographers on THE CHECHAHCOS and features two actors identified in pencil captions on the verso of photographs present here: Russell Simpson and Jim Mason. There are numerous photographs featuring a western wagon train and other images of the traditional western which either appeared in CALL OF THE ROCKIES or perhaps one of Moomaw's other films produced in Oregon in the 1920s - UNDER THE ROUGE 1925 or FLAMES 1926 the latter of which climaxed in a raging forest fire and featured an early screen appearance by Boris Karloff. All of the postcards feature Alaskan scenes or subjects and were most likely acquired while the film company was shooting in Alaska or produced for them while they were there. This is the case for at least one of the postcards - a Christmas greeting with the banner at bottom reading "Compliments of the Alaska Moving Pictures Corporation." The final item of note here is a folding linen- backed map of Alaska issued by the Alaska Steamship Company. The map measures about 21 x 30 inches and was issued in 1917. It was almost certainly taken along to Alaska by Hays for the filming of THE CHECHAHCOS linen- backed either before-hand or while in Alaska to prevent damage from over-use. The entire collection of photographs and ephemera is housed in a period leather satchel. These photographs were collected and retained by Guerney or Gernie William Hays 1880-1952 who spent a career in the early film industry mostly in Oregon. Some pieces of ephemera bear his name and some of the larger stills are annotated "Hays" on the verso. His 1918 draft registration lists him as a motion picture operator in Portland and his obituary lists him as a member of the International Alliance of Stage Employees. His only film credit in the Internet Movie Database is for THE CHECHAHCOS for which he is credited with "sets and lighting" and also an uncredited supporting role on screen. One of the larger-format photographs features a crew member in a cramped equipment room with dozens of lights and mounds of cables; this is almost certainly Hays himself or perhaps one of his assistants. One of the photo developer's envelopes bears the name of Hobart H. Brownell the cinematographer of THE CHECHAHCOS. Two of the photographs here are inscribed to Hays - one from the actor Bert Sprotte in 1919 and the other from banjo player Eddie Peabody who has inscribed his portrait to Hays writing that "No finer stage manager I ever worked with." Another photograph shows Peabody's elaborate stage show. THE CHECHAHCOS remains an important early film for its authentic depiction of Alaskan life. Movies about the great white north were popular with early film audiences but were usually filmed in California. When Lewis H. Moomaw proposed to shoot a film entirely in Alaska about the days of the Klondike Gold Rush in the territory locals in Alaska jumped at the chance to find him funding. Upon arrival in Anchorage fully half of the town showed up to greet the film company. The cast and crew would spend three months filming in and around Anchorage the small mining town of Girdwood on Childs Glacier Abercrombie Rapids and Eyak Lake. The film premiered in the Empress Theatre in Anchorage on December 11 1923 and played to packed houses across Alaska the next year. Sadly the film never found a large audience in the continental United States playing occasionally over the next two years before falling into obscurity. The film was essentially lost until the year 2000 when a print was restored by archivists at the University of Alaska Fairbanks. Three years later the film was selected for preservation by the National Film Registry. The Library of Congress's press release when they selected THE CHECHAHCOS to the National Film Registry describes the film as such: "This independent regional film was the first feature film produced in Alaska and is renowned for its spectacular location footage of the lonely and unfathomable Alaskan wilderness frenzied dogsled pursuits and life-and-death struggles on the glaciers." A wonderful collection of great historical interest for early film scholars and of the history of Alaskan cinema. hardcover books

William Reese Company · États-Unis14 500,00 $US≈ 12 268,45 €

AlgeriaABAA

PHOTOGRAPH ALBUM OF 67 ORIGINAL IMAGES TAKEN BY COL. ROBERT GRAY SWIFT AND COL. JAY D.B. LATTIN OF THE UNITED STATES ARMY SIGNAL CORPS

19450379381945. Original photograph album. Original Cloth. Very Good. This album contains 67 high-quality b/w photographs 41 taken by Col. Swift the remainder taken by Col. Jay D.B. Lattin. Swift's photos are two sizes: the smaller numbering 34 shots with images measuring approx. 3 ¼" or 3 ½" by 5 ¼" or 5 ½"; and the larger numbering 7 shots measuring approx. 6" x 8 ½". Col. Lattin's photos are approx. 4 ½" x 3 ½" or 5 ¾" x 9 ½". Of the 67 images 45 depict scenes in Algiers Algeria 41 taken by Swift 4 by Lattin. The remaining shots all Lattin's include scenes in Marseilles Montargis and Toulon. All photographs are labeled in Swift's very precise printing by hand. The album also contains originals and some copies of documents relating to Swift's postings April-May 1945 Also present are two maps: folded map of Paris and the Metro system and a one-page map of London and its Underground stops along with a small four-page booklet on the Cumberland Hotel in that city. The physical album measures 11" x 14" post-bound white cloth bordered by red tape and contains 50 pages. The album was created by Col. Robert Gray Swift Signal Corps with a hand-printed cover reading: "Trip to E.T.O./ Signal Corps insignia/ Spring-1945/ Algeria/ Col. R.G.Swift". All lettering throughout the album is in Swift's precise draughtsman-like hand. Col. Swift a "Lt. Col." in the earlier documents was serving at the Central Signal Corps School at Camp Crowder MO when he and Col. Jay D.B. Lattin HQ Second Service Command Governor's Island NY were ordered to report to Washington prior to being sent to Paris for 30 days to survey training installations there and to recommend improvements. Document #1 April 10 1945. On April 25 Swift receives a document printed in French and English and accomplished by hand signed by French General Merlin Chief Signal Officer of Ground Air and Naval Forces "honouring him for his services" and authorizing Swift to wear the French Signal Corps insignia Document #2. On May 2 1945 Swift receives orders to go from E.T.O. Headquarters to Algiers for 10 days along with Col. Hattin and Lt. Col. Paul Gilbert Raymond of the French Army Document #3. The terms of Document #1 are then extended by 15 days Document #4 May 16 1945. On May 27 Swfit is ordered to London for 7 days Document #5 and on May 30 Document #6 he receives notification from the E.T.O. office that he is indeed authorized to wear the French insignia bestowed on him in Document #2. ~~ The photographs Swift takes in Algiers include highly evocative glimpses of the native populations in the streets and at the Casbah and public market well as shots of French and American military personnel. Photos include birds-eye views the mosque used as an air raid shelter the King George Hotel which was "Gen. Eisenhower's North African HQ" the French Signal School the Governor General's Palace and its guards the "harbour" the Church of Notre Dame ruins of an old Roman temple near the city and the Christian Martyr's Tomb and its "keeper". Personnel at the French Signal School and French Radio Intercept Station are seen: two "Merlinettes" i.e. women "pigeoneers" holding their birds and Lt. Touche and other staff including two "French WACS". Three photographs document "Arab soldiers entertaining their military "guests" at an outdoor feast of pit-roasted lamb and side dishes. Lattin's five views of Algiers include the French Signal School and its staff along with a mosque and worshippers. Of Col. Lattin's other photos 6 were taken at the Montargis Signal School and include "German P.W.s" the School buildings and staff officers "at the officers' chateau" and a shot of Swift Col. Raymond and the School Commandant together. Seven views taken in "Marsailles" Marseille include street scenes Notre Dame church the waterfront and candids of the officers including Le Man and Raymond. Also seen are two views of the waterfront at Toulons showing bombed buildings and two of a "Mediterranean waterfront" en route from Marseille to Cannes. hardcover books

R & A Petrilla, ABAA, IOBA · États-Unis375,00 $US≈ 317,29 €