Search Results: Titles starting with L from Andrew Cahan: Bookseller, Ltd

Paris: Bauthier-Villars, 1899. First edition. 8vo., 40 pp., 23 figures in text from drawings and photographs. Printed wrappers. Lacking a small chip from the top of the spine and a few along the top edge of the front wrapper. Slight creasing at the lower tip. Very good and unopened. Marey presented this lecture on his methodology, apparatus, and its implications at a conference held at the Conservatoire National des Arts et Métiers, 29 January, 1899. Among the reproductions are the chronophotographs that prove a cat lands on all four feet when thrown in the air (not recommended by this cataloguer). His method of single camera decomposed motion led to the projected motion picture, to the paintings of Duchamp and the Italian futurists. Not listed by Roosens and Salu. WorldCat locates a single copy in a bound volume of pamphlets at the National Art Library, Victoria & Albert Museum.

Paris: Bauthier-Villars, 1899. First edition. 8vo., 40 pp., 23 figures in text from drawings and photographs. Printed wrappers which are lacking a few small chips from the blank edges. Otherwise, a fine and bright, unopened copy, housed in a newly made pamphlet folder. Marey presented this lecture on his methodology, apparatus, and its implications at a conference held at the Conservatoire National des Arts et Métiers, 29 January, 1899. Among the reproductions are the chronophotographs that prove a cat lands on all four feet when thrown in the air (not recommended by this cataloguer). His method of single camera decomposed motion led to the projected motion picture, to the paintings of Duchamp and the Italian futurists. Not listed by Roosens and Salu. WorldCat locates a single copies in a bound volume of pamphlets at the National Art Library, Victoria & Albert Museum.

Paris: Gauthier-Villars, 1899. First edition. 8vo., 40 pp., 23 figures in text from drawings and photographs. Printed wrappers. Small chip from the spine top. Near fine, and unopened. Housed in a newly made clamshell box. Marey presented this lecture on his methodology, apparatus, and its implications at a conference held at the Conservatoire National des Arts et Métiers, 29 January, 1899. Among the reproductions are the chronophotographs that prove a cat lands on all four when thrown in the air (not recommended by this cataloguer). His method of single camera decomposed motion lead to the projected motion picture, to the paintings of Duchamp and the Italian futurists. Not listed by Roosens and Salu. WorldCat locates a single copy in a bound volume of pamphlets at the National Art Library, Victoria & Albert Museum.

NY: The Camera Club of New York, 1900. Hand-pulled photogravure, 6 1/4 x 4 7 /8 in. [15.88 x 12.38 cm] printed on copper plate paper, 10 7/8 x 7 1/2 inches [27.62 x 19.05 cm] with printed tissue guard. Removed from the original bound issue, with a single library ink stamp beneath the image on the blank margin, which shows some soiling. The image is bright and fine. A full-tone photogravure from CAMERA NOTES, January 1900, Vol. 3, No. 3. Emma Justine Farnsworth (1860-1952) of Albany, New York was an active photographer from around 1886 to 1912. She created allegorical and narrative images to use as book illustrations. Alfred Stieglitz called her the finest lady amateur photographer, and in 1897 she was awarded the second one-person showing at the Camera Club of New York. Her work was included in the 1900 Paris Exposition in a special exhibition of American women photographers. She won numerous prizes for her work. See Petersen, Christian A. ALFRED STIEGLITZ'S CAMERA NOTES. The Minneapolis Institute… Read More

Paris: Imprimerie Paul Dupont, 1892. First edition. 8vo., x, 162 pp., 6 plates. New paper wrappers with the original printed wrapper mounted to covers. A few leaves have short closed tears; toning at the edges, with several leaves not completely opened. Includes statements by Niépce and Daguerre; the presentation of Daguerre's discovery at the Chamber of Deputies; defense of Daguerre against Fouque's attack; reports on the daguerreotype; descriptions of the processes, etc. Roosens and Salu No. 2766. Scarce, with OCLC locating only six copies, none in North American libraries.

Paris: Henri Colas, Éditeur; Bordeaux: Rousseau Frères, 1946. First edition. Albin-Guillot, Laure. Folio, [42] pp., with 12 b&w hand-pulled photogravures. Loose sheets, as issued, contained in a printed paper portfolio and housed in the publisher's plain paper over boards slipcase. The paper portfolio is lightly toned from contact with the slipcase boards, yet the spine remains unaffected; the slipcase shows light dusting with the paper lifting in two spots from air bubbles. The photogravure plates are bright and fine with the usual offsetting to the text opposite the plates. In all, a near fine copy. Laure Albin-Guillot, figured prominently in Parisian photographic circles of the 1920s -1940s. She is noted for her microphotographs and especially for her beautiful nudes, was closely associated with the Ecole de Paris, and called by Peter Pollack and Emmanuel Sougez the muse of portraiture and decorative fantasies. She was an ardent supporter of women in the arts, and was appointed president of the… Read More

Paris: Gauthier-Villars et Fils, 1891. First edition. 12mo.,viii, 213, [1] pp, figures in text. Publisher's original wrappers, bound in marbled paper over boards with a slightly rubbed leather spine label. The endpapers are lightly foxed. A fine, bright, un-opened copy. Roosens and Salu No. 1165.

[Lyon: Freres Lumière, 1896. Small 4to., [4] pp. Printed on a thick woven stock in blue ink with gold border rules and decorations. Moderate toning and light foxing, with evidence of a prior horizontal fold. Very good. Enclosed in a four point pamphlet case of paper over boards with a printed title on the upper board and spine. The Lumière brothers presented their first public viewing of several of their films on 28 December, 1895 at the Salon Indien du Grand Café, Paris. The public approval was quick and within weeks the Lumières dispatched "operators" to Lyon, London, Madrid and other European cities. The cover title of this program is in Italian while the "Programme des Projections" is in French and lists screenings in Lyon, Paris, London, Milan Venice, etc., naming particular films for each location, as well as several which were shown at every screening. By July of 1896, Pierre Chapuis, a 17 year old operator from Lyon was dispatched to Milan to present a series of Lumière films which… Read More

Lausanne: La Guilde du Livre, 1952. First edition. Strand, Paul. 4to., 127 pp., full-page and other plates from b&w photographs. Pictorial wrappers over boards, with the original glassine over-wrapper. There is the slightest of wear at the top end of the spine (3 cm.) A fine, near new copy, in the photo-illustrated dust jacket, with the plain glassiner over-jacket, as issued. Limited, numbered edition. Considered one of Strand's most beautiful and sensitive bodies of work, superbly printed . For many years, Paul and Hazel Strand made their home in the French village of Orgeval.

Paris: Librairie de Firmin Deidot Frères, Fils et Cie, 1868. First edition. 2 volumes bound as one. 8vo., iii, 431, [1]; 377, errata, [1]; 8 plates (some folding), of which 5 are color printed, other illustrations in text. Aside from occasional faint foxing, a fine and complete work, including half-title pages. Newly bound in cloth-backed marbled paper over boards, with a gilt titled morocco spine label. Fine. Alexandre Edmond Becquerel (1820 - 1891) like his father, Prof. Antoine César Becquerel, pursued a career in scientific research. His work in electricity, magnetism, optics, meteorology and photography led him to experiments in the photogalvanic effect of the solar spectrum, beginning in 1839. "In a published report concerning color photography, Becquerel expressed the opinion that the substance which conserves colored impressions when acted upon by light is sub-chloride of silver. The colors which he obtained faded slowly under light but his work, described in a paper read Dec. 18, 1857… Read More

Paris: Alexis Gaudin, 1861. First edition. Folio, (ii), 96 pp. Bound in the nineteenth century with cloth-backed marbled paper over boards. 24 consecutive issues, published on the 15th and 30th of each month, each 4 pp. The complete production for 1861. Occasional stains or breaks, generally in a blank margin with the loss of a few letters in 4 instances; moderate toning; early folds from the mailing practice of the day. In all, very good. Includes the printed table of contents for the year. La Lumière was the journal of the world's first photographic society, the Société Héliographique, founded by Colonel B.R. de Montfort in January, 1851. The Société met in rooms at Col. de Montfort's home in central Paris; among its members were Baron Gros, the president, Édouard Baldus, Hippolyte Bayard, Henri Le Secq, Gustave Le Gray, Charles Nègre, Abel Niépce de Saint-Victor, Edmond Becquerel, Eugène Delacroix, Champfleury, Charles Chevalier, N.P. Lerebours, Comte L. de Laborde, Prince de Montléart,… Read More

Paris: Librairie Hachette et Cie, 1876. First edition. 12mo., viii, 356 pp., 121 illustrations. Elaborately gilt stamped publisher's cloth, all edges stained red. Small stain on the table of contents and faint spots of foxing to the fore edge; a fine and bright copy. A thorough examination of light, both visible and invisible, with a chapter on photography.

Paris: Librairie Germer Baillière, 1873. First edition. 8vo., x, 299, 48 pp., 117 figures in text. An occasional spot of foxing and mild toning. Publisher's deep cranberry/plum colored cloth, decorated and titled in gilt on the upper board with emblem in gilt on the rear board, rebacked in complimentary cordovan morocco with title label in gilt. A later owner's name is neatly stamped on the recto of the front free endpaper. Signed and presented, "Monsieur Le professeur Gavaret, hommage affection, E. Marey." A very good copy. Marey's interest in the biomechanics of locomotion was codified and measured through the use of his ingenious mechanisms, both mechanical and photographic, which are detailed in this volume. The practical implications of these studies had profound affects on aviation, biophysics, and the advent of cinematography. Chapter four deals with the paces of the horse and explains Marey's methods of research. It was one of Marey's published attitudes of the horse which led Gov. Leland… Read More

Paris: Gauthier-Villars, 1899. First edition. 8vo., 21 pp., 3 color plates. Printed stiff wrappers have been neatly conserved with light chipping along the edges. Stamp of The Cromer Collection on the front wrapper and title page. Housed in a newly-made cloth and decorative paper over boards protective folder. Roosens and Salu No. 8413. OCLC locates only three copies, none in North American collections.

Paris: Gauthier-Villars et Fils, 1894. First edition. 12mo., vi, 23, [1] pp., 2 adverts. Publisher's printed wrappers. Scattered foxing. Very good. Roosens and Salu No. 8440.

Paris: G. Masson, 1878. First edition. 8vo., xix, 673 pp., errata, 348 illustrations from charts, graphs, and drawings. Publisher's red cloth, titled in black ink on the upper cover and spine. There is faint spotting on the fore edge, a slight smudge to cloth near the lower corner of the front cover, slight rubbing along the front hinge and slight creasing at the board tips, not affecting the text block. A very good and bright copy. [with] Marey, E.J. LA MÉTHODE GRAPHIQUE DANS LES SCIENCES EXPÉRIMENTALES.... Augumenté d'un supplément sur LE DÉVELOPEMENT DE LA MÉTHODE GRAPHIQUE PAR LA PHOTOGRAPHIE. Paris: G. Masson, 1885. Deuxième Tirage. 8vo., [iii], xix, 673 pp., errata, 383 illustrations; [supplement] vi, [i], 52 pp., 35 illustrations. Original printed wrappers which are lacking a portion from the front panel with the partial loss of a single letter "L" from the title, and a bit soiled; scattered foxing and minor wear. Very good. Marey pioneered the use of graphic recording systems and… Read More

Paris: Chez L'Auteur, Palais-Royal, 1862. First edition. 8vo., 41 pp., full-page engraved frontispiece, plus (6) pp. Printed wrappers which are edge-chipped, show a faint stamp on the front, and staining on the rear. The text has light foxing and toning, with a small bump at the base of the spine; else a better than good copy. Housed in a cloth and paper over boards clamshell box. Arthur Chevalier, was the son of Charles Chevalier, head of the famous Parisian optical firm who provided lenses to Niépce, Daguerre, Talbot and others. It was Charles who first designed the Megascope, an optical device, similar to the camera obscura, for projection of opaque photographs. This manual provides a detailed description for making large images and enlargements, sensitized coatings, plates, papers and apparatus. The frontispiece illustration is of Chevalier's Mégascope Réfracteur Achromatique. Roosens and Salu No. 3579. Bellier de la Chavignerie, Manuel Bibliographie du Photographe Francais, 1863, No. 133.… Read More

Paris: Gauthier-vVillars et Fils, 1894. First edition. 12mo., vi, 72 pp., 11 figures in text. Publisher's wrappers, which show a moderate dampstainon the rear and final blank endpaper. Tiny ink notation on the front wrapper, pencil notaions on page margins. Very good. First separate work on photographic perspective. Roosens and Salu No. 7882.

Paris: Gauthier-Villars, 1908. First edition. 8vo., viii, 283 pp., mounted carbon photographic frontispiece, text illustrations. Publisher's original printed wrappers, which are slightly dusty. Partially unopened. A very good copy. An extensive treatise on the history, theory, and the latest applications and advancements of the carbon process. Roosens and Salu No. 1639.

Paris: Chez L' Auteur, 1876. First edition. 12mo., 179., pp. Contemporary quarter leather and marbled paper over boards. The joints and edges are scuffed and rubbed. Although not called for, this copy has a mounted carbon portrait of young girl, credited to A. Liébert, as the frontispiece. Very good. Alphonse Justin Liébert (1827 - 1913) a French naval officer, resigned his commission and opened a photographic studio in San Francisco, 1851. By 1864, he was back in Paris, where he introduced the melainotype (tintype); he was an early advocate of the carbon process, and in this, his treaties on all aspects of carbon printing, he introduced his improvements. Roosens and Salu No. 1614. Scarce, with WorldCat locating only ten copies.