Vanderzee James (12 results)

Hardcover. Condition: Good. Dust Jacket Condition: Fair. Moderate loosening to binding. This could have light cosmetic flaws, but remains in good condition. Dust jacket condition is Acceptable. Secure packaging for safe delivery.

Exhibition Announcement Cards. This is not a book. The original announcement card for an exhibition of work by James Van Der Zee titled "Vintage Photographs" and held at Howard Greenberg Gallery, NYC, March 11 - April 30, 1994. Stiff thin card, printed both sides; 7 x 5 inches. Condition: Fine. Laid-in is a newspaper review of the show, a 1974 exhibition review, and a 1974 book review. Will be sandwiched securely between stiff layers of cardboard and shipped the next business day. International postage may be less than quoted.

Condition: sehr gut. Sprache: deutsch Paperback ,unmarkiertes Restexemplar.

Soft cover. Condition: Very Good. 1st Edition. Large softcover with light to moderate general wear. 1st softcover edition. 192pp. Photos. Small corner crease upper front cover. No names or names. Photography.

Hardcover. Condition: Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

First edition and first printing. Hardcover. 192 pages. Monograph on African American photographer James VanDerZee who spent decades photographing in Harlem. Features a foreword by Alan Fern, an essay by Deborah Willis-Braithwaite and biographical essay by Rodger C. Birt. Includes 187 duotone illustrations, the second to last is a terrific photograph of a young Jean-Michel Basquiat. A fine copy in black cloth boards and in a very near fine dust jacket. A very nice copy of one of the better books on VanDerZee.

Hardcover. Condition: Near Fine. 1st Edition. Michael Rosenfeld Gallery: 2002. Hardcover with an attached paper dust jacket. First edition. Book and jacket are both in near fine condition. Comes in the publishers cardboard box.

First Edition. Very good in very good jacket. Inscribed by Van Der Zee below the printed dedication: "-and to Zachary T.V. on his 1976 Birthday, Igive these photographs. J.V.D.Z (and Sam, too). P/S See especially p. 147 fro two of the B.L.O.W. hosts" The referenced photograph is a portrait of two women in hats. Numerous examples of the photographer's work. Book.

Soft cover. Condition: Very Good. Square quarto, 20pp, black and white phtographic reproductions in pictorial wrappers, staple-bound (crimps and minor toning and wear, else very good).

1982. catalogue accompanying the exhibition of the same name at the studio museum in harlem (june 20-september 1, 1982) and new york state museum (october 16-january 9, 1983). new york: the studio museum in harlem. 8 x 8 inches. softcover. stapled in paper wrappers. near fine.

Magazines. The Photo Review is the acclaimed quarterly journal of photography, with critical essays, portfolios, interviews, and book and exhibition reviews. The Photo Review Newsletter, issued eight times a year, contains exhibition listings and news of interest from throughout the world. Fifteen issues of The Photo Review including Summer 1991 (Vol. 14, No. 3), Winter 1992 (Vol. 15, No 1), Spring 1992 (Vol. 15, No 2), and a complete run of twelve issues from Winter 1993 (Vol. 16, No. 1) through Fall 1995 (Vol. 18, No. 4) as well as 26 issues of The Photo Review Newsletter--a complete run from Dec. 1993/Jan. 1994 through Dec. 1995/Jan. 1996 plus issues 2 and 3, 1996. Review highlights include: essays on Sally Mann, Larry Clark, Duane Michals, Keith Carter, James VanDerZee, W. Eugene Smith, Emmet Gowin, Danny Lyon, Joel-Peter Witkin, Weegee, Robert Frank, Diane Arbus, Adam Fuss, Manuel Alvarez Bravo, and Aaron Siskind; a lecture by Sebastiao Salgado; "The Censorship Diaries;" a bound-in exhibition catalogue; writing by A.D. Coleman, David Graham, Lou Stoumen, Joseph Marshall, Sandy Sorlein, etc.; and much more. All Reviews: edited by Stephen Perloff; staple-bound self-wrappers; 24-48 pages; b&w illustrations throughout; 8.5 x 11 inches. All Newsletters: loose sheets; 8 pages; b&w illustrations; 8.5x11; folded as issued. All are Very Good to Good; all have a label to the mailing panel; one Review has the subscription panel cut out of the back page; one Review has notations to a bound-in auction catalogue; many of the Newsletters have notations to the margins. Ships the next business day, wrapped in padding, in a box. Due to size and weight, international and expedited shipping may be more than quoted.

Condition: Fair. Original photograph (8" x 10"), warm-toned gelatin silver print. Signed in the negative (vertically): "NYC / VanDerZee / 1937." On verso two impressions of Van der Zee's G.G.G. Photo Studio stamp in red ink. Damage to photo emulsion near face; significant scrape on vest area, corners of the photograph worn particularly on the lower left. Formerly framed (matte line visible). With real faults as described, and priced accordingly. ORIGINAL PHOTOGRAPHIC PORTRAIT OF A THOUGHTFUL, WELL-DRESSED AFRICAN-AMERICAN MAN BY JAMES VAN DER ZEE, EASILY THE MOST IMPORTANT PHOTOGRAPHER OF THE HARLEM RENAISSANCE. WE HAVE BEEN UNABLE TO LOCATE ANOTHER EXAMPLE OF THIS IMAGE. While elegant, handsome, and very distinctive, the subject of this soft-edged portrait remains unidentified as is so often the case in Van der Zee's oeuvre. Unusually, our sitter is wearing glasses and his arms are positioned on what may be a musical instrument case. Whereas the gelatin silver print is damaged, it is unquestionably by Van der Zee and was printed in his famed G.G.G. [Gaynella Greenlee Guarantee] Photo Studio at 2077 Seventh Ave (now Adam Clayton Powell Blvd) at 124th St. According to the finding aid of NYPL's Van Der Zee Photograph Collection, this was the location of the G.G.G. Studio in the 1930s. Van der Zee (1886-1983) was "a stalwart documentarian of Black life in Harlem. Assiduously committed to Harlem's striving and successful denizens over the course of 60 years, his pictures teem with possibility, their subjects shimmering with glamour. During the 1920s and '30s, when the neighborhood's intellectual, cultural, and creative life was soaring, Van Der Zee cultivated a visual vocabulary of grandeur that ultimately came to represent the Harlem Renaissance." (Oluremi C. Onabanjo, Associate Curator, Department of Photography, MoMA, 2021). "During the 1920s and 1930s, [Van der Zee] produced hundreds of photographs recording Harlem's growing middle class. Its residents entrusted the visual documentation of their weddings, funerals, celebrities, and social life to his carefully composed images. VanDerZee knew the neighborhood and its inhabitants, and shared their dreams and aspirations for self-determination and racial pride." (Smithsonian, African American Masters: Highlights from the Smithsonian American Art Museum, 2003). AN OUTSTANDING VAN DER ZEE PHOTOGRAPHIC PORTRAIT OF WHICH NO OTHER PRINTS HAVE BEEN FOUND.