PHOTOGRAPHICALLY ILLUSTRATED

PAUL M. HERTZMANN, INC.

Paul M. Hertzmann & Susan Herzig

Post Office Box 40447

San Francisco, California 94140

Tel: (415) 626-2677

E-mail: pmhi@hertzmann.net

MARGOLIS & MOSS

David Margolis & Jean Moss

Post Office Box 2042

Santa Fe, New Mexico 87504

Tel: (505) 982-1028

E-mail: mmbooks@comcast.net

6.

Books and albums with original photographs, 1855—1955.

Catalog V

TERMS OF SALE

Books and albums are offered subject to prior sale. Customers will be billed for shipping and

insurance at cost. Payment is by check, wire transfer, or direct deposit to our bank accounts.

Overseas orders will be sent by air service, insured. Payment from abroad may be made with a check

drawn on a U.S. bank, international money order, or direct deposit to our bank account.

Items may be returned within five days of receipt, provided prior notification has been given. Items must be returned to us in the same manner as sent and received by us in the same condition. Inquiries may be

made to either Paul M. Hertzmann, Inc., or Margolis & Moss.

1. FREE ACADEMY SOUVENIR OF THE CLASS OF 1855. NEW YORK. An extra-illustrated class album for the Free Academy of New York (re-named The City College of New York in 1866). Opening with 13 autograph sentiments from professors and staff, the album contains 30 salt print individual portraits of the class of ’55. The oval images measure 3 ½ x 2 ½ inches (89 x 64 mm.). Each sheet has a printed border plus a printed facsimile of the student’s signature. Most are interleaved with an autographed statement for William Menzies Adams, the original owner of this book. Quarto, 11 ½ x 8 ¾ inches (292 x 222 mm.). Full brown morocco, with embossed design and gilt lettering; all

edges gilt; light rubbing.

An experiment in higher education for the masses and one of the first tuition-free municipal colleges in the United States, the Free Academy of New York, opened in 1849. Seventeen young men graduated at its first commencement exercise in 1853. By 1870, a division for women, eventually named Hunter College, was added to

educate teachers for the growing public school system.

What makes this volume especially interesting is the addition of a number of items: a lithographed portrait of the school’s principal, Horace Webster; attractive original artwork, some in watercolor; William Menzies Adams’s diploma

signed by Webster; the commencement program from Nilbo’s Saloon; and a silk banner reading “CLASS OF ’55.”

Adams went on to become the musical director of the “Brooklyn Sunday School Institute” and his son, Charles

Siedler Adams, born 1874, was a successful New York banker. $1,800.

AN EXQUISITE LINK BETWEEN ART AND PHOTOGRAPHY.

AN EXTRA ILLUSTRATED CLASS BOOK

2. Gill, Major Robert [photographer] and James Fergusson. One Hundred Stereoscopic Illustrations of Architecture and Natural History in Western India. London: Cundall, Downes & Company, 1864. 12 page introduction plus 100 full-stereo albumen prints mounted onto one hundred thick leaves, most with textual descriptions. The full stereo views in the book include 44 views of the Buddhist sanctuary of Ajanta, 18 views of temples at Ellora, and 24 views of Mughal monuments in Aurangabad. Octavo, 8 3/4 x 5 1/2 inches ( 223 x 140 mm.). Publisher's full red cloth, boards and spine ruled in blind and lettered in gilt. With the armorial bookplate of James Albert Garland, Jr. on

the front pastedown, as well as his signature on the upper margin of the title-page.

First edition of this very scarce work. The photographs of Ajanta illustrate the splendid carvings, many depicting the life of Buddha, that decorate the Buddhist temples and monasteries carved into a cliff rising above the Waghora River, near Aurangabad in the state of Maharashtra in western India. The caves were excavated, carved and

painted during the first and second centuries BC and again during the fifth century AD.

Several of the stereoviews of Ajanta are the more remarkable simply because Gill managed to record the dark interiors of the caves without the use of artificial lighting. In a few images, ceiling frescoes are visible but generally Gill

was not able to photograph the extensive interior frescoes for which Ajanta is celebrated.

Ajanta was abandoned around 650 AD when Buddhist activity moved to Ellora. Here, Gill photographed Hindu

and Jain temples and their ornate carvings of deities as well as the Buddhist temples that stand alongside them.

The seventeenth century monuments and tombs of Aurangabad’s Muslim rulers appear in other stereoviews. One tomb, a replica of the Taj Mahal built by the Mughal emperor Aurangzeb for his favorite daughter, is pictured in several photographs. The book also includes some general views of the surroundings of Aurangabad. And, as an avid hunter as well as photographer, Major Gill shows off some animals slain by British sportsmen. Gill himself appears

posed with a dead leopard and he appears in three of the cave views.

Robert Gill (1804-1879) arrived in Ajanta in 1844, as a captain in the Madras Native Infantry charged with making drawings and mapping the caves at Ajanta. Before embracing photography he produced 27 large paintings of Ajanta’s frescoes; of these only four survive today. Gill made nearly 200 stereoviews of Ajanta, Ellora and the

surrounding areas.

A similar, if not identical, book to the present one, published the same year, is entitled The Rock Cut Temples,

One Hundred Illustrations of Architecture and Natural History in Western India. That book is listed in Gernsheim (no. 212), as is the edition offered here (no. 211). Eminent nineteenth century British expert on Indian architecture, James Fergusson wrote the introduction to these books. Fergusson also published his own book, The Rock-cut Temples of India (John Murray, London, 1864) containing 74 half-stereoviews by Gill (see item #3). Fergusson’s book is far more common than either of Gill’s. The possibility that Gill’s two books were taken apart in order to look at the full

stereoviews through a stereoviewer may account for the rarity of these editions. $12,500.

EXCEPTIONAL VIEWS OF BUDDHIST, HINDU, JAIN, AND MUSLIM MONUMENTS AND ART.

3. Fergusson, James. THE ROCK-CUT TEMPLES OF INDIA. London: John Murray, 1864. 78 pages. With 74 half-stereo albumen photographs “taken on the spot by Major Gill,” and measuring mostly 3 x 3 inches (76 x 76 mm.). Octavo, 8 ½ x 5 ½ inches (216 x 140 mm.). Embossed red cloth; beveled edges; lightly foxed and re-cased, inscribed on

fly-leaf “C. J. M from J. S. W. M. (?), 2 June 1864.”

Fergusson started his examination of the rock-cut architecture of India in 1836. By 1845 he had published a folio on the subject, accompanied by nineteen lithographed plates. The preservation of this architecture, and the murals they

contain, became for Fergusson a paramount interest.

Captain (later Major) Gill was selected, in 1844, to paint copies of the Ajanta murals which were in an advanced state of deterioration. This task was to occupy Gill for twelve years. His completed paintings were exhibited at the India Court of the Crystal Palace at Sydenham [which burned to the ground in 1866, thus destroying all the paintings]. Gill was working in photography as well and sent back to England nearly two hundred stereoscopic photographs of Ajanta, Ellora, and the surrounding areas. The seventy-four photographs used in this work are from that series and show the magnificence of the temples and the sculptures. Gill, himself, is shown in two of the photographs, pages 16 and 34. Gernsheim. Incunabula. #211 cites a 100 image volume from a different publisher (see item 2.). This edition is not noted

in Gernsheim, $ 4,500.

“THE MOST PERFECT AND SATISFACTORY ILLUSTRATIONS

OF THE ANCIENT ARCHITECTURE OF INDIA.”

4. THE OLD COUNTRY HOUSES OF THE OLD GLASGOW GENTRY. ONE HUNDRED PHOTOGRAPHS BY ANNAN, OF WELL KNOWN PLACES IN THE NEIGHBORHOOD OF GLASGOW, WITH DESCRIPTIVE NOTICES OF THE HOUSES AND THE FAMILIES. Glasgow: James Maclehose, 1870. Approximately 200 pages of text + 102 mounted albumen photographs taken by Thomas Annan, depicting historic houses on the outskirts of Glasgow (the final two photographs are of maps of Glasgow). The photographs are 5 x 7 inches (127 x 178 mm.), mounted to larger leaves, and interleaved with descriptive text. Folio, 13 x 10 inches (330 x

254 mm). Gilt-pictorial green cloth; re-backed with a light red calf spine; some foxing, not affecting the photographs.

First edition, one of a stated 120 copies. With the rapid expansion of Glasgow during the industrial revolution, many of the old gentry’s country houses were either being torn down or dramatically renovated. These early Annan photographs document the great estates with remarkable artistry. Each house is described in the text in some detail, providing information on the primary families associated with the house, the architectural detailing, and its physical history. The luxurious homes depicted in these photographs are far removed from the squalor depicted in Annan’s

subsequent work on the old closes and streets of central Glasgow.

Thomas Annan (1829 – 1887) worked as a copper plate engraver until 1853, when he opened a calotype printing business in Glasgow, probably with the encouragement of his friend David Octavius Hill. In 1857 he established a photographic studio, T. & R. Annan. He excelled at portraiture, landscape, and architectural photography. He later went into partnership with his sons and that business has continued into the 21st century. Gernsheim.

Incunabula. #504. Truthful Lens. Noted in #4. $ 2,500.

ONE OF ONLY 120 COPIES WITH ORIGINAL MOUNTED

PHOTOGRAPHS BY THOMAS ANNAN.

5. PARIS EN PHOTOGRAPHIE. (Paris: A. Journot, circa 1870). A handsomely published volume with 24 albumen photographs mounted to stiff, printed leaves. Each image measures 9 ¾ x 7 ½ inches ( 248 x 191 mm.) and has the photographer’s name “Achille Quinet,” hand stamped in red. Shown are buildings, palaces, monuments, and parks. Large folio (17 ½ x 14 inches); red cloth with ornate gilt title and the crest for the city of Paris; spine expertly repaired; some minor foxing to mounts. All but the first and last prints in the album are crisp, rich prints. This album contains fine examples of the commercial views Achille Léon Quinet (1831 - 1900) produced for the Parisian tourist market. Pictured are the Louvre, Notre Dame Cathedral, the palace at Versailles, the Opera, the Hotel de Ville and many other monuments admired by visitors to Paris. This prominent nineteenth-century French photographer is best known for his impressive Parisian and Italian views. However, he also devised the first vertical enlarger in 1853 and the ‘Quinetoscope’, a binocular camera for making stereographic images, and he produced photographic studies for artists called “etudes d’apres nature”. $1,800

SUPERB ACHILLE QUINET ALBUM OF PARIS

6. Granillo, Arsenio. PROVINCIA DE TUCUMAN. Tucuman: Imprenta de la “Razon”, 1872. 207 pages. Included are 21 mounted albumen photographs by Angel Paganelli of the city of Tucuman and nearby sugar refineries printed from wet collodion negatives and measuring 4 x 6 inches (101 x 152 mm.) or reversed. Two two-panel panoramas measure 4 ½ x 17 ¼ inches (114 x 445 mm.) and 4 ½ x 11 inches ( 113 x 279). Quarto, 11 x 7 ½ inches (259 x 191 mm.). Leather backed boards; some tones weak. The brothers, Angel and Jose Paganelli, were among an interesting group of early Italian photographers active in Argentina. (see online: Priamo. LA FOTOGRAFIA ITALIANA EN LA ARGENTINA SIGLOS XVIII / XIX.). In 1869, Angel settled in Tucuman in northwest Argentina. This book, the third known book with original photographs published in Argentina, was intended to attract settlers and industries to the province of Tucuman. The city appears elegant and well developed in the photographs. Shown are prominent churches and government buildings, the façade of the house where independence from Spain was declared, several major streets either deserted or peopled with pedestrians and horse-drawn carts, other sights of the provincial capital, and several of the province’s sugar refineries. The larger panorama depicts the Plaza Independencia and the smaller shows the interior courtyard garden of the National College. The photograph of the front of the historic house where independence was declared was used in 1943 by the architect Maril Boschiazzo to reconstruct the premises as they were in 1816. $7,200.

PICTURESQUE TUCUMAN, ARGENTINA

7. Street, George G. CHE! WAH! WAH! OR THE MODERN MONTEZUMAS IN MEXICO. ILLUSTRATED WITH PHOTOGRAPHS TAKEN DURING THE TRIP BY R. D. CLEVELAND AND WOOD CUTS FROM SKETCHES BY THE AUTHOR. Rochester: E. R. Andrews, 1883. 113 pages. With a folding map and 33 mounted photographs on 19 leaves. Each image measures 3 ½ x 4 ¼ inches (89 x 108 mm). Large octavo, 10 1/4 x 6 1/2 inches (260 x 165 mm.). Green pictorial cloth. Inscribed in pencil “E. K. Turner. Asst. Supt. F. RR. Compliments of C. L.

Cartwell.”

A travel narrative concerning an expedition of eastern freight agents going from Chicago to Chihuahua,

Mexico, at the invitation of the Burlington; Denver & Rio Grande; and Atchison, Topeka and Santa Fe Railroads.

The photographs illustrate local landmarks, towns, the railroad, architecture and scenic views. Shown are the

cities of Omaha, Denver, Pueblo, Trinidad, Raton, Las Vegas, El Paso, and Chihuahua. $1,800.

A BOOSTER BOOK FOR THE RAILROADS.

8. RECUERDOS DE PONCE. VISTAS POR MOLINA, FOTOGRAFO. (Ponce, Puerto Rico, 1884). Title leaf plus 20 mounted gelatin silver bromide photographs of this thriving town on the southern coast of Puerto Rico. Each photograph measures 7 ½ x 9 ½ inches (191 x 241 mm.) on printed mounts, 10 ¾ x 14 inches (273 x 355 mm). Ink captions are added to each image. Oblong folio, 11 x 14 inches (279 x 356 mm.). Leather backed printed boards; covers

rubbed.

A prosperous and peaceful Ponce is depicted in these uncommon photographs. Two detailed over-views of the city open the album. They are followed by public buildings such as the theatre, hospital, cemetery, and active street scenes around the Plaza, with numerous pedestrians and wagons. The final views show some of the residences and rural

outlying areas.

On each mount, the photographer, E. Lopez Molina, has stated that these views were taken by the new “Gelatino Bromide” process. Replacing the collodion emulsion, “Gelatino Bromide” allowed a significantly shorter exposure time.

Molina states that these photos were taken “En una Fraccion de un segundo.”

During the 19th century, the village of Ponce expanded due to a large European immigration and Latin Americans fleeing wars in their native countries. By 1877 a city charter was drawn up, and at the time of these photographs, Ponce was a thriving city, boasting a large agricultural sector and Puerto Rico’s main financial center. In 1882 the city organized a successful “Ponce Fair,” modeled on the Paris Exposition of 1878 and erected an extensive urban electrical grid. This was to change with the Spanish-American War and the United States occupation of the island in 1898. The new American government centralized the island’s economy in San Juan, leaving the southern towns to

stagnate. Ponce, previously a flourishing and dynamic city of 22,000, never recovered its former glory.

An uncommon album. We have located no other copies. $15,000.

PONCE, PUERTO RICO, PRIOR TO THE AMERICAN INVASION.

9. VILLERS-SUR-MER AND THE NORMANDY COAST. 1886. A fine album of 57 mounted albumen photographs. Thirty one prints measure 4 ¾ x 6 ½ inches (120 x 165 mm.) and 26 measure 3 7/8 x 3 1/4 inches (95 x 83 mm.) or slightly smaller. Each photograph has a manuscript caption and ruled borders. Oblong quarto, 10 x 14 inches (254 x 356

mm.). Maroon half-morocco with all edges gilt; housed in original slipcase.

A record of a French family’s holiday in 1886, the photographs principally depict the beach at Villers-sur-Mer, a village slightly to the west of the better-known towns of Trouville and Deauville on the coast of Normandy. There are several images of people strolling and playing on the beach and in the sea, as well as photographs of the grand hotels along the beach front and the town’s streets, churches and villas. The family’s outings to the countryside, including a visit to a farm, the medieval church in the town of Dives (from where William the Conqueror set sail for England in

1066) and other towns nearby - Cabourg, Honfleur, Houlgate, Le Havre - are illustrated as well.

With their new-found prosperity the French bourgeoisie in the second half of the nineteenth century flocked to the small shipping and fishing towns along the Normandy coast for their summer holidays. The French impressionist painters, including Renoir, Monet and Caillebotte, indelibly and romantically recorded these holiday idylls in many of

their famous paintings. $1,800.

BEACH LIFE OF THE IMPRESSIONISTS

SELLING SUGAR CANE MACHINERY TO MEXICO

10. W. & A. McONIE, ENGINEERS. Glasgow, 1889. A manufacturer’s catalog of machinery for use in the world wide sugar industry. This small volume contains a presentation page, 65 mounted albumen photographs and four colored lithographs. Each photograph, 3 1/2 x 5 inches (89 x 121 mm.), is mounted, with printed captions on the opposite leaf. Oblong twelvemo, (5 x 6 1/2 inches, (127 x 165 mm.) Full brown calf with gilt printing; all edges gilt; light warping to

pages. A number of the photographs have the hand stamp for Alberto Malo on the image.

A presentation copy from W. & A. McOnie’s to Alberto Malo & Co., Engineers, Mexico City. The catalog includes images of simple milling machines powered by cattle as well as progressively larger and more complicated machines powered by steam. Conveyor belts, engines, vacuum pans, boilers, heaters, etc. are also pictured. The final

photographs show three locomotives and freight cars, used for transporting cane by narrow gauge field railways.

Mexico at this time was one of the largest markets for sugar milling machinery; the first sugar mill in North America was started by Cortéz in 1535. Quickly the growing and milling of cane developed to where today it is

Mexico’s largest agricultural industry. $2,200.

11. GRÜSSE AUS LOME. AUFNAHMEN NACH DER NATUR AUSGEFÜHRT VON BR. DAMASUS. Lome: Katholische Mission, circa 1905. A souvenir photo album of the colonial capital of German Togoland. There are 12 mounted silver prints, bound accordion style, each measuring 4 ¾ x 6 ¾ inches (121 x 171 mm.) on printed mounts measuring 6 ¼ x 8 ¼ inches (159 x 210 mm.). The photographer is identified as Bruder Damasus. Oblong octavo, 6 ½ x

8 ½ inches ( 65 x 216 mm.). Embossed blue cloth with gilt lettering; covers lightly rubbed.

The unusual nine part panorama of this prosperous colonial town and harbor shows the long Lome wharf, boats in the harbor, overviews of wide streets in a city of palms, and native huts alongside dazzling white European style buildings. Other photographs show the Catholic church, the governor’s palace, and the construction of the railroad

station.

Lome, situated on the Atlantic coast of central Africa was selected as the colonial capital of German Togoland in 1897. In 1914 it was invaded by French and British forces and after two weeks of resistance the German colonization

came to an end. In 1916 the country was partitioned among the French and British. $1,600.

NINE PART PANORAMA OF LOME, TOGO.

12. [AUTOMOBILE RACING]. (Daytona: LeSesne’s Studio, 1905 – 1941). A group of five studio albums, filled

with 299 silver gelatin photographs, each mounted on linen. The albums are from the LeSesne’s New Studio, Daytona,

Florida. Shown are a vast array of regional photographs, with emphasis on the Daytona speed trials, beach racing, and

the promotion of this Florida city. The images measure 10 x 8 inches (154 x 203 mm.) or smaller, are linen backed and

often captioned in the image or on the verso of the print. Oblong quarto, 11 ½ x 8 ¼ inches (292 x 210 mm.); two tone

cloth; screw binders. Wear to albums.

Crowds and automobiles dominate the photographs. Included are detailed images of the timing devices, judges,

prominent officials such as Pop Myer and Warren Baker, plus noted drivers Joe Brennan, Roy Hall and Bill France (who

later built the superspeedway off the beach in Daytona). There are a few images of early biplanes landing on the beach.

Areas around Daytona are shown, including the Old Fort and Sugar Mill in Port Orange, as well as ancient Indian

mounds. The final album includes photographs of an Eastern Airlines DC2-120 which crashed after takeoff at Daytona

in 1937.

In 1903 the hard sands of Daytona saw the beginning of speed trials on the beach (roads were primitive compared

to the smooth sand at low tide). By 1905 cars were making over 150 miles an hour on the sand. These trials were held

until 1935, when beach racing and barrel racing – an early form of Stock Car races – began at Daytona. They eventually

evolved into the present day Daytona 500 NASCAR race.

Richard LeSesne came to Daytona in 1903, opened his photographic studio on Palmetto Avenue, and soon

became the premier photographer of Daytona and the budding automotive racing scene. $4,800.

DAYTONA, FLORIDA. THE AUTO RACING CAPITAL.

13. “ ‘FROM NORTH TO SOUTH’ SOME SIGHTS I HAVE SEEN IN SOUTH AMERICA. AUGUST 1905 - MAY 1906”. An album of 257 gelatin silver prints of a journey from Panama to Bolivia and 11 photographic reproductions of Jamaica. Prints are mounted 1 to 6 to a page; sizes vary up to 6 ¼ x 8 ½ inches (159 x 216 mm.). Nine photographs are credited to the commercial photographer Max T. Vargas, and about 25 to 30 other prints in the album are probably by him. Vargas (1874-1959) operated a photography studio in Arequipa in the early 20th century and photographed throughout the Andean regions of Peru and Bolivia. Oblong folio, 11 1/4 x 13 1/4 inches, (286 x 335

mm.). Limp black cloth.

The album traces the voyage of an unnamed American whose portrait appears on the hand-lettered title page and in several other photographs in the album. Views of Panama, where the journey begins, are followed by photographs taken on board a ship sailing to Peru. The traveler’s arrival in the port city of Mollendo on the coast of southern Peru is recorded. The album includes numerous photographs of the traveler’s next stop, the city of Arequipa: its scenic and cultural sites, its religious and colonial architecture, bull fighters, and the volcano “el Misti”, Arequipa’s distinctive landmark. One photograph depicts the studio of the photographer Max Vargas himself. The journey from Arequipa by train to the 13,000 foot high altiplano of Peru is represented in photographs of Andean people in indigenous dress, the

dry and barren landscape, the train itself, and “Finca Carmen”.

The subsequent descent to the jungle on horseback is illustrated by photographs of the arduous terrain, rope bridges, river travel, and indigenous people and their homes. The destination appears to be a mining establishment where structures ranging from substantial to tent-like, mining operations, miners and other workers, and the outpost’s managers

and their families are pictured.

The traveler arrived next in Cuzco, the ancient Inca capitol. The city’s Inca stone walls, the colonial structures built on top of these, and archeological sites and towns around Cuzco are depicted. The trip’s final destination is the town of Puno on Lake Titicaca and the nearby ruins of Tiahuanaco in Bolivia. Many of the large photographs of Tiahuanaco’s impressive sculpted stonework are by Vargas. The last eleven photographic reproductions of Jamaica

appear unrelated to the rest of the voyage. $4,500.

PERU & BOLIVIA, BY MAX T. VARGAS.

HONORING LINCOLN AT DELMONICO’S

WITH A PHOTOGRAPH

FROM A BRADY NEGATIVE

14. ABRAHAM LINCOLN. THE CELEBRATION OF THE CENTENARY OF LINCOLN’S BIRTH BY THE NEW YORK COMMANDERY OF THE MILITARY ORDER OF THE LOYAL LEGION OF THE UNITED STATES. New York: Delmonico’s, February 3,1909. 12 pages. With a mounted photograph “printed directly from the original negative made by M. B. Brady, in Washington, 1864, now in the collection of Americana, of Second Class Companion Frederick Hill Meserve.” The photograph measures 3 ½ x 2 inches (90 x 51 mm.). Octavo, 9 1/4 x 6 1/4 inhes, (235 x 169 mm.). Cream wrappers with a reproduction in photogravure of Lincoln

on over; string tied. A fine, clean copy.

One of 450 copies. In addition to the photograph of Lincoln, this commemorative publication includes a copy of the Gettysburg Address, a list of speakers, and the dinner menu. The owner of the original Brady negative used for this pamphlet was F. H. Meserve, a pre-eminent collector of photographs of Lincoln who has been called America’s first great photograph collector. Meserve’s 1911 book Photographs of Abraham Lincoln is an early landmark of scholarship on the first president ever photographed while in office. Between 1913 and 1915 Meserve produced a privately printed collection of approximately 8,000 cartes-de-visite of nineteenth century

figures, including over 100 of Lincoln.

Recent scholarship by Stefan Lorant (Lincoln:

A Picture Story of His Life. #41) notes that this image was taken on February 24, 1861, not as Meserve believed in

1864. $1,600.

15. STUDEBAKER. (Detroit: Studebaker Corporation, circa 1913). A dealer’s sample catalog containing 16 airbrushed silver gelatin prints, each linen backed and measuring 10 x 7 ¾ inches (254 x 167 mm.). Oblong octavo, 8 x 11 1/2 inches, (203 x 292 mm.). Limp leather

post binder with gilt title; rubbed.

Two images present birds-eye views of the Studebaker Corporation, Plant One, built in Detroit in 1913 and closed in 1916 when all operations were moved to South Bend, Indiana. A photograph of the Model 25 touring car (four seats) and one of the Model 35 touring car (six seats) as well as twelve photographs showing cut-away views of the chassis, engine, and drivetrain comprise the rest of the album. An interesting and

uncommon dealer’s catalog. $1,200.

THE FIRST YEARS OF THE STUDEBAKER AUTOMOBILE.

16. THE DAYTON FLOOD. Ohio, 1913. An album of 72 silver gelatin photographs of the flood, its aftermath, and the

valiant relief efforts that galvanized the city. The album is also filled with newspaper clippings, ribbons, printed passes,

stationary, a broadside, and other memorabilia from the “Citizens’ Relief Committee.” The photographs measure 7 x 9

inches (178 x 229 mm.) and smaller. Oblong quarto, 10 ½ x 14 inches (267 x 356 mm.). Modern blue cloth; some pages

chipped and clippings brittle and torn. The photographs are in fine condition, though two have been removed from the

album.

The Great Dayton Flood, the most devastating natural disaster in Ohio history, killed more than 350 people and

displaced nearly 65,000 persons. The first 45 photographs show the destruction and rescue efforts throughout the city.

Seventeen images depict the recovery center, headquartered at the National Cash Register Company. John H. Patterson,

who ran the company, organized rescue teams that saved thousands of stranded citizens, turned the NCR factory into an

emergency shelter (and morgue), and provided food, lodging, and medical care. The final ten photographs show outdoor

and indoor views of a large rally, with bands and speakers, attempting to raise $2,000,000 for the Flood Prevention Fund.

Photographs of late 19th and early 20th century natural disasters are not uncommon, but this album is notable for its photo-

graphic documentation of the relief work that followed the flood. $3,800.

THE DAYTON FLOOD OF 1913

AND THE CITIZENS’ RELIEF COMMITTEE’S EFFORTS.

17. OBRAS DEL PUERTO DE VALPARAISO. FOTOGRAFÍAS TOMADAS DURANTE LA CONSTRUCCIÓN. (Valparaiso, 1912 – 1915). An album containing a title page, a hand-colored plan, and 47

silver gelatin prints, mounted to 23 thick boards. The photographs were issued by S. Pearson & Son Ltd. and show the

construction of the Valparaiso docks and breakwater. Each image measures 6 x 8 inches (152 x 202 mm.) or smaller, and

has a printed caption. Oblong quarto, 13 x 9 ½ inches (330 x 241 mm.). Black leather binder with gilt title on cover;

some wear to the binding; minor foxing on mounts, not affecting the photographs.

A massive construction project at the bustling port of Valparaiso, Chile, undertaken by the British firm,

S. Pearson & Son, under contract to the government of Chile, is documented in this album. The photographs depict

cranes laying out huge concrete pilings, a railroad built to transport the pilings, the quarrying of large stones, and the

laying of a vast breakwater. Despite these improvements the opening of the Panama Canal in 1914 eliminated most

shipping around the Straits of Magellan, and Valparaiso’s importance as a port dwindled from that year on. $1,250.

VALPARAISO DEVELOPS ITS SHIP YARD.

18. Rossard, Frédéric. LE CIEL A LA PORTÉE DE TOUS. RECUEIL PHOTOGRAPHIQUE DES PRINCIPALES CURIOSITÉS CÉLESTES. Toulouse: B. Sirven, circa 1915. With 20 gelatin silver prints on printed mounts, each with a page of explanatory text. The images measure 4 ½ x 3 inches (114 x 76 mm.) and smaller. Quarto, 10 3/4 x 7 1/2 inches (273 x 191 mm.).

Cloth backed pictorial blue cloth; light wear to covers.

Promoting astronomy to the public, these twenty photographs show images of the moon, the planets, and various constellations of the stars. Of note is an unusually clear photograph of Haley’s Comet. Credit is given to photographers from observatories in Paris, Toulouse, and

Meudon.

An unusual work, not located in OCLC. $1,400.

ASTRONOMY FOR ALL.

19. [DIRIGIBLES. 1917/1918]. An album of 96 gelatin silver prints, mostly 4 ¼ x 3 ¼ inches, picturing World War I

dirigibles, hangers where they were housed, views taken from them of land and sea, their “baskets”, their crews and

some crashes. Many were dated and captioned, much later, in ball point pen on the album pages. Thirty-seven loose

silver prints, varying in size from 3 ½ x 2 ½ inches (69 x 64 mm) to 5 x 7 inches (127 x 178 mm.) are laid into the

album. A caption written in ball-point pen on a slip which accompanies the album reads “Gabriel de Ramecourt. Guerre

1914-18. Pilote de Dirigeables”, suggesting that these photographs belonged to an airship pilot himself. Large quarto,

12 ¼ x 10 inches, (318 x 254 mm.). Three quarter brown leather; lightly rubbed.

The photographs provide an overview of French naval dirigibles deployed in the last two years of World War I,

in locales including Le Havre on the English Channel, and towns at or near the Mediterranean Sea. Airships in flight

account for the greatest number of images; they include, primarily the French-made Zodiacs and tri-lobed Astra Torres

as well as the smaller squatter “blimps” manufactured by the British and known as Sea Scouts. Other prints picture a

myriad of associated activities, land structures, and equipment. Airships are shown landing and taking off, being inflated

in the vast hangers where they were stored, and in the aftermath of crashes. The “nacelles” [or baskets] suspended below

the dirigibles and carrying the crew, motors, machine guns and cannon appear in several of the photographs. There are

also bird’s eye views of the land from the airships, including one of the Eiffel Tower. Numerous photographs are

devoted to the destruction caused by a major storm that struck the dirigible installations at Le Havre in March, 1917.

With the onset of World War I, airplanes and airships became crucial tools of war. Although all the belligerents

used dirigibles in the early years of the war to bombard enemy cities, troops, and military installations, they soon proved

of limited value for this purpose. Flying at low altitudes and large in size, dirigibles were simply too easy to shoot down.

However, as Germany intensified its naval campaign near the end of the war their defensive value became critical to

the allied war efforts. Using the airships for reconnaissance and surveillance of seacoasts, France and England deterred

German submarine attacks, naval blockades, and attempts to mine the coast. $5,500.

FRENCH DIRIGIBLES OF THE FIRST WORLD WAR.

AN EARLY AUTOMOBILE ENGINE

MANUFACTURING COMPANY.

20. WILMO ENGINE COMPANY. Chicago, circa 1916. A dealer’s sample catalog, containing 43 mounted silver gelatin prints, showing Wilmo automobiles and their V8 engines. All the photographs are quite crisp and clear, measure 7 ½ x 9 ½ inches (190 x 241 mm.) and are linen backed. Oblong octavo, 8 x 11 1/2 inches (203 x 292 mm.).

Housed in a worn limp leather screw hinge binding.

The majority of the images show whole V-8 engines, engine details, cutaway engine blocks, installed engines, partially assembled vehicles and chassis. A full view of a six-seat touring car with a Wilmo engine, an image of an early dealership lot selling cars equipped with Wilmo engines, including a Maxwell touring car, and an interior view of the

engine assembly plant are also in the catalog.

There were hundreds of small car and engine companies in the United States in the early 20th century. Most have disappeared without any visual record. Wilmo built and sold their V8 engines for six-seat and four-seat touring cars and for a two-seat roadster (pictured in a few photographs) before,

during and after World War I. $1,600.

21. PETRIKAU IN RUSSISCH – POLEN. Circa 1918. An album of 48 silver gelatin photographs, 3 x 5 ¼ inches (76 x 133 mm.), on green mounts. This album illustrates the architecture and city life of a Polish town that had been part of the Russian empire since 1815. The photographs were made and the album was assembled by photographers in the 100th infantry regiment of the Austro-Hungarian forces that occupied the town during World War I. Oblong octavo,

(171 x 228 mm.). Red cloth with gilt lettering.

Pictured in the album are numerous public buildings, including churches (at least one, the Parish Church is still in existence), barracks, a palace, a jail, the destroyed railroad installations, and other structures taken over by the Austro-Hungarian garrison occupying the town. Daily life is shown in photographs of the market, peasants from the countryside in traditional dress, a breadline and a Corpus Christi celebration. The album also contains numerous photographs of Christian and Jewish cemeteries, including a Russian mass burial, and grave yards of Russian and

Jewish soldiers.

The town was a center of Jewish culture and life, with a high proportion of Jewish residents and a thriving Yiddish printing and publishing industry. The town’s Great Synagogue (pictured in one photograph in the album) was included in a book of architecturally notable buildings published in 1855. Despite Nazi depredations the synagogue survived World War II and is today a library. Evidence of the sizeable ethnic Russian population of the town is

reflected in some of the images, as well.

In 1793 Prussia annexed Petrikau, today known as Piotrkow. After the defeat of Napoleon in 1815 the town became part of the Russian Empire. The Austro-Hungarian Army took over the Petrikau during World War I, and Polish patriotic forces established themselves there as well. After World War I, the town was incorporated into

independent Poland. $2,800.

IN THE AFTERMATH OF WORLD WAR I: PETRIKAU, POLAND

22. DEUTSCHE LANDWIRTSCHAFTS-GESELLSCHAFT, 30 WANDER-AUSSTELLUNG. HAMBURG, 1924. A large, handsome photographic album for this German Agricultural Society Exposition. There are 115 gelatin silver prints, mounted to 43 stiff leaves. Some leaves have printed or manuscript captions. A few photographs have the blind stamps of the photographers Rob. Heinrick of Altona and Zander & Labisch, of Berlin. The images measure from 4 x 6 inches (102 x 152 mm.) to 5 1/2 x 9 1/2 inches (191 x 241 mm.). Thick oblong folio, 12 x 16 inches (305 x 406 mm.). Full calf, with cover design in gilt, depicting a farmer at a plow. The binding is signed on the rear cover, ‘Adolf

Schloss, Berlin.’ Covers show minor wear.

Photographs of the exposition’s opening ceremonies are followed by depictions in profile of prize winning horses, cattle, sheep, hogs, goats, rabbits, and fowl. One interesting image shows a photographer with his set-up photographing one of these prize winning specimens. Equestrian displays and other exhibitions as well as the interiors and exteriors of the buildings are pictured in many of the photographs. Six overviews of the fair document the large

crowds and extensive grounds.

Published just a few years after Germany’s defeat in World War I, the album proudly displays German agricultural prosperity and an optimism not often seen in 1920’s Germany. Founded in 1885, the Deutsche Land-

wirtschafts-Gesellschaft is still active today, with over 17,000 members worldwide. $4,000.

A POPULAR GERMAN AGRICULTURAL FAIR

23. SIMPLEX GOLD STAMPING PRESS CO. New York, 1929.

A salesman’s sample catalog with six mounted examples of leather

stamping, 19 linen backed photographs of stamping machinery,

34 photographs of endorsements and 27 leaves of tipped-in brochures

for the company’s products. The photographs measure 10 x 8 inches

(254 x 203 mm.). Some of the photographs are stamped on the verso,

Edwin Levick, the Stadler Photographic Co., or Diem Studios.

Oblong quarto, 8 ½ x 11 inches (216 x 279 mm.). Original black

cloth with rivet binding.

A number of images show hatboxes, suitcases, hats, books

and other objects being stamped in gold leaf. The backgrounds of

many of the images have been masked out of the negatives so that

the objects seem to be floating surreally in air.

Edwin Levick came to America in 1899 to work as an Arabic

translator, became a photographer for the New York Times, the New

York Herald Tribune, and the Chicago Tribune, and eventually a

renowned maritime photographer. $950.

GOLD STAMPING EQUIPMENT

FOR BOOK BINDINGS, RIBBONS, HAT BANDS, ETC.

24. [COUNCIL OF THE POLISH AMERICAN COMMUNITY]. Toruń, Poland, 1946. A lovely album of 14

mounted silver prints, each on a hand-colored mount with flowers and a red border. The photographs measure 7 x 5

inches (178 x 127 mm.) on 10 ¼ x 10 ¼ inch (260 x 260 mm.) black pages. Square quarto, 10 ¾ x 10 ½ inches (273 x

267 mm.). Imitation snake skin boards; some light wear.

The photographs show children receiving cartons of canned goods (some marked “Pablum”), and parents

wheeling home gifts in hand drawn wooden carts. Many of the girls are wearing folk costume of dirndls, bodices, and

aprons, with flower wreaths on their heads. Other children, both boys and girls, wear paper hats. The album opens with

a typed letter (in Polish) from the “Municipal Committee for Aid to School Children and Youth in Toruń” to Professor

Henryk Osinski, Secretary of the Council of the Polish American Community in Warsaw, thanking the community for

its generous gifts to the Toruń school children. Included is an English translation of the letter. $750.

WAR RELIEF FOR THE CHILDREN OF TORUŃ, POLAND.

25. S.S. “CHICANOA” and T.S.S. “CAMITO.” A pair of albums for two steamships owned by Elders & Fyffes, Ltd.,

that carried bananas and travelers from England to Latin America, circa 1955. The first album contains a manuscript title

leaf and 40 mounted silver gelatin photographs, mostly 9 x 11 ½ inches (228 x 292 mm.). Each image is captioned on

the mount in ink. The second album, containing 35 mounted silver gelatin photographs, is similar in format. Oblong

folio, 12 x 16 inches (305 x 406 mm.). Each is bound in a blue cloth binder with the name of the ship, in gilt, on the

cover.

Promotional albums for the launching of these two handsome ships. The “Camito” was launched in 1956 and

scrapped in 1973. The “Chicanoa” was launched in 1958 and scrapped in 1974. The incongruous pairing of a perishable

cargo and elegant passenger accommodations made these steamships attractive and prosperous. On the web site

“Merchant Navy Nostalgia,” the “Camito” is thus described: “the cabins on her two upper decks had private bathrooms.

The main lounge was sound insulated and finished in Acajour veneer with cherry burr panels. It had a dance floor and

projection equipment and its large bay windows opened out onto a tiled swimming pool There was a cocktail bar in

contemporary décor and a library paneled in ice flame birch with marble boss veneer. The main dining room on the

upper deck seated the full complement of 103 one-class passengers. Fire resistant materials were used extensively”

Both albums show the elegant accommodations, the vast cargo spaces, the engines, refrigeration machinery, the

officer’s quarters, the galley, the various control rooms, and the decks, both forward and aft.

Elders and Fyffes, a company which is still in business, began importing bananas to the United Kingdom in

1888 and shipping them in their own vessels in the early 1900’s. However, in the age of growing air competition, even

the extraordinary refinements and the massive banana capacity were not enough to save these fine ships from a

comparatively early demise. They were both decommissioned in the early seventies. $2,800.

BANANA CARGO AND ADVENTUROUS PASSENGERS