STIEGLITZ Rare COMPLETE SET Twice-A-Year ORIGINAL PHOTO Start Price USD 950.00 Current Price USD 950.00 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Sunday, May 11, 2008 End Time Sunday, May 18, 2008 Location Maryland See more about 'STIEGLITZ Rare COMPLETE SET Twice-A-Year ORIGINAL PHOTO' Description Twice A Year A Book of Literature, The Arts and Civil Liberties. (Alfred Stieglitz) Edited by Dorothy Norman A RARE COMPLETE SET NY: Twice A Year (An American Place), 1938-1947. Vols 1-14/15 (all published*) in 9 as issued. Vol. 1 in orig. wraps (not issued in hb) Vols. 2-14/15 in hardcover with dj or wrappers over boards. Includes work by many noted avant-garde authors and artists. Each issue app. 250 - 500 pages or more, each with many illustrations, both photographic and otherwise. All volumes  1st ed./1st printing with an app. print run of 2,000. With photo illustrations by Stieglitz, Paul Strand, Brett Weston, Ansel Adams, etc. Vol. 1 with FOUR COLLOTYPES by Stieglitz, Vol. 10/11 with tipped-in ORIGINAL SILVER GELATIN PHOTOGRAPH by Todd Webb. Literary contributions include Henry Miller, Ignazio Silone, E.E. Cummings, Stephen Spender, Proust, Olson, Anais Nin, Sartre, Camus, Malraux, Charles Olson, W C Williams, etc. [*The later "Anniversary Edition" is an anthology comprised of work from the orig. series.] Each measures about 9 1/2 x 6 1/2 inches (except Vols. 12/13 which measures  8 1/2 x 5 1/2 inches due to war-time restrictions); most VG or better with dj staining to Vol. 5/6. Shipping at $11.95 anywhere USA. Expedited and insured shipping available, international bidders welcome. PLEASE NOTE: PICTURES BELOW ARE OF PLATES REMOVED FROM OTHER VOLUMES BUT ARE IDENTICAL TO THOSE FOUND IN THE SET. Also, yellow tint is due to my old scanner - actual plates are quite clean with practically no age toning at all.   Includes 4 rare examples of Stieglitz collotypes (his only known life-time images produced by the collotype process) which are much scarcer than his better known, though similar, photogravure prints (for which these are often confused.) Published by his last gallery, An American Place, through the last publishing venture he was associated with, "Twice A Year." In the final decades of his life, Stieglitz devoted his time chiefly to running his galleries (Anderson Galleries, 1921–25; The Intimate Gallery, 1925–29; An American Place, 1929–46), and he made photographs less and less frequently as his health and energy declined. When he did photograph, he often did so out of the window of his gallery. These final photographs, such as Looking Northwest from the Shelton, were impressive achievements that both synthesized the various stages of his photographic development and solidified his position as the most significant figure in American photography. These pictures, virtuoso compositions that emphasize the geometric forms of the city as seen from an upper floor of a modern skyscraper, are also exquisitely constructed and printed and serial in nature, again emphasizing the fragmented nature of contemporary life. Finally, this last series of his career implicitly described his own retreat from the hustle-and-bustle of New York life and embodied the contraction between photography's representative nature and its expressive potential, making them fitting codas in the oeuvre of one of photography's greatest advocatesNumber 1, Fall-Winter 1938. Paper Wrappers 8vo. Includes 4 Stieglitz collotypes (often mistaken for photogravures) and contributions by Rainer Maria Rilke (the first English translation of his War-time Letters), Theodore Dreiser, Henry David Thoreau, Andre Malraux, E.E. Cummings, Franz Kafka, Anais Nin. Also, an article on Alfred Stieglitz [to whom this issue is dedicated] by Dorothy Norman, Charles Olson on Lear and Moby Dick, "On Being a Conscientious Objector" by Roger Baldwin, and "Repeal of the Espionage Law" by T. V. Smith. Number 2, Spring-Summer 1939. Includes the first English publication of Proust's "A Story" as well as work by William Carlos Williams, John Marin, James Laughlin, George Benard Shaw, Walter Gropius, and others. Also has photo illustions by Eliot Porter and Alfred Stieglitz. 247 pages plus ads and a rarely found insert reproducing the January 27, 1939 issue of the New York Herald Tribune. Number 3-4, Fall-Winter 1939 / Spring-Summer 1940. Includes authors Albert Camus; Thomas Mann; Sherwood Anderson; Alfred Kazin - a photograph by Alfred Stieglitz and many articles written as a memorial of his death. Also includes an article by Richard Wright. Number 5-6 Fall-Winter 1940 Spring-Summer 1941. 566 pages, Stiff card w/ paper over boards. Browning & edgewear to cover, eps & edges browning. (browning light grey w/ blue title at spine) Contributors include Marianne Moore, William Saroyan, Alfred Stieglitz, Albert Einstein, Anais Nin and Henry Miller. Number 7, Fall-Winter 1941. Frontispiece photo by Ansel Adams and abstraction by Georgia O'Keeffe. A book of literature, the arts, and civil liberties. Published by Dorothy Norman Alfred Stieglitz mistress for many years. 308 pages. Number 8-9 Spring-Summer, Fall-Winter, 1942. This issue with a section on Alfred Stieglitz 357 pages plus a 73 page section devoted to Alfred Stieglitz with writing by Stieglitz, Carl Zigrosser, and Henry Miller. The book also features two high quality reproductions from Steiglitz's "Equivalents" series. Number 10-11 Spring-Summer 1943 and Fall-Winter 1943. With ORIGINAL SILVER GELATIN PHOTOGRAPH BY TODD WEBB and contributions by Arthur Koestler, Alfred Kazin, Dorothy Norman, Alfred Stieglitz, Sherwood Anderson, and others. Number 12-13, Spring-Summer / Fall-Winter of 1945. Contains work by Richard Wright, Horace Cayton, Hart Crane, Lewis Mumford, Andre Malraux, Louis Sullivan and others. Photographs by Ansel Adams and others. 568 pages.  Number 14-15, Fall-Winter 1946-1947. 513 pages, illustrated (reproducing photographs, printed on glossy stock paper, by Alfred Stieglitz, John Heartfield and Todd Webb, a drawing by George Grosz, etc.). Contains "In Memoriam. Alfred Stieglitz: Six Happenings (And a Conversation Recorded by Dorothy Norman), " "The Dance is On" by Sherwood Anderson, "Discrimination in America" (three essays) by Richard Wright, "Color, U.S.A. " by Owen Dodson, etc. Pay me securely through PayPal! (From The Centre for Fine Print Research Collotype Project) Collotype A major element of the work of the CFPR is to reappraise old printing methods in the light of new technology. In its reappraisal of photomechanical reproductive methods, the Centre has been looking at Collotype and Photogravure, both late 19th early 20th century methods of reproducing photography in print without an underlying dot structure. The aesthetic qualities produced by these methods have never been surpassed. However these processes fell into disuse because of the difficulty of printing, the highly specialised skills required by the printer and the time needed by an artist/technician to make the complex multiple colour film separations. The first commercial collotypes were produced in 1868 in Germany by Josef Albert and in 1869 in England by Ernst Edwards. Until the development of the half-tone screen it was the only photomechanical process, besides hand photogravure, capable of reproducing tone. Collotype is the most accurate and beautiful method of photomechanical reproduction yet invented. It has the advantage that it can render continuous graduations of tone without the intervention of a screen. But the making and printing of collotype plates is skilled and expensive work and can easily go wrong. Variations in humidity are likely to upset the balance of moisture in the gelatin causing it to swell or shrink. The surface is too delicate to produce more than two thousand impressions. For these reasons, collotype has been used for luxury publications and, since World War II, has been largely abandoned for other commercial purposes. Collotype is a photographic process in which a film of gelatin provides the printing surface. The technique is dependent on the fact that light sensitized gelatin hardens in proportion to the amount of light to which it is exposed. Collotype was first used in England in the 1870s by the Autotype Company10 and Ernest Edward's Heliotype Company.11 Production continued until the closure of the last collotype plant, the Cotswold Collotype Company, in 1985. Other significant British collotype printers were Waterlows of London, Ganymed Press, Chiswick Press, and Oxford University Press. Collotype was even more widely used in Germany and was also popular in Austria, France, the Netherlands, Italy, Switzerland, USSR, Australia, Japan and the USA. One of the oldest and most respected collotype production houses was the Jaffe company which was founded in Vienna in 1875. The company also set up a branch of their operation in New York in 1926 (Kirby, 1988, pp. 23,26). Neither of these companies still operate. However there are a small number of companies still producing collotypes including the Lichtdruck Kunst Leipzig and Lichtdruck Werkstatt Dresden.   SHIPPING AT $4.95 ANYWHERE USA; EXPEDITED AND INSURED SHIPPING AVAILABLE, INTERNATIONAL BIDDERS WELCOME. Pay me securely through PayPal! On Sep-11-07 at 10:32:28 PDT, seller added the following information: Place a Bid!