MONOGRAPHS
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The books
in this section are monographs by individual photographers. The books
are available through our association with Amazon.com If you are interested
in a book that is not available through Amazon.com, we most likely have
an alternative source or a copy in our collection that you may inquire
about.
NOTE: The prices of the books listed on this web site are the publishers
list prices. Most books are available at significantly
less than the posted list price.
The listing
here is alphabetical by the photographer's last name.
A
B C D
E F G
H I J
K L Ma
Mo N O
P Q R Sa
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Eisenstaedt:
Remembrances,
Alfred Eisenstaedt
1999, Bulfinch
12" x 9", 192 pp.
List price: 32.50 |
"In 1927
Eisenstadt sold his first photograph to a Czechoslovakian newspaper;
less than a decade later he was pioneering the practice of pictorial
journalism for Henry Luce's Life. The rest, as this latest
collection of his works attests, is history. With the help of O'Neil,
director of exhibitions and vintage prints at Life, Eisenstadt
has assembled a trip down memory lane that is overwhelming in historical
scope and is utterly pleasurable proof of his stature as the father
of photojournalism. From the outset of his career, "Eisie"
focused a keen eye on topical subjects: in the 1930s he photographed
Hitler, Goebbels and Mussolini, as well as Garbo, Toscanini and
Bernard Shaw, and recorded the dying embers of prewar glamour in
Europe. In the '40s and '50s his lens captured such Hollywood greats
as Marilyn Monroe and Sophia Loren, along with writers W. H. Auden
and T. S. Eliot. Between portraits of the famous reproduced here
are equally recognizable images of anonymity: a sailor grabbing
a Victory Day kiss at Times Square, children shrieking at a Parisian
puppeteer's show." - Copyright 1990 Reed Business Information,
Inc. |
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Eisenstaedt
on Eisenstaedt: A Self-Portrait,
Alfred Eisenstaedt
1985, Abberville Press
10.5" x 8.33", 119 pp.
List price: $35.00 |
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Democratic
Camera,
William Eggleston
2008,
The Whitney Museum of American Art
9" x 12",
272 pp
List price: $65.00 |
Elvis’s Graceland, a freezer stuffed with
food, a Gulf gasoline sign standing in a deserted rural landscape—these
are only a few of the iconic images captured by the “democratic
camera” of photographer William Eggleston. Not only has he
drawn upon images so telling of American culture, he has produced
them with an intensity and balance of color that have helped elevate
the entire field of color photography to a fine art, especially
since his 1976 exhibition at the Museum of Modern Art. More
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5x7
William Eggleston
2006, Twin Palms Publishing
11" x 14",
96 pp
List Price: $65.00 |
William Eggleston’s latest monograph features
photographs taken during the early 1970s using a large format 5x7
camera. More
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Los
Alamos,
William Eggleston
2003, Scalo Verlag
12.92" x 12.76", 224 pp.
List price: $65.00 |
"Los
Alamos presents a series of photographs that has never before
been shown, yet it contains a blueprint of Eggleston's aesthetics,
his subtle use of subdued color hues, the casual elegance of his
trenchant observations of the mysteries of the mundane. The photographs
in Los Alamos were shot in Eggleston's native Memphis and on countless
road trips across the American South from 1964 to 1968 and from
1972 to 1974." |
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William
Eggleston's Guide,
William Eggleston
2002, Distrinuted Art Publishers
9" x 9.7", 112 pp.
List price: 34.95 |
Reprint
from the original 1976 edition.
Essay by John Szarkowski
"William
Eggleston's Guide was the first one-man show of color photographs
ever presented at The Museum of Modern Art, New York, and the
Museum's first publication of color photography. The reception
was divided and passionate. The book and show unabashedly forced
the art world to deal with color photography, a medium scarcely
taken seriously at the time, and with the vernacular content of
a body of photographs that could have been but definitely weren't
some average American's Instamatic pictures from the family album.
These photographs heralded a new mastery of the use of color as
an integral element of photographic composition. Bound in a textured
cover inset with a photograph of a tricycle and stamped with yearbook-style
gold lettering, the Guide contained 48 images edited down from
375 shot between 1969 and 1971 and displayed a deceptively casual,
actually super-refined look at the surrounding world." |
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William
Eggleston 2 1/4,
William Eggleston
1999, Twin Palms
11.78" x 11.84", 101 pp.
List price: $60.00
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Born and raised in Mississippi and Tennessee,
William Eggleston began taking pictures during the 1960s after
seeing Henri Cartier-Bresson's The Decisive Moment. In 1966 he
changed from black and white to color film, perhaps to make the
medium more his own and less that of his esteemed predecessors.
John Sarkowski, when he was curator of photography at the Museum
of Modern Art, called Eggleston the "first color photographer,"
and certainly the world in which we consider a color photograph
as art has changed because of Eggleston.
From 1966 to 1971, Eggleston would occasionally
use a two and one quarter inch format for photographs. These are
collected and published here for the first time, adding more classic
Eggleston images to photography's color canon. - publisher
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William
Eggleston,
William Eggleston
2002, Thames & Hudson
11.25" x 11.5", 180 pp.
(out of print, used copies available) |
"Published
to accompany a French exhibition, this book brings together Eggleston's
most significant works, from his first experiments in black-and-white
to a series of photographs of Kyoto produced specifically for
the exhibit. Drawing on public and private collections in Europe
and the United States, the book includes vintage prints executed
in the technique most characteristic of his work, the dye transfer
process, as well as many lesser-known and previously unseen photographs." |
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The
Democratic Forest,
William
Eggleston
1989, Doubleday
10" x 11.3", 176 pp.
(out of print, used copies available) |
Eudora Welty
wrote the introduction for this collection of 150 stunning color
photographs culled from several thousand prints that distinguished
photographer Eggleston shot between 1983 and 1986. The title refers
not to a political system, but to the camera's ability to embrace
everything equally; familiar details of everyday life are profoundly
illumined. |
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Camera
Crazy,
Arthur Elgort
2004, Steidl/Edition 7L
9" x 14.5", 200 pp.
List price: $60.00 |
For the past 30 years, I’ve been taking photos
of people with cameras when on location, at home, and in my studio.
During this time my camera collection has grown to over one hundred,
and I still use every one of them! I got my first in 1965: a Nikon
F. Next was a Leica M-2 with a Summicron 35mm lens. Soon after I
moved into larger formats. First came a Graflex 4 x 5 and a Rolleiflex.
Then Hasselblads, Linhofs, and Mamiyas. My most recent purchase
is a digital Olympus that I love to use for personal work. They
are all close friends. I am truly camera crazy! I think the pictures
in this book reflect that I am not the only one! --Arthur Elgort
- Read more about this book |
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Stones
and Marks
Peter Elliston
2004, Lodima Press
13" x 11", 172 pp.
List price: $75.00
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75 quadtone illustrations
Australian physicist and photographer, Peter Elliston, packed
his cumbersome 8x10-inch view camera and travelled over many years
to eighteen countries on four continents seeking out and photographing
petrolgyphs and pictographs, standing stones, monuments, and ancient
ruins. In this beautiful oversized book, each photograph is accompanied
by commentary by Elliston on the historical importance of each of
the sites, or by accounts by the nineteenth century archaeologists
and explorers who first discovered many of these places. The combination
of photographs and writing provide an extremely rich experience.
- publisher
Read more about this book Price
goes to $85.00 after Dec. 31, 2004 |
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Mitch
Epstein: Family Business,
Mitch Epstein
2003, Steidl
12.5" x 11.32", 294 pp.
List price: $55.00 |
"Mitch
Epstein was 48 and living in New York when his mother called him
about the fire. On a windy August night in 1999, two 12-year-old
boys had broken into a boarded-up apartment building owned by Epstein's
father in Holyoke, Massachusetts, and, just for the hell of it,
set it ablaze. The fire had spread, engulfing a 19th-century Catholic
church, then a city block. The $15 million lawsuit brought by the
church against the senior Mr. Epstein threatened to unravel his
life. Faced with the family crisis, Mitch went home to help, possessed
by the question of how his father, once owner of the largest furniture
and appliance store in western New England and former Chamber of
Commerce Businessman of the Year in 1970, ended up a character out
of an Arthur Miller tragedy. What resulted is Family Business,
an epic work about the demise of a Jewish immigrant dynasty. It
traces the parallel fall of a New England town from industrial giant
to drug-dealing capital. Epstein has combined formally rigorous,
large-scale photographs with fluid video clips to re-create his
father's universe. The book's four chapters--"store,"
"property," "town," "home"--include
photographs, storyboards, video stills, archival materials and text,
resulting in a mixed-media novel that asks how the American Dream
failed his father and his generation of men." - 316 color 5
black-and-white illustrations. |
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Walker
Evans and the Picture Postcard
2009, Steidl & Partners
8" x 10", 350
pp
List price: $65.00 |
In the Walker Evans Archive at New York's Metropolitan
Museum of Art, there is a collection of 9,000 such postcards amassed
by the great American photographer, who began his remarkable collection
at the age of 10.
More » |
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Many
Are Called,
Walker Evans
2004, Yale University Press
7.5" x 9", 208 pp
List price: $40.00
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Between 1936 and 1941 Walker Evans and James Agee
collaborated on one of the most provocative books in American literature,
Let Us Now Praise Famous Men (1941). While at work on this
book, the two also conceived another less well-known but equally
important book project entitled Many Are Called. This three-year
photographic study of subway passengers made with a hidden camera
was first published in 1966, with an introduction written by Agee
in 1940. Long out of print, Many Are Called is now being
reissued with a new foreword and afterword and with exquisitely
reproduced images from newly prepared digital scans. Read
more about this book |
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Walker
Evans: The Lost Work,
Belinda Rathbone, Clark Worswick
2000, Arena Editions
10.25" x 9.5", 224 pgs
(used copies available) |
Walker Evans
was perhaps the greatest "documentary artist" American
has ever known. In a career that lasted forty-six years (1928-1974)
Evans profoundly changed the way Americans looked at themselves,
their social causes, and their country. Drawn from a largely unseen
private collection-the largest private collection of Walker Evans
photographs in the world-this lavishly produced volume publishes
here for the first time scores of pictures that have henceforth
been inaccessible to the public. Included are the familiar images
of Evans's Southern work (1935-36), as well as far less familiar
images of Evans's friends and fellow artists, his work in Tahiti,
photographs that he made of Victorian House architecture (1930-31),
and photographs done on travels to England, Cuba, Maine, Nova Scotia,
Chicago and New Orleans. Authors Belinda Rathbone and Clark Worswick
rise to the occasion of documenting Evans' monumental career, exploring
the overlooked byways of Evans' career at a moment when a rediscovery
of his life's work is taking place in both the museum world and
in the world of photographic collecting. What we are presented with
here is a definitive and sometimes surprising look at the photographer
whose oeuvre prefigures the work of photographers and documentary
artists of all stripes. |
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Walker
Evans: Photographs for the Farm Security Administration, 1935-1938,
Walker Evans
1998, DeCapo Press
10.39" x 7.53", 244 pgs.
List price: 22.00 |
Walker
Evans: Photographs for the Farm Security Administration, 1935-1938:
A Catalog of Photographic Prints Available from the Farm Security
Administration
It's a well-kept
secret that the Library of Congress oversees a collection of photographs
numbering in excess of three million, the bulk of which are in
the public domain. Among the highlights of that collection are
Evans' remarkable images of the Depression era--part of a larger
photographic project that employed Dorothea Lange and others--documenting
the effects of soil erosion in Mississippi, the plight of Arkansas
flood victims and the day-to-day lives of Alabama sharecroppers.
The mood of the period is evoked strongly by nearly 500 photographs,
many reproduced here for the first time; others are memorable
for their inclusion in Let Us Now Praise Famous Men. |
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Walker
Evans: Cuba
Walker Evans
2001, J Paul Getty Museum Publications
11.66" x 10.86", 96 pgs.
List price: $24.95
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Eassy
by Andrei Codrescu
In Walker
Evans: Cuba, from the collection at the Getty Museum, the 73 images
of people, urban landscapes and Cuban business-as-usual seem influenced
by Diego Rivera's politicized content, Hemingway's "stripped
down, minimal style" and the "characteristic emptiness"
of Eugene Atget's photography, says the Getty's Associate Curator
Judith Keller in her introduction. |
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Walker
Evans Polaroids
Walker Evans
2001, Scalo Verlag
10.28" x 8.37", 336 pgs.
List price: $45.00 |
In 1973
Walker Evans began to work with the innovative Polaroid SX-70 camera
and was given an unlimited supply of film from its manufacturer.
The virtues of this camera, introduced in 1972, perfectly fit Evans's
search for a concise yet poetic vision of his world: its instant
prints were for the infirm seventy-year-old photographer what scissors
and cut paper were for the aging Matisse. The unique SX-70 prints
are the artist's last photographs, the culmination of half a century
of work in photography. With this new camera, Evans returned to
some of his key motifs -signs, posters, and their ultimate reduction,
the letter itself. "Nobody should touch a Polaroid until he's
over sixty," Evans once said. It was only, he implied, after
years of work and struggle and experimentation, years of developing
one's judgment and vision, that the instrument could be pushed to
its full, revelatory potential. Using the SX-70, and leaving aside
the intricacies of photographic technique, Evans stripped photography
to its bare essentials: seeing and choosing. The 300 images in this
book, almost all of them unpublished, were selected from a total
of approximately 2500 Polaroids that Evans left behind when he died
in 1975. The size of the book and the page design follow a sample
page created by Evans. - Edited by Jeff L. Rosenheim |
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Walker
Evans
Jeff L. Rosenheim, et al.
2000, Princeton University Press
12" x 10.5", 332pgs.
List price: $70.00 |
Although
his work has received many awards, been enshrined in the best museums,
and been exhibited on several continents, Evans's total corpus is
only now being fully examined. This important book revises our appreciation
of Evans by presenting previously unknown material in an accessible
context. Essays by Maria Morris Hambourg, Jeff L. Rosenheim, Doug
Eklund, and Mia Fineman offer novel insights into the sources and
legacy of Evans's work. The result is a superb exploration of what
was achieved by one of our finest, mostly deeply American artists. |
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Walker
Evans: Havana 1933,
G illes Mora
1989, Pantheon Books
11.5" x 8.75", 111 pp.
(used copies available)
order this book |
Essay
by Gilles Mora
"This book brings together for the first time over 80 stunning
images of pre-revolutionary Cuba, the core of Walker Evans' first
great body of work. ..." - from the book jacket. |
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First
and Last,
Walker Evans
1978, Harper & Row
12" x 11.75", 199 pgs.
(out of print, used copies available) |
"The
purpose of this book is to provide a tru understanding of Evan's
work through some 220 photographs (chosen from more than 20,000)
which span forty-five years of continuous creative activity."
- from the jacket cover. |
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Signs,
Walker Evans
1998, J Paul Getty Museum Publications
7.88" x 9.41", 96 pgs.
List price: $19.95
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"Walker
Evans photographed signs throughout every phase of his career.
From the 1920s to the time of his death in 1975, Evans was obsessed
with the signage he found in modern America--from billboards to
gas station pumps to street graffiti to handmade announcements
of a Saturday-night dance. This book features fifty photographs
of signs from the Getty Museum's collection, presented with a
lively, provocative essay by Andrei Codrescu. ..." |
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Elliot
Erwitt Snaps,
Elliot Erwitt
2001, Phaidon Press
10.86" x 7.86", 512 pp.
(used copies available) |
"One
of the leading photographers of his generation, Elliott Erwitt
has been taking pictures since the late 1940s. A member of the
prestigious Magnum agency since 1954, he has photographed all
over the world and his images have been the subject of many books
and exhibitions. Containing over 500 pictures, over half of which
have never been published before, Elliott Erwitt Snaps
is a unique and comprehensive survey of his work. From famous
images like Nikita Khrushchev and Richard Nixon arguing in Moscow
in 1959 and Marilyn Monroe with the cast of the movie The Misfits,
to his many more personal images of places, things, people and
animals, Erwitt's unmistakable, often witty, style gives us a
snapshot of the famous and the ordinary, the strange and the mundane
over a period of more than half a century, through the lens of
one of the period's finest image-makers.
The book
is arranged into nine chapters, each with a one-word title: Look,
Move, Play, Read, Rest, Touch, Tell, Point, Stand. For Erwitt,
whose photography is a study and celebration of life, these are
the basic actions of life the things people do. The photographs
are not intended to illustrate the words, but they act as a means
of grouping and organizing; making broad connections and also
playing a game of pun and ambiguity with the words and pictures
in keeping with the visual games Erwitt plays." - Softbound
editions available, 2003, Phaidon Press, List price:
$49.95 |
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Dog
Dogs,
Elliott Erwitt
1998, Phaidon Press
7.29" x 4.86", 512 pp.
List price: $9.95 |
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Personal
Exposures,
Elliott Erwitt
1988, W.W. Norton & Company
11.46" x 10", 255 pp.
List price: $75.00 |
"Here
are men, women, and children in off-guard moments; old people; little
girls hamming it up; and even various dogs, who have their own preoccupations.
The pictures reflect a lifetime of humorous, ironic observation
and sensitivity to the human condition." |
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Eisenstaedt
Eggleston
Elgort
Elliston
Epstein
Evans
Erwitt
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