dody thompson (13 Ergebnisse)

First Edition. First edition. Softcover. 24 pages. The first issue of this periodical. The entire issue is on Edward Weston. Features a long article by Dody W. Thompson. Includes with the covers 10 black and white images by Weston and 1 by Ansel Adams. A clean very near fine copy in stapled wrappers. A fresh copy.

Hard cover. 252 p. Audience: General/trade. Very good in very good dust jacket.

55 pp.; 27.6 x 21.2 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; January/February 1979 issue of the periodical "Journal." Edited by Jim Moisan, Debra S. Burchett, and Bridget Reak-Johnson. Contents include: "Why Is That Photographer Working in the Graveyard?" by Dody W. Thompson; "A Conversation with Ed Ruscha," by Trina Mitchum; "Cronies," by Sandra McKee and Karen Jossel; "Mickey," by Norman Klein; "Independent Film," by Sandra Matthews; "On Interviewing," by Susan C. Larsen; "A Critic's Critics," by Suzanne Muchnic; "On the Nature of Abstraction," by James Hayward; "Paul McCarthy," by Barbara Smith and "Rachel Rosenthal," by Jim Moisan. Cover by JoAnn Callis. Fair / Good. Mailed copy with mailing marks and mailing wear and printed address sticker. Yellowing of covers and pages. 3.8 cm. tear to bottom edge of recto with 8.5 cm. area of creasing. 2.2 cm. loss to top right corner of recto and 5 mm. tear to top edge. 2.6 cm. loss to top right corner of first page. Additional light wear to edges and corners of publication, contents otherwise clean and unmarked.

Zustand: Good. 8vo. 24 pp. Very Good. Soft Cover. Illustrated stiff paper wraps. Staple binding. Shelf wear, and light toning. Reddish stain on verso. Pages fine. B&W plates throughout. Extremely Scarce.Provenance: From the estate of Gerald Nordland (1927-2019). Nordland was a museum director, art critic, educator and author. Dean of the Chouinard Art Institute (1960-64), Director of the San Francisco Museum of Art (now SFMoMA (1966-73), Milwaukee Art Museum (1977-85), and the UCLA Wight Art Gallery (1973-77). He is the author of over 60 publications, including books on Lachaise, Nakian, Diebenkorn and Frank Lloyd Wright.

Paperback. Zustand: Very Good. Trade PB. 4to. Published by Friends of Photography, Inc. , Carmel, CA, 1972. 24 pgs. Illustrated with Black & white photographs by Weston, one by Ansel Adams. Wrappers lightly worn with some light shelf-wear to the extremities present. Book is free of ownership marks. Text is clean and free of marks. Binding tight and solid. First issue (first edition) of "Untitled" a photography journal that would go on to include 57 more issues. This first issue is devoted to Edward Weston. Includes a fold out insert membership application and photography book order form. 24 pages, stapled stiff wraps. EB; 8vo 8" - 9" tall.

Soft cover. Zustand: Near Fine. 1st Edition. First issue (first edition) of "Untitled" a photography journal that would go on to include 57 more issues. This first issue is devoted to Edward Weston. Includes a fold out insert membership application and photography book order form. 24 pages, stapled stiff wraps. Black & white photographs by Weston, one by Ansel Adams. This copy would be considered Fine except for the small front & internal crease near the lower staple, and upper corners dinged. Otherwise, clean and bright. A terrific copy, especially so with the insert.

55 pp.; 27.6 x 21.2 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; January/February 1979 issue of the periodical "Journal." Edited by Jim Moisan, Debra S. Burchett, and Bridget Reak-Johnson. Contents include: "Why Is That Photographer Working in the Graveyard?" by Dody W. Thompson; "A Conversation with Ed Ruscha," by Trina Mitchum; "Cronies," by Sandra McKee and Karen Jossel; "Mickey," by Norman Klein; "Independent Film," by Sandra Matthews; "On Interviewing," by Susan C. Larsen; "A Critic's Critics," by Suzanne Muchnic; "On the Nature of Abstraction," by James Hayward; "Paul McCarthy," by Barbara Smith and "Rachel Rosenthal," by Jim Moisan. Cover by JoAnn Callis. Very Good. Light bumping of top edge of publication. 2.2 cm. yellow soiling to bottom right side of recto. 1.7 cm. tear to top edge of verso. Contents clean and unmarked.

Zustand: Good. 8vo. [ca. 25 pp.], Stapled Wrap, Very Good. Toning, B&W Plates. Text by Dody W. Thompson, Images by Weston. First Issue, First EditionProvenance: Richard A. Lorenz (1952-2001), author, art conservator,curator and director of the San FranciscoRegional Art Conservation Center. As a trustee of The ImogenCunningham Trust , Mr. Lorenz organized and curatedexhibitions of Cunningham's photographs and authored four major books onthe photographer.

Zustand: Good. Two single-page typed letters on the photographer's stationery, one signed by Ruth Bernhard, both addressed to Dody Weston Thompson with a signed postcard. Letters: 27.7x21.6 cm (11x8½"). Includes original mailing envelopes and a prospectus for the portfolios The Eternal Body and The Gift of the Commonplace.One letter and the postcard are signed by Ruth Bernhard. Letter from the photographer to writer and photographer Dody Weston Thompson who was Brett Weston's ex-wife and a founder of Aperture. Bernhard sends copies of her correspondence with Edward Weston and two photographs (not present in this lot). Bernhard also compliments Dody on a recent talk in Carmel, "I spoke to people who heard you speak in Carmel. They do think you made the most important contribution.I've found two prints, portraits of me, that Edward printed but are unmounted. ORIGINALS!".OSME Fine Art :Ruth Bernhard (1905-2006) was a German-born American photographer renowned for her luminous black-and-white nudes and still lifes. Trained in art history and typography in Berlin, she moved to New York in the 1920s, where she immersed herself in Manhattan's avant-garde and queer circles before turning to photography full-time. Her breakthrough came with a commission for MoMA's Machine Art exhibition in 1934. Inspired by her friendship with Edward Weston, Bernhard relocated to California and joined the West Coast school alongside Ansel Adams and Imogen Cunningham. Over seven decades, she created iconic works such as Doll's Head and the celebrated portfolios The Eternal Body and The Gift of the Commonplace. A revered teacher and award-winning artist, Bernhard's photographs are held in major collections including the Getty, MoPA San Diego, and the Indianapolis Museum of Art. Her lifelong exploration of light, form, and human connection cemented her as one of the twentieth century's most influential photographic voices. She died in San Francisco at 101.Description:. Dody Weston Thompson:Born: 1923, New Orleans, LA, USADied: 2012, Los Angeles, CA, USA.Photographer and photo historian Dody Weston Thompson studied at Tulane University in New Orleans (1940) and Black Mountain College in North Carolina (1941-1943). In 1947, Thompson met Edward Weston, who offered her training in photography in exchange for work as his assistant. Later that same year, Thompson opened her own portrait studio. In 1949, she met Ansel Adams who, like Weston, taught Thompson photography while she worked as his assistant. By 1950, Thompson's photographic work was exhibited and collected by numerous institutions, including the Santa Barbara Museum of Art and the Institute of Design in Chicago. In 1952, Thompson earned the Alfred M. Bender Award from the San Francisco Museum of Art.In addition to her career in photography, Thompson was a prolific author and lecturer on the history and practice of the medium. Notably, in 1952 she co-founded the photography journal Aperture, to which she frequently contributed as a writer. Throughout her lifetime, she actively worked to preserve the legacy of Edward Weston and the West Coast photographic movement of the 1950s. From 1952 until 1957, Thompson was married to Edward's son, Brett Weston.

Zustand: Good. Three typed letters (4pp.) signed by Van Deren Coke, each addressed to Dody Weston Thompson. Letters: 27.7x21.6 cm (11x8½"). Includes original mailing envelopes, some photocopied newspaper articles and 3 small format color photographs. 5 franked envelopes with other docs.Each letter is signed by Van Deren Coke. Correspondence from curator and Director of Photography at SF MoMA Van Deren Coke to Dody Weston Thompson on various issues related to museum collections and a charity auction. . The letter from 1997 has a copy of the New York times review of his show at the Howard Greenberg Gallery with 3 color photos, presumably for the show. Dody Weston Thompson:Born: 1923, New Orleans, LA, Died: 2012, Los Angeles, CA, .Photographer and photo historian Dody Weston Thompson studied at Tulane University in New Orleans (1940) and Black Mountain College in North Carolina (1941-1943). In 1947, Thompson met Edward Weston, who offered her training in photography in exchange for work as his assistant. Later that same year, Thompson opened her own portrait studio. In 1949, she met Ansel Adams who, like Weston, taught Thompson photography while she worked as his assistant. By 1950, Thompson's photographic work was exhibited and collected by numerous institutions, including the Santa Barbara Museum of Art and the Institute of Design in Chicago. In 1952, Thompson earned the Alfred M. Bender Award from the San Francisco Museum of Art.In addition to her career in photography, Thompson was a prolific author and lecturer on the history and practice of the medium. Notably, in 1952 she co-founded the photography journal Aperture, to which she frequently contributed as a writer. Throughout her lifetime, she actively worked to preserve the legacy of Edward Weston and the West Coast photographic movement of the 1950s. From 1952 until 1957, Thompson was married to Edward's son, Brett Weston.

Zustand: Good. See complete list below. Many in original cardboard mailers. Friends of Photography was a nonprofit organization started by Ansel Adams and others in 1967 to promote photography as a fine art. During its existence the organization held at least 330 photography exhibitions at its galleries in Carmel and San Francisco, California, and it published a lengthy series of monographs under the name Untitled. Untitled was published Friends of Photography from 1972 to 1994. A total of 58 numbered publications were issued, first as a small magazine format and later as a series of booklets and full-size books. Numbers 1-10 displayed the series name and issue number on the cover, but as the publications became more specialized each number was titled independently in addition to the series name. The smallest publication in the series was Number 1, with 10 pages, and the largest was Number 43, with 156 pages. Many of the publications were catalogs of exhibitions held at the Friends of Photography gallery in Carmel, California. The publication featured many famous photographers, including Ansel Adams, Ruth Bernhard, Harry Callahan, Roy DeCarava, Lee Friedlander, Mary Ellen Mark, Aaron Siskind, Paul Strand, Brett Weston, and Edward Weston. It also offered perspectives on newer photographic trends like plastic cameras and the influence of pop-art.The series of Untitled monographs includes: 1: Edward Weston, Dody W. Thompson, 1972 2/3: Untitled 2/3: Fred R. Parker, editor, 1973 4: Anthony Hernandez and Joseph Jachna, Fred R. Parker, editor, 1973 5: Four Exhibitions: Andre Kertesz, Robert Rauschenberg, Robert Heinecken and Wynn Bullock, Peter Thompson, editor, 1973 6: Untitled 6: Cheryl Douglas, editor, 19737/8: On Change and Exchange, Peter Thompson, editor, 1974 9: In Time, Peter Thompson, editor, 1975 10: Nancy Newhall 1908/1974, Beaumont Newhall & Peter Thompson, editors, 1976 11: Emerging Los Angeles Photographers, Rodney C. Stewart, 1977 12: Albert Renger-Patzsch 1987-1966: Photographs from the Collection of the Friends of Photography, James Enyeart, editor, 1977 13: Plants: Photographs by Don Worth, James Enyeart, 1977 14: Untitled 14, James Alinder, editor, 1978 15: Jerome Liebling: Photographs 1947-1977, Estelle Jussim, 1978 16: Ansel Adams: 50 Years of Portraits, James Alinder, 1978 17: Comparative Photography: A Century of Change in Egypt and Israel - Francis Frith and Jane Reese Williams, Brian M. Fagan, 197918: Robert Cumming, James Alinder, 197919: Vilem Kriz, David Featherstone, 197920: Collecting Light: The Photographs of Ruth Bernhard, James Alinder, 197921: The Diana Show: Pictures Through a Plastic Lens, David Featherstone, 198022: Images from Within: The Photographs of Edmond Teske, James Alinder, 198023: 9 Critics / 9 Photographs, James Alinder, 198024: New Landscapes, Mark Johnstone, 198825: Discovery and Recognition, James Alinder, 198126: Altered Landscapes: The Photographs of John Pfahl. Peter C. Bunnell, 198127: Roy De Carava, James Alinder, 198128: Postures: The Studio Photographs of Marsha Burns, David Featherstone, 198229: Wright Morris: Photographs and Words, James Alinder, 198230: The Contact Print 1946-1982, James Alinder, 198231: Nicholas Nixon: Photographs from One Year, James Alinder, 198332: Mario Giacomelli, Stephen Brigidi and Claire V.C. Peeps, 198333: Samuel Bourne: Images of India, Arthur Ollman, 198334: Marion Post Wolcott: FSA Photographs, Sally Stein, 198335: Observations: Essays on Documentary Photography, David Featherstone, editor, 198436: Harry Callahan: Eleanor, Anne Kennedy and Nicholas Callaway, editors, 198437: Ansel Adams: 1902-1984, James Alinder, editor, 198438: Todd Walker, Julia K. Nelson, 198539: Mary Ellen Mark: Photographs of Mother Teresa's Missions of Charity in India, David Featherstone, 198540: Don Worth, Photographs 1955-1985, Hal Fischer, 198641: EW 100: Centennial Essays in Honor of Edward Weston, Peter C. Bunnell and David Featherstone, editors, 198642: Eikoh Hosoe, Ronald J. Hill, 198643: Light Years: The Friends of Photography 1967-1987, James G. Alinder, editor, 198744: Olivia Parker: Weighing the Planets, Olivia Parker, 198745: Judith Golden: Cycles, A Decade of Photographs, David Featherstone, 198846: Frank Gohlke: Landscapes From The Middle Of The World, Photographs 1972-1987, Ben Lifson, 198847: Michael Kenna: Night Walk, Jerome Tarshis, 198848: Close to Home: Seven Documentary Photographers, David Featherstone, 198949: Aaron Siskind: Road Trip, Photographs 1980-1988, Charles Traub, 198950: Holly Roberts, David Featherstone, 198951: Of Time & Place: Walker Evans & William Christenberry, Thomas W. Southall, 199052: Toward a Truer Life - Photographs of China 1980-1990 by Reagan Louie, Jonthan Spence, 199153: Zeke Berman: Optiks, Debra Heimerdinger, 199154: Lorna Simpson, Deborah Willis, 199255: Ansel Adams: New Light - Essays on His Legacy and Legend, Michael Read, editor, 199356: Special Collections: The Photographic Order from Pop to Now, Charles Stainback, 199257: Ancestral Dialogues: The Photographs of Albert Chong, Quincy Troupe, 199458: American Prospects: Photographs by Joel Sternfeld, Andy Grundberg and Anne W. Tucker, 1994.

Zustand: Good. Typed one-page letter on SF MOMA stationery, signed by Van Deren Coke and addressed to Do[d]y Weston Thompson. 27.9x21.7 cm (11x8½"). Includes 9x10.8 cm (3½x4¼") polaroid photograph by Van Deren Coke.Signed by Van Deren Coke. Correspondence from curator (and later Director) of Photography at SF MOMA Van Deren Coke to Dody Weston Thompson. Coke thanks Dody for including his work in her article Notes on the Photography of Death. He comments on the enclosed photograph, "Attached is a poor SX-70 shot of one of my latest. I am doing little photography at present while getting my bearings here at the San Francisco Museum of Modern Art. I had dinner with Don Ross and Brett last week and I am writing the introduction to one of Don's portfolios.

Zustand: Good. 5 T.L.S., some with manuscript annotations and pictures, signed by Morley Baer addressed to Dody & Daniel Thompson and Sean Callahan, plus photo-card announcements by Morley. In addition, 5 A.L.S. by Frances Baer. Sizes vary; includes original envelopes. Ephemera includes pictorial note cards and gallery announcements.From Morley Baer to Sean Callahan, editor of American Photographer, "Would you be interested in having another writer by the name of Dody Thompson do the job? Dody was Edward Weston's last apprentice and lived and worked in Carmel as we did in the forties and early fifties. She knows the ground out of which so many of us came, and she knows my work commercially and personally since that earliest time." From Frances to Dody, "Morley, unfortunately is convinced that my having a place where I can work will automatically lead me into the opposite direction from himself?this is nonsense.".Morley Baer, an internationally known photographer and teacher whose iconic images of Central Coast farms, beaches and adobe houses propelled him to the forefront of American photography, died in Nov. 1995 at the Hospice of the Central Coast in Monterey. He was 79.Born in Toledo, Ohio, Mr. Baer graduated from the University of Michigan in 1939 with a master's degree in English.He forsook a career in advertising suddenly, in favor of photography, after accompanying a photographer friend on an assignment. Imbued with enthusiasm, he obtained a low-paying job as a photographer's all-purpose assistant and learned his craft from the ground up.Mr. Baer, of Carmel Valley, made his first pilgrimage to Carmel in 1939, in search of Edward Weston, whose photographs he had seen at a Chicago exhibition. He served in the Navy during World War II, photographing first the Atlantic theater of the war and then, under Edward Steichen, documenting the war in the Pacific.Still fascinated by Weston's vision, he moved to California permanently in 1946. Mr. Baer applied for an apprenticeship with the master, only to be turned down. Later, the two became good friends in a circle of local photographers that also included the late Ansel Adams.Working primarily with large-format cameras, Mr. Baer was best known for his black-and-white landscape and architectural photographs. He received the National Award for Photography from the American Institute of Architects in 1965 and in 1979 was the first photographer to receive the coveted Prix de Rome from the American Academy.For over 25 years, Morley Baer formed relationships with architects shaping the future of coastal California architecture, as they innovated after the end of World War II (1939-1945) and photographed this emerging style. His understanding of Northern Californian architectural modernism put him in close contact with the greats of the industry, such as Julia Morgan and Frank Lloyd Wright. Baer produced iconic representations of this brand of coastal modernity through unique artistic interpretations of architectural structures?a style of dramatic lighting against the built environment.Frances Baer lived and worked in the inner circles of the Monterey Peninsula photography scene in the peak years. Wife to Morley Baer and a painter herself, she saw and knew the art scene well because she lived it. She engaged with the great photographers in her time : Edward Weston, Alfred Stieglitz, Ansel Adams and Morley Baer. Frances Baer passed away in August 2003.