The salted paper print process and the daguerreotype were invented, for all practical purposes, simultaneously. Though using different materials and methods (the salted paper print was patented, while daguerreotype was not) still both achieved the miracle of fixing an image from life within a substrate―in other words, they ushered in the medium of photography. The uses of each form of photography varied greatly. In Europe the salted paper print was valued for its aesthetic qualitiesthe massing of light and the softening of detail―while in North America, the salted paper print was valued for its portability and reproducibility. At the same time, the three evolving regions that comprised North America―Canada, the United States and Mexico―faced quite different realities and challenges than those in Europe (primarily France and Britain). In North America artistic merit was less of a priority, as each emerging nation faced vast, untamed territories, as well as social and political tumult. These were countries in the making―defining borders, struggling to create identities, and establishing metropolitan areas and transportation networks, while the scions on the other side of the Atlantic cast a leisurely eye to their artistic, architectural, and colonial heritage for subject matter. Scant research has been done on the use of the salted paper print in North America during its brief period of use (approximately 1847–1865); physical prints are often found in obscure collections and locations, and they are, as is true for most works on paper from that period, exceedingly fragile. This volume, with essays by three up and coming 19th-century scholars, offers new views on the use and employment of the salted paper print in North America. The hope is that this publication will encourage investigation, for the history of photography has many areas of terra incognita yet to discover.

Natural Magic: Salted Paper Prints in North America

Arts & Photography

Lord, Russell

Volpe, Lisa

Bear, Jordan

History & Criticism

Santa Barbara Museum Art

An important reconsideration of landscape photography in 19th-century America, exploring crucial but neglected geographies, practitioners, and themes Although pictures of the West have dominated our perception of 19th-century American landscape photography, many photographers were working in the eastern half of the United States during that period. Their pictures, with the exception of Civil War images, have received relatively scant attention. Redressing this imbalance is East of the Mississippi, the first book to focus exclusively on the arresting eastern photographs that helped shape America’s national identity. Celebrating natural wonders such as Niagara Falls and the White Mountains as well as capturing a cultural landscape fundamentally altered by industrialization, these works also documented the impact of war, promoted tourism, and played a role in an emerging environmentalism. Showcasing more than 180 photographs from 1839 to 1900 in a rich variety of media and formats—from daguerreotypes, salted paper prints, tintypes, cyanotypes, and albumen prints to stereo cards and photograph albums—this volume traces the evolution of eastern landscape photography and introduces the artists who explored this subject. Also considered are the dynamic ties with other media—for instance, between painters and photographers such as the Bierstadt and Moran brothers—and the distinctive development of landscape photography in America.

East of the Mississippi: Nineteenth-Century American Landscape Photography

Raab, Jennifer

Waggoner, Diane

Collections, Catalogs & Exhibitions

Yale University Press

A timely reconsideration of the history of photography that places Black studio photographers, and their subjects, at the center From photography's beginnings in the United States, Black studio photographers operated on the developing edge of popular media to produce affirming portraits for their clients, as well as a wide range of photographic work rooted in their communities. Called to the Camera offers a comprehensive history of this work, from the nineteenth-century daguerreotypes of James Presley Ball to the height of Black studios in the mid-twentieth century, and considers contemporary photographers responding to Black studio traditions today. In addition to showcasing famous photographers such as Ball, James Van Der Zee, and Addison Scurlock, this volume brings attention to dozens of other artists across the country, including Florestine Perrault Collins, Austin Hansen, and Henry Clay Anderson. The book features more than one hundred extraordinary vintage photographs, many of them unique objects and some, like those by the Hooks Brothers Studio, published here for the first time. Highlighting Black subjects on both sides of the camera, Called to the Camera presents a broader and more inclusive history of photography.

Called to the Camera: Black American Studio Photographers

Williams, Carla

Mason, John Edwin

Piper, Brian

New Orleans Museum of Art

The Henry Wallaces Of Iowa (FDR and the Era of the New Deal)

History

World

Da Capo Press

Care of the Earth

Science & Math

Nature & Ecology

Signet

Although Adolf Eichmann stood alone in the dock at Jerusalem, the crimes with which he was charged called for a complete reappraisal of the Nazi policy for exterminating European Jewry. The Prosecution presented a full account of the 'Final Solution of the Jewish Problem' which they charged Eichmann with implementing at the cost of the grossest crimes against humanity. The man-hunt for Eichmann lasted fifteen years, ending in 1960 when Israeli agents discovered him working for a water-supply company in the Argentine. Since the Argentine Government would not agree to his extradition, Eichmann was abducted and taken under arrest to Israel. The Defence argued that the method of Eichmann's capture invalidated the judicial proceedings and further that the Court was incompetent to try a man for crimes committed against the Jewish people and contrary to the Jewish law, before the State of Israel had been created. Eichmann's trial is a two-fold drama: the detailed relation of the most catastrophic events in this century, which resulted in the murder of six million Jews, and the tragedy of a man who thought obedience to an order exonerated him from the responsibility for unbelievable crimes. Lord Russell of Liverpool, who attended the trial, has drawn upon his experience as Deputy Judge Advocate General, British Army of the Rhine in Germany after the war, where he was responsible for the trial of German war criminals in the British Zone of Occupation, to write this authoritative reassessment of the Nazi tyranny over Jews and its notorious protagonist.

The Trial of Adolf Eichmann

Pimlico

In this first full portrait of one of the world's most beloved animal writers, a noted biographer affectionately reveals the man behind the myth, exploring his tragedies and triumphs in intimate detail. 65,000 first printing.

James Herriot: The Life of a Country Vet

Biographies & Memoirs

Lord

Historical

A best-selling, illustrated biography of the beloved author of All Creatures Great and Small chronicles his life as a Scottish veterinarian whose modesty remained unmitigated by the international fame garnered by his books. Reprint. 75,000 first printing.

Arts & Literature

Looking Again is as much about photography, in a broader sense, as it is about the specific photographs reproduced within it. It is designed to provide the reader with a glimpse into both the collection at the New Orleans Museum of Art and into photography’s complexity. Through 132 objects and essays, Russell Lord explores the many histories of photography, addressing long-held beliefs and offering new ways of thinking about, and looking at, photographs. As the world moves increasingly toward an image-dependent style of communication, there has never been a better time to seriously examine our belief in or apprehension toward the photographic image. Standing on the threshold of what might be a turning point in humanity’s relationship to the photograph, this volume encourages the reader to dig deeply into photography: to look, and then look again. The book is published on the centennial of the first photography exhibition presented at the New Orleans Museum of Art, in 1918.

Looking Again: Photography at the New Orleans Museum of Art

Aperture

Featuring both iconic and never-before-published works, this eye-popping volume presents one of the first and finest collections of Photorealism in the United States. Published in conjunction with the exhibition Photorealism: Beginnings to Today at the New Orleans Museum of Art, the book presents seventy works from the late 1960s to recent years. The first affordable book in years on this popular genre of art.

Photorealism: Beginnings to Today

Lash, Miranda

MEISEL,Louis K.

Scala Arts Publishers, Inc.

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