A wide-ranging and extraordinary selection of photographs by Bernice Abbott with her commentary for every image. Essay by Hank O'Neal; introduction by John Canaday. 255 pages, over 250 duo-toned b&amp;w plates and text illustrations; 10.25 x 14.5 inches.

Berenice Abbott: American Photographer

Arts & Photography

Abbott, Berenice

O'Neal, Hank

Individual Artists

McGraw=Hill

Bernice Abbott - Sixty Years of Photography

Canaday, John

Photography & Video

Thames and Hudson Ltd.

Scrapbook of Jazz

Condon, Eddie

Music

Robert_Hale

From 1985 to the present, Hank O'Neal interviewed 42 jazz legends who made music in Harlem during its heyday and decline. In their homes or immediate neighborhoods, he took their portraits with a large-format view camera and talked with them about what had been the best places to play, the interaction of the races, and about why the Harlem scene had faded. 
For each 'session' with a jazz legend, O'Neal has supplemented the interview and portraits with many of his other photographs, historical photographs and memorabilia. From the archives of Chiaroscuro Records, O'Neal has produced a CD that accompanies the book, which features sixteen of the 'ghosts' playing at the ends of their careers, between 1972 and 1996, including Cab Calloway, Milt Hinton, Doc Cheatham, Dizzy Gillespie, Buddy Tate, Eddie Barefield, Earl Hines, and Illinois Jacquet.

The Ghosts of Harlem: Sessions with Jazz Legends

Vanderbilt University Press

This is the story of two ordinary people, Harold and Sarah, who lived ordinary lives, each born more than a century ago. Perhaps there are millions of people who have similar stories and fascinating lives. But the lives of Harold and Sarah were preserved not in the memories of others but in the pages of seven scrapbooks, thousands of photographs, letters, postcards, illustrations, and bits of memorabilia from which their lives together may be reconstructed. Harold’s and Sarah’s lives were unusually fascinating because of time and place: the Roaring Twenties, the Great Depression, World War II, and the emerging supremacy of what came to be known as the American Dream. The story began and thrived in the rough and tumble world of the East Texas oil patch, and this makes it even more compelling. Preserving Lives is a love story of remarkable simplicity that appeared to be almost perfectly planned and executed. Harold and Sarah became part of the many who worked hard and believed in their dreams, and when, in the mid-1950s, it all came together for them with a good job, their first home, a new car every so often, and an upstairs and downstairs telephone, it was just the natural progression of things. It was also the perfect end of a two-plus decade journey together which they hoped they might continue to enjoy as the years passed. This is the way it was supposed to happen, once upon a time, and it is what Harold and Sarah managed to do.

Preserving Lives: An American Family's Scrapbook, 1920-1950

TCU Press

In 1948 Hank O'Neal was eight years old, and his baseball mentors were his grandfather, C. A. Christian, who'd been an exceptional semipro player at the turn of the century, and two of his father's classmates at TCU, Jim Nolan and Jim Busby. His grandfather went on to college and became a pharmacist, but he never forgot his days of glory as a teammate of the soon-to-become-legendary Ty Cobb. After his introduction to these three men, all Hank wanted was to play baseball. In 1954 his family moved to Syracuse, New York, where Hank hung around McArthur Stadium, the home of the Syracuse Chiefs. One of the players, Ben Zientara, lived two doors away, and not only did Hank pester him and the other players, but he also began writing major league players, both active and retired. One of them, Ty Cobb, became his pen pal in 1955. He'd played with Hank's grandfather in Georgia fifty-five years earlier, and the "nastiest man in baseball" was kind and supportive to his young fan. Sincerely, Ty Cobb traces ten years of a child's life in baseball, from his first struggles on the sandlot to his final high school game. It is illustrated with period memorabilia and twelve pages of handwritten letters from Ty Cobb, plus others from Hall of Fame players like Eddie Walsh and Frankie Frisch.

Sincerely, Ty Cobb

Sports & Outdoors

Biographies

Hank O'Neal: Portraits, 1971-2000

Sordoni Art Gallery, Wilkes University

CIA agent-turned-photographer Hank O'Neal -- praised by The New York Times for "knowing New York City's streets and its celebrities"-- delivers the most beautiful collection of street art images ever amassed by a single photographer. For the past four decades, O'Neal has been photographing street art from around the globe--from the back alleys of New York City to the beaches of Venice, California; from Jim Morrison's grave in Paris to a section of the Berlin Wall. Featuring hundreds of gorgeously rendered, never-before published photos--from the art of Keith Haring and Richard Hambleton to that of Banksy and Shepard Fairey--XCIA's photographs deliver the ultimate street art experience.

XCIA's Street Art Project: The First Four Decades

SIMAN MEDIA WORKS

With this deluxe, two-volume slipcased set, photography lovers around the world will at last have a thorough retrospective of the work of Berenice Abbott. Portraitist, Atget editor, chronicler of Paris and New York and a giant of twentieth-century photography, Abbott has long gone without a publication encompassing all of the principal strands of her practice. Included herein is her early work as a portrait photographer in Paris during the 1920s, when she learned photography as Man Ray's darkroom assistant and catalogued the city's artistic life with portraits of James Joyce, Jean Cocteau, Peggy Guggenheim, Margaret Anderson, Jane Heap, Sylvia Beach, Bryher and Eugene Atget. (During this time, she adopted the French spelling of her first name, "Berenice," at the suggestion of Djuna Barnes.) Her New York photographs of the 1930s are testament to the architectural and social transformations within the city and throughout the United States in that decade. In this period Abbott also began her editorial work on Atget, producing the 1930 book Atget, Photographe de Paris-and her labors on his behalf would continue until the sale of her archive to The Museum of Modern Art, New York, in 1968. Lesser-known bodies of Abbott's work, such as a road trip from Florida to Maine on Route 1 in the summer of 1954, are also well represented. A final series comprises her scientific images from the 1950s-photographs of physical phenomena for the Physical Science Study Committee of Educational Services at the Massachusetts Institute of Technology. Effectively a catalogue raisonné, this is the definitive publication on the life work of one of the masters of the photographic medium. Berenice Abbott was born in Springfield, Ohio in 1898. After graduating from Ohio State University she moved to New York to study journalism, but eventually decided to focus on sculpture and painting. In 1921 she moved to Paris, returning to the United States in 1929 to embark on a project photographing New York. These photographs first appeared in the seminal exhibition Changing New York at the Museum of the City in 1937. An equally monumental book of Changing New York was published in 1939. Abbott also published a Guide to Better Photography (1941), and in the late 1950s began to take photographs illustrating the laws of physics. Berenice Abbott died in Monson, Maine in 1991.

Berenice Abbott

Steidl Photography International

Hank O'Neal met Berenice Abbott in 1972 at the coffee shop of a Holiday Inn on 57th Street in New York City. After a two-hour meeting Abbott suggested he should visit her if he was ever near Moosehead Lake in northern Maine. In the fall of 1973 O'Neal did just that, spending a long weekend with Abbott at her circa 1810 stagecoach inn. They hit it off and at the end of the stay she said, "If you ever get a real camera come up here and I'll teach you how to use it." In early 1974 he bought an 8x10 Deardorff camera and in the summer of that year headed back to Maine. The first and only lesson lasted about 30 minutes and Abbott told him to photograph the antique doorknocker on her front door. After almost an hour she returned to check on his progress and said, "You've got to do a damn sight better than that, buster"-not only sound advice but a great title for a book. Abbott and O'Neal became close friends and worked together on books, exhibitions, catalogs, films, lectures, portfolios, the sale of her collection, and even social gatherings, with Abbott as the maid of honor at his wedding. You've Got To Do A Damn Sight Better Than That, Buster is an informal, rollicking memoir based on 19 years of personal observations by O'Neal of one of the most accomplished American artists of the twentieth century. When a supervisor at the Federal Artist's Project saw Berenice Abbott's Blossom Restaurant photograph he said to her, "Nice girls don't go down on the Bowery" to which Abbott replied, "I'm not a nice girl, I'm a photographer." Hank O'Neal

You've Got to Do a Damn Sight Better than That, Buster: Working with Berenice Abbott 1972–1991

Steidl

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