Berenice Abbott, ‘New York Portfolio III’, Phillips

Each approximately 18 3/4 x 14 7/8 in. (47.6 x 37.8 cm) or the reverse
One from an edition of 65, numbered 1 through 60 and lettered sequentially 'A-E'. Enclosed in a cloth clamshell case.

Titles include: Gunsmith and Police Department Headquarters, 6 Centre Market Place, February, 1937; Tri-Boro Barber School, 264 Bowery Between East Houston and Price Streets, October 4, 1934; Treasury Building from J. P. Morgan's Office, 1936; Greyhound Bus Terminal, 33rd and 34th Streets Between Seventh and Eighth Avenues, July 14, 1936; Department of Dock's Building, Pier A, May 5, 1936; Cheese Shop, 276 Bleecker Street, February 2, 1937; Rothman's Pawn Shop, 149 Eighth Avenue, May 18, 1938; Snuff Shop, 113 Division Street, January 26, 1938; Columbus Circle, Broadway, Central Park West and 59th Street, February 10, 1936; Gasoline Station, Tremont Avenue and Dock Street, July 2, 1936; Summer Healey Antique Shop, 942 Third Avenue Near 57th Street, October 8, 1936; and Brooklyn Bridge, Pier 21, Pennsylvania Road, March 23, 1937

Signature: Each signed and lettered 'A' in pencil on the mount; credit reproduction limitation stamp on the reverse of the mount. Title page. Colophon.

Abbott, New York in the Thirties, pls. 3, 17, 26, 27, 28, 36, 51, 57, 84
Commerce Graphics, Berenice Abbott, n.p., various plates
Finley, Berenice Abbott, n.p., various plates
O'Neal, Berenice Abbott: American Photographer, pp. 106, 115, 116, 133, variant, 144, 161
Photo Poche, Berenice Abbott, pls. 19, 45, 49, variant
Yochelson, Berenice Abbott: Changing New York, pls. 3, 7, 9, 21, 30, 33, 34, 35, variant, 47, p. 376
Davis, An American Century of Photography: From Dry-Plate to Digital, pl. 242
Rosenblum, A History of Women Photographers, p. 176

Martina Hamilton Gallery, New York

About Berenice Abbott

Berenice Abbott is best known for her striking, black-and-white photographs of New York City buildings, which she photographed as though taking portraits. In the 1920s she served as a darkroom assistant to Man Ray in Paris (she had modeled for him earlier in New York), where she encountered such leading cultural voices of the day as James Joyce, Max Ernst, and Edna St. Vincent Millay. She found inspiration in the Parisian streetscapes of Eugène Atget, an influence that would carry into “Changing New York” (1935-38), her major body of work for the Works Progress Administration/Federal Art Project. She strove to create objective photographs that stood on their own merit, rather than referencing other art forms. “Photography can never grow up if it imitates some other medium,” she said. “It has to walk alone; it has to be itself.”

American, 1898-1991, Springfield, Ohio