Berenice Abbott, ‘The Science Pictures’, 1982, Phillips

New York: Parasol Press
Varying dimensions from 4 1/2 x 19 1/4 in. (11.4 x 48.9 cm) to 17 1/4 x 23 in. (43.8 x 58.4 cm) or the reverse

Titles include: Path of A Moving Ball; Cycloid; Magnetic Field; Swinging Ball; Multiple Flash Photograph; Spinning Wrench; Pendulum Swing; Soap Bubbles;Water Pattern; Beams of Light Through Glass; Collision of; Two Balls; Magnetic Field

Signature: Each signed and numbered 'AP' or 'PP' in pencil on the mount; each with copyright credit portfolio stamp on the reverse of the mount. Colophon and title page. Enclosed within a tan linen clamshell portfolio case. One from an edition of 65 plus artist's and printer's proofs.

Photo Poche, Berenice Abbott, pls. 58-60
O'Neal, Berenice Abbott American Photographer, pp. 216-217, 220-222, 225-226, 230-233
Ryerson Image Centre, Berenice Abbott, pp. 155, 164-165, 168-169, 177

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