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Sebastian Hau

BREATH-TAKING PHOTOBOOK OBJECT - BEAUTIFULLY DESIGNED.

IN BREATH-TAKING SHEET-FED GRAVURE PRINTING.

With the WONDERFUL COVER by T.M. Cleland. 
With the SPECTACULAR SPIRAL BINDING.

GREAT PICTURES BY:
Berenice Abbott, Dorothea Lange, George Platt Lynes, Arnold Genthe, Imogen Cunningham, Alfred Eisenstaedt, Man Ray and many others.

Edited by Thomas (Tom) J. Maloney.
Tom Maloney persuades Edward Steichen, then the dean of American commercial photographers, to help judge his first photo annual: U.S. Camera 1935, beginning a 34- year series. Printed in sheet-fed gravure, the first images are by Steichen: a nude in color and a portrait of Alfred Stieglitz.
For more informations about Maloney and U.S. Camera please scroll down to the end of this description.

THIS IS AN EXCLUSIVE BEST-OF-PHOTOBOOKS AUCTION by 5Uhr30.com, Cologne, Germany.
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William J. Morrow & Company, New York. 1937. First edition, first printing.

Spiral wire bound paper covers with red, white and blue covers and letters. 240 x 300 mm. 270 pages (226 pages plus 44 pages of advertisements). Various photographers. Offset printed on coated paper with black and white and color plates. Edited by T.J. Maloney. Cover by T.M. Cleland. Text in English.

Condition:
Book inside excellent, fresh and flawless, clean with no marks and with no foxing; only last page with little stain at the bottom. Book outside the covers with little trace of use and with small flaws, but much better and fresher than usual; a bit teared at the top and at the bottom of the spine (at the bottom also very small missing parts), but all pages perfectly bounded and super strong, so super strong binding. Overall fine, much better than usual condition.

Fantastic American photography yearbook from 1937 - in great condition.

"U.S. Camera — a legendary marque. The name conjures up a bullish age in photography. Large heavy photo annuals filled with visual punch — big faces, big action, big bosoms. They had confidence and pizazz, as did their editor and publisher, Tom Maloney. An energetic dynamo with boundless curiosity and a restless, constant traveler, Maloney frequently changed jobs, had four marriages, and sired nearly a dozen children. In his prime, this self-made tycoon, who enjoyed hosting his parties as much as he did partying at them, was involved in myriad, simultaneous activities. But it is for U.S. Camera that he will be remembered. It is not surprising that Maloney’s U.S. Camera Annual, which he edited and published from 1935 to 1969, and his numerous other photography books and magazines, should have been such popular publications. (His magazine, U.S. Camera, reached a peak circulation of 300,000, second only among photo publications to Popular Photography.)
During an era when amateur photography was becoming an essential aspect of the middle-class lifestyle (especially on family vacations), Maloney became a success by appealing to mainstream American values, including patriotism. Professional photography was an expanding field as well, especially in print media. As both photography enthusiast and successful advertising executive — among his accounts was Sylvania, for which he promoted its flashbulbs — “Blue Dots for Sure Shots” was his campaign — Maloney understood how to appeal to a diverse audience. His annuals not only contained superb individual photographs and photo essays but had
something for every taste. While they sometimes lacked coherence in the page-to-page sequencing of individual images (Maloney thought occasionally surprising juxtapositions were part of their charm), the annuals included high-quality portraits of celebrities, nudes, cute animals and babies, news photos, innovations in color, and portfolios by leading photographers, usually accompanied by technical data so that readers could imagine how they might have made the picture themselves. Although he included international (generally European) photographers in every issue, Maloney’s annuals had a definite American flavor when compared to their Western European counterparts, Das Deutsche Lichtbild and the French Photographie. In particular, the spiral-bound Photographie inspired Maloney to start his own in the same format in 1935.
He judged that the venerable American Annual of Photography, with its continued devotion to fin-de-siècle Pictorialist aesthetics, had become old-fashioned. He was right — the first issue of his annual sold out quickly. As a result, his career as a publisher was launched, and the history of photography in the U.S. would be shaped by his influence.
Maloney’s trajectory in photography was closely connected with that of his hero, Edward Steichen, who worked closely with the young entrepreneur on the first 11 U.S. Camera annuals. Steichen barely mentioned “his friend Tom” in his autobiography, but he got his job as director of the Department of Photography at the Museum of Modern Art through Maloney’s influence and, virtually every year for decades, his name and photographs were brought before the public in U.S. Camera annuals.
Maloney consistently lauded Steichen as the greatest living figure in photography and Steichen didn’t object to the characterization. With a focus on his relationship to Steichen, this chronology will provide an overview of Tom Maloney’s life and work, drawing on previously unpublished information from primary sources and personal reminiscences.
My research also benefits significantly from Harvey V. Fondiller’s interview-based “Tom Maloney and U.S.
Camera,” a 1981 article published in Camera Arts. Fondiller’s opening statement, “Hardly anyone under the age of 40 knows his name, but a generation ago Tom Maloney was a catalyst of contemporary photography,”
was certainly true. Now it’s two generations ago and it’s time for a reminder of Maloney’s contributions. Maloney not only did a lot for the development and appreciation of photography; he also had a fascinating and extremely busy personal and professional life, more details of which are in Fondiller’s excellent piece than can be repeated here.
1904, October 23. 
Born Thomas James Maloney in Milwaukee, to Irish-American parents, Edward M. and Anna Maloney. 
1923. 
Graduates president and valedictorian of his high school class at La Crosse,Wisconsin, where Edward Maloney is a supervisor for the Milwaukee & St. Paul Railroad. Enters the U.S. Naval Academy, where he becomes a varsity halfback.
1925. 
Resigns in his third year at Annapolis after it is discovered that, in 1924, he had secretly married Ruth Birdsall and become a father. Tom and Ruth will have five children (one stillborn).
1934. 
After a series of at least four different jobs in eight years, leaves the New Jersey Zinc Co., where he has worked 
as an assistant advertising manager, and forms his own ad agency, T.J. Maloney, Inc., in Manhattan. An expert on the psychology of color, Maloney soon lands a major account with the Sherwin-Williams paint company, followed by Lifemagazine, Rohm & Haas, and others.
1935. 
Maloney’s first book is published by William Morrow: Three Poems, with illustrations by Alexey Brodovich, later renowned as the creative director for Harper’s Bazaar. Maloney will continue to write poetry for his own pleasure. Maloney persuades Edward Steichen, then the dean of American commercial photographers, to help judge his first photo annual: U.S. Camera 1935, beginning a 34-year series. Printed in sheet-fed gravure, the first images are by Steichen: a nude in color and a portrait of Alfred Stieglitz. Other contributors include Berenice Abbott, Margaret Bourke-White, Henri Cartier-Bresson, Imogen Cunningham, Arnold Genthe, Laura
Gilpin, George Platt Lynes, Martin Munkacsi, Ben Shahn, Ralph Steiner, Brett Weston,
and Edward Weston.
1937. 
Begins publishing photography books other than the annuals, with Will Connell’s In Pictures. A Hollywood Satire. In addition to the annuals, Maloney will publish at least 27 more books by 1960, not including reprints and revised editions. Most are photography books, plus a few publications for children. (Selected titles are mentioned below.) Edward Weston is awarded the first Guggenheim fellowship given to a photographer, after Foundation director Henry Alan Moe consults with Maloney and Steichen."

(U.S. Camera: A Thomas J. Maloney Chronology by Gary D. Saretzky. Text for article published with illustrations in The Photo Review, 26:4/27:1, 2004)


Art, Photography - Quantity: 1 - Photo book

Man Ray, Berenice Abbott, Dorothea Lange, Imogen Cunningham - U.S. Camera 1937 - 1937

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