{"title":"Books","description":null,"products":[{"product_id":"felix-vallotton-black-on-wood-book","title":"Félix Vallotton — Black on Wood — Book","description":"\u003cstyle\u003e\n.mtr-ficha .lede{font-family:'Alverata',Georgia,serif;font-style:italic;font-size:20px;line-height:1.4;color:#1e1b17;margin:0 0 4px}\n.mtr-ficha .filete{width:34px;height:2px;background:#6f5d4a;margin:18px 0;border:0}\n.mtr-ficha h4{font-family:'Ciutadella',sans-serif;font-size:11px;font-weight:600;letter-spacing:.2em;text-transform:uppercase;color:#6f5d4a;margin:18px 0 8px}\n.mtr-ficha p{font-family:'Alverata',Georgia,serif;font-size:15.5px;line-height:1.66;color:#4c443b;margin:0 0 12px}\n.mtr-ficha li{font-family:'Alverata',Georgia,serif;font-size:15.5px;line-height:1.6;color:#4c443b}\n.mtr-ficha em{font-style:italic}\n.mtr-ficha details{margin:2px 0}\n.mtr-ficha summary{list-style:none;cursor:pointer;font-family:'Ciutadella',sans-serif;font-weight:600;font-size:12px;letter-spacing:.14em;text-transform:uppercase;color:#6f5d4a;padding:6px 0}\n.mtr-ficha summary::-webkit-details-marker{display:none}\n.mtr-ficha details[open] summary{display:none}\n.mtr-ficha .prov{font-family:'Alverata',Georgia,serif;font-style:italic;font-size:12px;color:#8a8075;line-height:1.5;margin:14px 0 0}\n\u003c\/style\u003e\n\u003cdiv class=\"mtr-ficha\"\u003e\n  \u003ch4 style=\"margin-top:0\"\u003eThe book\u003c\/h4\u003e\n  \u003cp\u003eAt the end of 1898 Félix Vallotton published ten woodcuts of couples indoors, under the title \u003cem\u003eIntimités\u003c\/em\u003e. Thirty copies were printed. Then he sawed a piece out of each block, and printed the ten pieces together on an eleventh sheet: the proof that no more would be made.\u003c\/p\u003e\n  \u003cp\u003eThis book shows the ten at their actual size, from copy no. 5 at the Bibliothèque nationale de France, returns each piece of that last sheet to the print it came from, and follows the wood through Vallotton’s life.\u003c\/p\u003e\n  \u003ch4\u003eWhy this book is different\u003c\/h4\u003e\n  \u003cp\u003eThe eleventh sheet is the key to the series, and it is rarely shown next to the prints it destroyed. Here every fragment goes back to its print, so you can see exactly what Vallotton cut away, and where.\u003c\/p\u003e\n  \u003cp\u003eThe ten woodcuts are reproduced \u003cstrong\u003eat their actual size\u003c\/strong\u003e, each on its own spread, with a short text that tells you where to look. It is a selection with one route through it, not a catalogue: fewer pages, one question, every page there for a reason.\u003c\/p\u003e\n  \n  \u003ch4\u003eThe object\u003c\/h4\u003e\n  \u003cp\u003e\u003cstrong\u003eA hardcover book, printed on Mohawk Superfine\u003c\/strong\u003e: a 120 gsm uncoated art paper with a soft matte surface, heavier than a magazine page and without the shine of a photo book. The cover is matte-laminated. Landscape A4, like the prints, 68 pages, in English.\u003c\/p\u003e\n  \u003cp\u003eIt is printed to order in the USA when you buy it, one copy at a time.\u003c\/p\u003e\n  \u003cdetails\u003e\n\u003csummary\u003eContinue reading ▾\u003c\/summary\u003e\n    \u003ch4\u003eInside\u003c\/h4\u003e\n    \u003cul\u003e\n\u003cli\u003eI · \u003cem\u003eEn ombres chinoises\u003c\/em\u003e — the essay: Japan, the thirty copies and the cancellation sheet\u003c\/li\u003e\n\u003cli\u003eThe sheet, numbered: the ten fragments and the print each one came from\u003c\/li\u003e\n\u003cli\u003eII · The ten prints, at actual size\u003c\/li\u003e\n\u003cli\u003eIII · \u003cem\u003eLe Nabi étranger\u003c\/em\u003e — his life, following the wood\u003c\/li\u003e\n\u003cli\u003eChronology and sources\u003c\/li\u003e\n\u003c\/ul\u003e\n\n    \u003ch4\u003eSpecifications\u003c\/h4\u003e\n    \u003cul\u003e\n\u003cli\u003eA4 landscape · 11.7 × 8.3 in (297 × 210 mm)\u003c\/li\u003e\n\u003cli\u003eHardcover · matte-laminated cover · white endpapers\u003c\/li\u003e\n\u003cli\u003e68 pages · Mohawk Superfine 120 gsm, uncoated, matte\u003c\/li\u003e\n\u003cli\u003eText in English · notes, chronology, sources and image credits\u003c\/li\u003e\n\u003cli\u003ePrinted to order in the USA\u003c\/li\u003e\n\u003c\/ul\u003e\n  \u003c\/details\u003e\n  \u003cp class=\"prov\"\u003ePrints from copy no. 5 of \u003cem\u003eIntimités\u003c\/em\u003e, Bibliothèque nationale de France; other images from public collections, credited page by page. Published independently by Métrica; not affiliated with the institutions credited.\u003c\/p\u003e\n\n  \u003cp style=\"margin:18px 0 0;border-top:1px solid #e0d7ca;padding-top:14px\"\u003e\u003ca href=\"\/blogs\/the-archive\/vallotton-black-on-wood-the-eleventh-sheet\" style=\"font-family:Ciutadella,sans-serif;font-weight:600;font-size:12px;letter-spacing:.14em;text-transform:uppercase;color:#8a2e1f;text-decoration:none\"\u003eRead this piece in The Archive →\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Métrica","offers":[{"title":"Default Title","offer_id":50922837803108,"sku":"SA-BK-VALLOTTON","price":49.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0661\/2202\/3012\/files\/1bb0f53b4394a96812a3e0ae73564c3a.jpg?v=1792076188"},{"product_id":"mary-cassatt-colour-on-copper-book","title":"Mary Cassatt — Colour on Copper — Book","description":"\u003cstyle\u003e\n.mtr-ficha .lede{font-family:'Alverata',Georgia,serif;font-style:italic;font-size:20px;line-height:1.4;color:#1e1b17;margin:0 0 4px}\n.mtr-ficha .filete{width:34px;height:2px;background:#6f5d4a;margin:18px 0;border:0}\n.mtr-ficha h4{font-family:'Ciutadella',sans-serif;font-size:11px;font-weight:600;letter-spacing:.2em;text-transform:uppercase;color:#6f5d4a;margin:18px 0 8px}\n.mtr-ficha p{font-family:'Alverata',Georgia,serif;font-size:15.5px;line-height:1.66;color:#4c443b;margin:0 0 12px}\n.mtr-ficha li{font-family:'Alverata',Georgia,serif;font-size:15.5px;line-height:1.6;color:#4c443b}\n.mtr-ficha em{font-style:italic}\n.mtr-ficha details{margin:2px 0}\n.mtr-ficha summary{list-style:none;cursor:pointer;font-family:'Ciutadella',sans-serif;font-weight:600;font-size:12px;letter-spacing:.14em;text-transform:uppercase;color:#6f5d4a;padding:6px 0}\n.mtr-ficha summary::-webkit-details-marker{display:none}\n.mtr-ficha details[open] summary{display:none}\n.mtr-ficha .prov{font-family:'Alverata',Georgia,serif;font-style:italic;font-size:12px;color:#8a8075;line-height:1.5;margin:14px 0 0}\n\u003c\/style\u003e\n\u003cdiv class=\"mtr-ficha\"\u003e\n  \u003ch4 style=\"margin-top:0\"\u003eThe book\u003c\/h4\u003e\n  \u003cp\u003eIn the spring of 1890 Mary Cassatt saw an exhibition of Japanese prints in Paris and wrote to Berthe Morisot that she thought of nothing else but colour on copper. In less than a year she made ten colour prints, each printed from two or three copper plates, with a printer working beside her.\u003c\/p\u003e\n  \u003cp\u003eThis book shows the ten as whole sheets and up close, in the Art Institute of Chicago’s impressions, with an essay on how they were made and first shown, the stages of \u003cem\u003eIn the Omnibus\u003c\/em\u003e from the drawing to the print, and a chapter on her life.\u003c\/p\u003e\n  \u003ch4\u003eWhy this book is different\u003c\/h4\u003e\n  \u003cp\u003eThe images of these prints are online, free, on the museums’ own websites. This book does something the museum page doesn’t: it shows you how to look at them. \u003cstrong\u003eEvery print gets two spreads.\u003c\/strong\u003e First the whole sheet, with what to look for, facing a detail at full page. Then a second spread that opens it further: the same print before its colour, the drawing behind it, or another impression, inked by hand in a different way.\u003c\/p\u003e\n  \u003cp\u003eOne print, \u003cem\u003eIn the Omnibus\u003c\/em\u003e, is followed from the first drawing to the finished print, step by step. Her life comes at the end, once you know the work. It is a selection with one route through it, not a catalogue: fewer pages, one question, every page there for a reason.\u003c\/p\u003e\n  \n  \u003ch4\u003eThe object\u003c\/h4\u003e\n  \u003cp\u003e\u003cstrong\u003eA hardcover book, printed on Mohawk Superfine\u003c\/strong\u003e: a 120 gsm uncoated art paper with a soft matte surface, heavier than a magazine page and without the shine of a photo book. The cover is matte-laminated. A4, 68 pages, in English.\u003c\/p\u003e\n  \u003cp\u003eIt is printed to order in the USA when you buy it, one copy at a time.\u003c\/p\u003e\n  \u003cdetails\u003e\n\u003csummary\u003eContinue reading ▾\u003c\/summary\u003e\n    \u003ch4\u003eInside\u003c\/h4\u003e\n    \u003cul\u003e\n\u003cli\u003eI · \u003cem\u003eUne révélation\u003c\/em\u003e — the essay: how the ten were made and first shown, and \u003cem\u003eIn the Omnibus\u003c\/em\u003e from the drawing to the print\u003c\/li\u003e\n\u003cli\u003eII · The ten prints — each one whole, up close, and opened up on a second spread\u003c\/li\u003e\n\u003cli\u003eIII · \u003cem\u003eJe suis Américaine\u003c\/em\u003e — her life\u003c\/li\u003e\n\u003cli\u003eChronology, sources and image credits\u003c\/li\u003e\n\u003c\/ul\u003e\n\n    \u003ch4\u003eSpecifications\u003c\/h4\u003e\n    \u003cul\u003e\n\u003cli\u003eA4 portrait · 8.3 × 11.7 in (210 × 297 mm)\u003c\/li\u003e\n\u003cli\u003eHardcover · matte-laminated cover · white endpapers\u003c\/li\u003e\n\u003cli\u003e68 pages · Mohawk Superfine 120 gsm, uncoated, matte\u003c\/li\u003e\n\u003cli\u003eText in English · notes, chronology, sources and image credits\u003c\/li\u003e\n\u003cli\u003ePrinted to order in the USA\u003c\/li\u003e\n\u003c\/ul\u003e\n  \u003c\/details\u003e\n  \u003cp class=\"prov\"\u003eThe ten prints in the impressions of The Art Institute of Chicago; drawings, proofs and other impressions from the National Gallery of Art, Washington, and other public collections, credited page by page. Published independently by Métrica; not affiliated with the institutions credited.\u003c\/p\u003e\n\n  \u003cp style=\"margin:18px 0 0;border-top:1px solid #e0d7ca;padding-top:14px\"\u003e\u003ca href=\"\/blogs\/the-archive\/cassatt-colour-on-copper-before-the-colour\" style=\"font-family:Ciutadella,sans-serif;font-weight:600;font-size:12px;letter-spacing:.14em;text-transform:uppercase;color:#405b70;text-decoration:none\"\u003eRead this piece in The Archive →\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Métrica","offers":[{"title":"Default Title","offer_id":50922862346340,"sku":"SA-BK-CASSATT","price":49.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0661\/2202\/3012\/files\/d2f1b806fafc5a8e6e683c860ce757ed.jpg?v=1792075050"},{"product_id":"katagami-helen-snyder-her-name-is-on-every-one-of-them-book","title":"Katagami — Her Name Is on Every One of Them — Book","description":"\u003cstyle\u003e\n.mtr-ficha .lede{font-family:'Alverata',Georgia,serif;font-style:italic;font-size:20px;line-height:1.4;color:#1e1b17;margin:0 0 4px}\n.mtr-ficha .filete{width:34px;height:2px;background:#6f5d4a;margin:18px 0;border:0}\n.mtr-ficha h4{font-family:'Ciutadella',sans-serif;font-size:11px;font-weight:600;letter-spacing:.2em;text-transform:uppercase;color:#6f5d4a;margin:18px 0 8px}\n.mtr-ficha p{font-family:'Alverata',Georgia,serif;font-size:15.5px;line-height:1.66;color:#4c443b;margin:0 0 12px}\n.mtr-ficha li{font-family:'Alverata',Georgia,serif;font-size:15.5px;line-height:1.6;color:#4c443b}\n.mtr-ficha em{font-style:italic}\n.mtr-ficha details{margin:2px 0}\n.mtr-ficha summary{list-style:none;cursor:pointer;font-family:'Ciutadella',sans-serif;font-weight:600;font-size:12px;letter-spacing:.14em;text-transform:uppercase;color:#6f5d4a;padding:6px 0}\n.mtr-ficha summary::-webkit-details-marker{display:none}\n.mtr-ficha details[open] summary{display:none}\n.mtr-ficha .prov{font-family:'Alverata',Georgia,serif;font-style:italic;font-size:12px;color:#8a8075;line-height:1.5;margin:14px 0 0}\n\u003c\/style\u003e\n\u003cdiv class=\"mtr-ficha\"\u003e\n  \u003ch4 style=\"margin-top:0\"\u003eThe book\u003c\/h4\u003e\n  \u003cp\u003eIn 1976 a woman gave the Cooper Hewitt, Smithsonian Design Museum, two hundred and ninety objects, nearly all of them Japanese dye stencils: about seven in every ten katagami the museum counted three years later. It was the only gift she made them. Her name is on every one of them; almost nothing else about her has survived.\u003c\/p\u003e\n  \u003cp\u003eThis book shows twelve of her stencils twice: as the objects they are, and as the cloth each would have printed, rebuilt from its own openings. With an essay on the gift and the craft of Ise katagami, and a catalogue of the eighty-two stencils the museum has published.\u003c\/p\u003e\n  \u003ch4\u003eWhy this book is different\u003c\/h4\u003e\n  \u003cp\u003eA katagami is a tool: a sheet of paper, cut so that dye paste could pass through it onto cloth. Museums keep and show the tool; the cloth it printed is long gone. \u003cstrong\u003eThis book shows both.\u003c\/strong\u003e On one page, the stencil as it is kept today, with the museum’s record. On the facing page, the cloth it would have made, rebuilt from the stencil’s own openings. The cloth is a digital reconstruction made from the stencil itself, not a historical textile.\u003c\/p\u003e\n  \u003cp\u003eWhere the museum’s measurements allow it, details are shown at actual size. The book ends with every stencil from her gift that the museum has published with an image, eighty-two in all, as a catalogue.\u003c\/p\u003e\n  \n  \u003ch4\u003eThe object\u003c\/h4\u003e\n  \u003cp\u003e\u003cstrong\u003eA hardcover book, printed on Mohawk Superfine\u003c\/strong\u003e: a 120 gsm uncoated art paper with a soft matte surface, heavier than a magazine page and without the shine of a photo book. The cover is matte-laminated. A4, 66 pages, in English.\u003c\/p\u003e\n  \u003cp\u003eIt is printed to order in the USA when you buy it, one copy at a time.\u003c\/p\u003e\n  \u003cdetails\u003e\n\u003csummary\u003eContinue reading ▾\u003c\/summary\u003e\n    \u003ch4\u003eInside\u003c\/h4\u003e\n    \u003cul\u003e\n\u003cli\u003eI · Her name is on every one of them — the gift, and what is known about the woman who made it\u003c\/li\u003e\n\u003cli\u003eII · The ones that need holding together — the craft of Ise katagami\u003c\/li\u003e\n\u003cli\u003eIII · From the paper to the cloth\u003c\/li\u003e\n\u003cli\u003eThe plates — twelve stencils, twelve cloths\u003c\/li\u003e\n\u003cli\u003eIV · From the stencil to the screen — how a katagami led to our own screen-printed shirt\u003c\/li\u003e\n\u003cli\u003eThe eighty-two — the catalogue of her published stencils\u003c\/li\u003e\n\u003c\/ul\u003e\n\n    \u003ch4\u003eSpecifications\u003c\/h4\u003e\n    \u003cul\u003e\n\u003cli\u003eA4 portrait · 8.3 × 11.7 in (210 × 297 mm)\u003c\/li\u003e\n\u003cli\u003eHardcover · matte-laminated cover · white endpapers\u003c\/li\u003e\n\u003cli\u003e66 pages · Mohawk Superfine 120 gsm, uncoated, matte\u003c\/li\u003e\n\u003cli\u003eText in English · notes, chronology, sources and image credits\u003c\/li\u003e\n\u003cli\u003ePrinted to order in the USA\u003c\/li\u003e\n\u003c\/ul\u003e\n  \u003c\/details\u003e\n  \u003cp class=\"prov\"\u003eStencil images: Cooper Hewitt, Smithsonian Design Museum, open access. The cloths are Métrica’s reconstructions. Published independently by Métrica; not affiliated with the institutions credited.\u003c\/p\u003e\n\n  \u003cp style=\"margin:18px 0 0;border-top:1px solid #e0d7ca;padding-top:14px\"\u003e\u003ca href=\"\/blogs\/the-archive\/katagami-helen-snyder-book-what-the-paper-printed\" style=\"font-family:Ciutadella,sans-serif;font-weight:600;font-size:12px;letter-spacing:.14em;text-transform:uppercase;color:#1f2f52;text-decoration:none\"\u003eRead this piece in The Archive →\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Métrica","offers":[{"title":"Default Title","offer_id":50922886889572,"sku":"SA-BK-SNYDER","price":49.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0661\/2202\/3012\/files\/snyder-foto-1.jpg?v=1790639185"},{"product_id":"johann-bayer-in-snatched-hours-book","title":"Johann Bayer — In Snatched Hours — Book","description":"\u003cstyle\u003e\n.mtr-ficha .lede{font-family:'Alverata',Georgia,serif;font-style:italic;font-size:20px;line-height:1.4;color:#1e1b17;margin:0 0 4px}\n.mtr-ficha .filete{width:34px;height:2px;background:#6f5d4a;margin:18px 0;border:0}\n.mtr-ficha h4{font-family:'Ciutadella',sans-serif;font-size:11px;font-weight:600;letter-spacing:.2em;text-transform:uppercase;color:#6f5d4a;margin:18px 0 8px}\n.mtr-ficha p{font-family:'Alverata',Georgia,serif;font-size:15.5px;line-height:1.66;color:#4c443b;margin:0 0 12px}\n.mtr-ficha li{font-family:'Alverata',Georgia,serif;font-size:15.5px;line-height:1.6;color:#4c443b}\n.mtr-ficha em{font-style:italic}\n.mtr-ficha details{margin:2px 0}\n.mtr-ficha summary{list-style:none;cursor:pointer;font-family:'Ciutadella',sans-serif;font-weight:600;font-size:12px;letter-spacing:.14em;text-transform:uppercase;color:#6f5d4a;padding:6px 0}\n.mtr-ficha summary::-webkit-details-marker{display:none}\n.mtr-ficha details[open] summary{display:none}\n.mtr-ficha .prov{font-family:'Alverata',Georgia,serif;font-style:italic;font-size:12px;color:#8a8075;line-height:1.5;margin:14px 0 0}\n\u003c\/style\u003e\n\u003cdiv class=\"mtr-ficha\"\u003e\n  \u003ch4 style=\"margin-top:0\"\u003eThe book\u003c\/h4\u003e\n  \u003cp\u003eIn 1603 a lawyer in Augsburg, Johann Bayer, published an atlas of the whole sky: fifty-one copper plates engraved by Alexander Mair, with the stars of Tycho Brahe’s catalogue and some five hundred more that Bayer placed himself, by eye. He named the stars of each figure with letters, and astronomers still use them: Betelgeuse is still α Orionis.\u003c\/p\u003e\n  \u003cp\u003eThis book shows eighteen of the plates, in the atlas’s order, each facing the same sky calculated for 1601 from a modern catalogue and laid on Bayer’s own graduation. With an introduction on Bayer, Mair and Tycho, and on the astronomer who weighed the atlas in 1842.\u003c\/p\u003e\n  \u003ch4\u003eWhy this book is different\u003c\/h4\u003e\n  \u003cp\u003eThe plates are online, free. What this book adds is \u003cstrong\u003ethe sky itself, beside each one\u003c\/strong\u003e: every star where it really was in 1601, set on the degrees Bayer engraved around his frame, with nothing fitted to the stars. What remains between an engraved star and the real one belongs to the plate, to Mair, to Bayer or to Tycho.\u003c\/p\u003e\n  \u003cp\u003eSix plates carry their story: the star in Cassiopeia that is no longer there; the new star in the Swan that still carries Bayer’s letter, P Cygni; Orion, engraved from behind; an error that travels from star to star in the Eagle; the sailors who brought Bayer the southern sky. And the four plates that Friedrich Argelander measured in 1842, measured again: three of the four agree with him within about a minute of arc.\u003c\/p\u003e\n  \n  \u003ch4\u003eThe object\u003c\/h4\u003e\n  \u003cp\u003e\u003cstrong\u003eA hardcover book, printed on Mohawk Superfine\u003c\/strong\u003e: a 120 gsm uncoated art paper with a soft matte surface, heavier than a magazine page and without the shine of a photo book. The cover is matte-laminated. A4, 68 pages, in English.\u003c\/p\u003e\n  \u003cp\u003eIt is printed to order in the USA when you buy it, one copy at a time.\u003c\/p\u003e\n  \u003cdetails\u003e\n\u003csummary\u003eContinue reading ▾\u003c\/summary\u003e\n    \u003ch4\u003eInside\u003c\/h4\u003e\n    \u003cul\u003e\n\u003cli\u003eIntroduction — Bayer, Mair, Tycho’s catalogue, the letters, and Argelander’s weighing of the atlas in 1842\u003c\/li\u003e\n\u003cli\u003eHow to read this book\u003c\/li\u003e\n\u003cli\u003eThe whole atlas — the fifty-one plates, in order\u003c\/li\u003e\n\u003cli\u003eEighteen plates, each facing the same sky calculated for 1601; six with their story: Cygnus, Cassiopeia, Aquila, Gemini, Orion and the twelve southern constellations\u003c\/li\u003e\n\u003cli\u003eThe two hemispheres\u003c\/li\u003e\n\u003cli\u003eWeighed again — the four plates Argelander measured, measured again\u003c\/li\u003e\n\u003cli\u003eSources\u003c\/li\u003e\n\u003c\/ul\u003e\n\n    \u003ch4\u003eSpecifications\u003c\/h4\u003e\n    \u003cul\u003e\n\u003cli\u003eA4 portrait · 8.3 × 11.7 in (210 × 297 mm)\u003c\/li\u003e\n\u003cli\u003eHardcover · matte-laminated cover · white endpapers\u003c\/li\u003e\n\u003cli\u003e68 pages · Mohawk Superfine 120 gsm, uncoated, matte\u003c\/li\u003e\n\u003cli\u003eText in English · notes, sources and image credits\u003c\/li\u003e\n\u003cli\u003ePrinted to order in the USA\u003c\/li\u003e\n\u003c\/ul\u003e\n  \u003c\/details\u003e\n  \u003cp class=\"prov\"\u003ePlates from the copy of the \u003cem\u003eUranometria\u003c\/em\u003e in the ETH-Bibliothek Zürich (Rar 8931), e-rara, public domain; Argelander’s treatise from the Bayerische Staatsbibliothek. The calculated skies are Métrica’s. Published independently by Métrica; not affiliated with the institutions credited.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Métrica","offers":[{"title":"Default Title","offer_id":67592690532452,"sku":"SA-BK-BAYER","price":49.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0661\/2202\/3012\/files\/bayer-foto-1.jpg?v=1790770123"},{"product_id":"william-p-gottlieb-burn-lower-left-book","title":"William P. Gottlieb — Burn Lower Left — Book","description":"\u003cstyle\u003e\n.mtr-ficha .lede{font-family:'Alverata',Georgia,serif;font-style:italic;font-size:20px;line-height:1.4;color:#1e1b17;margin:0 0 4px}\n.mtr-ficha .filete{width:34px;height:2px;background:#6f5d4a;margin:18px 0;border:0}\n.mtr-ficha h4{font-family:'Ciutadella',sans-serif;font-size:11px;font-weight:600;letter-spacing:.2em;text-transform:uppercase;color:#6f5d4a;margin:18px 0 8px}\n.mtr-ficha p{font-family:'Alverata',Georgia,serif;font-size:15.5px;line-height:1.66;color:#4c443b;margin:0 0 12px}\n.mtr-ficha li{font-family:'Alverata',Georgia,serif;font-size:15.5px;line-height:1.6;color:#4c443b}\n.mtr-ficha em{font-style:italic}\n.mtr-ficha details{margin:2px 0}\n.mtr-ficha summary{list-style:none;cursor:pointer;font-family:'Ciutadella',sans-serif;font-weight:600;font-size:12px;letter-spacing:.14em;text-transform:uppercase;color:#6f5d4a;padding:6px 0}\n.mtr-ficha summary::-webkit-details-marker{display:none}\n.mtr-ficha details[open] summary{display:none}\n.mtr-ficha .prov{font-family:'Alverata',Georgia,serif;font-style:italic;font-size:12px;color:#8a8075;line-height:1.5;margin:14px 0 0}\n\u003c\/style\u003e\n\u003cdiv class=\"mtr-ficha\"\u003e\n  \u003ch4 style=\"margin-top:0\"\u003eThe book\u003c\/h4\u003e\n  \u003cp\u003eIn 1938 William P. Gottlieb traded hundreds of records for a Speed Graphic press camera. It took two sheets of film, and so two exposures; he kept each session to three or four shots. The choosing happened before the shutter was released.\u003c\/p\u003e\n  \u003cp\u003eThis book is about the choosing that came after. Picture by picture, the whole negative, the contact print annotated in grease pencil and tape, and the photograph as it was published, where the Library keeps them, put back together from the scans of the Library of Congress: what was kept, what was cut, and the orders to the printer, transcribed word for word.\u003c\/p\u003e\n  \u003ch4\u003eWhy this book is different\u003c\/h4\u003e\n  \u003cp\u003eThe Library of Congress describes what its Gottlieb collection makes possible: “One can follow the artist’s work process by examining first a raw negative, then an annotated contact print, and finally a finished, published product.” \u003cstrong\u003eThis book puts that process on paper. Each spread is one picture.\u003c\/strong\u003e On the left, the negative, as the Library scanned it, without the edge of the film; on it, a pale frame shows what was published, found by matching the published print to the negative, and the colored marks from the contact print are traced where they fall. On the right, the contact print itself, the published picture, and the orders transcribed word for word.\u003c\/p\u003e\n  \u003cp\u003eTwenty photographs, grouped by the kind of decision each one shows: Louis Armstrong, Billie Holiday, Charlie Parker and Miles Davis, Duke Ellington, Ella Fitzgerald, Django Reinhardt, Thelonious Monk and others. It is a selection with one route through it, not a catalogue: fewer pages, one question, every page there for a reason.\u003c\/p\u003e\n  \n  \u003ch4\u003eThe object\u003c\/h4\u003e\n  \u003cp\u003e\u003cstrong\u003eA hardcover book, printed on Mohawk Superfine\u003c\/strong\u003e: a 120 gsm uncoated art paper with a soft matte surface, heavier than a magazine page and without the shine of a photo book. The cover is matte-laminated. Landscape A4, 66 pages, in English.\u003c\/p\u003e\n  \u003cp\u003eIt is printed to order in the USA when you buy it, one copy at a time.\u003c\/p\u003e\n  \u003cdetails\u003e\n\u003csummary\u003eContinue reading ▾\u003c\/summary\u003e\n    \u003ch4\u003eInside\u003c\/h4\u003e\n    \u003cul\u003e\n\u003cli\u003e\n\u003cem\u003eAfter the shot\u003c\/em\u003e — the essay: the Speed Graphic, the three stages the Library keeps, and what the marks say\u003c\/li\u003e\n\u003cli\u003eHow to read this book\u003c\/li\u003e\n\u003cli\u003eI · Orders to the printer\u003c\/li\u003e\n\u003cli\u003eII · The square\u003c\/li\u003e\n\u003cli\u003eIII · Who stays in the picture\u003c\/li\u003e\n\u003cli\u003eIV · The trick\u003c\/li\u003e\n\u003cli\u003eV · Minton’s, September 1947 — the ten negatives\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eMr. Jazz\u003c\/em\u003e — the photographer\u003c\/li\u003e\n\u003cli\u003eThe orders, collected · chronology · sources · list of pictures\u003c\/li\u003e\n\u003c\/ul\u003e\n\n    \u003ch4\u003eSpecifications\u003c\/h4\u003e\n    \u003cul\u003e\n\u003cli\u003eA4 landscape · 11.7 × 8.3 in (297 × 210 mm)\u003c\/li\u003e\n\u003cli\u003eHardcover · matte-laminated cover · white endpapers\u003c\/li\u003e\n\u003cli\u003e66 pages · Mohawk Superfine 120 gsm, uncoated, matte\u003c\/li\u003e\n\u003cli\u003eText in English · notes, chronology, sources and a list of pictures\u003c\/li\u003e\n\u003cli\u003ePrinted to order in the USA\u003c\/li\u003e\n\u003c\/ul\u003e\n  \u003c\/details\u003e\n  \u003cp class=\"prov\"\u003ePhotographs from the William P. Gottlieb\/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress; in accordance with the wishes of William Gottlieb, the photographs entered the public domain on February 16, 2010. Other images credited page by page. Published independently by Métrica; not affiliated with the institutions credited.\u003c\/p\u003e\n\n  \u003cp style=\"margin:18px 0 0;border-top:1px solid #e0d7ca;padding-top:14px\"\u003e\u003ca href=\"\/blogs\/the-archive\/william-p-gottlieb-burn-lower-left\" style=\"font-family:Ciutadella,sans-serif;font-weight:600;font-size:12px;letter-spacing:.14em;text-transform:uppercase;color:#6a4a2c;text-decoration:none\"\u003eRead this piece in The Archive →\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Métrica","offers":[{"title":"Default Title","offer_id":67723157635172,"sku":"SA-BK-GOTTLIEB","price":49.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0661\/2202\/3012\/files\/gottlieb-foto-1.jpg?v=1792071139"}],"url":"https:\/\/shop.metrica.art\/collections\/books.oembed","provider":"Métrica","version":"1.0","type":"link"}