England—Peter Henry Emerson and T.F. Goodall | Life and Landscape on the Norfolk Broads. London, 1886
Peter Henry Emerson and T.F. Goodall
Life and Landscape on the Norfolk Broads, illustrated with forty beautiful plates from nature executed in platinotype. London: Sampson Low, Marston, Searle and Rivington, 
FIRST EDITION, LIMITED TO 200 COPIES, oblong folio (285 x 410mm.), title printed in red and black, 40 PLATINUM PHOTOGRAPHS, each mounted on card as issued, each with printed thin paper guard, descriptive text, text and plates loose and housed in a modern cloth portfolio incorporating the original cloth boards, upper cover with pictorial image and title in gilt, cloth ties, without half-title, some spotting and stains to title and text, some text leaves lightly toned, repairs and restoration (not affecting text or images)
THE FIRST AND ONE OF THE RAREST OF EMERSON'S PHOTOGRAPHIC BOOKS, COMPLETE WITH ALL 40 PLATINUM PRINTS. "The photographs are magnificent" (Parr and Badger).
"These pictures were carefully studied and executed in one of the most beautiful, interesting and unique districts of England. Our aim has been to produce a book of art for lovers of art; and the text, far from being illustrated by the plates, is illustrative of and somewhat supplementary to them; sometimes explanatory, and containing interesting incidental folk-lore intended to bring the scene or phase of life treated of more vividly before the reader, and depicting in words surroundings and effects which cannot be expressed by pictorial art" (Preface).
"Emerson is the crucial figure in the evolution of fine art photography from its roots in the nineteenth century toward its full modernist manifestations in the twentieth [and] is to be counted as one of the greatest makers of photographic books of his century ... Life and Landscape in the Norfolk Broads ... captures the vigorous character of the working landscape and conveys an implicit balance between the art and science of photography, social reportage, and natural history' (Ellen Handy, Imagining Paradise).
The card-mounted platinum prints have subtle and beautiful tones, however they were labour intensive to produce, so in his later works Emerson employed the photogravure and half-tone printing processes.
Parr and Badger, I, pp. 70-71; Imagining Paradise, pp. 186-7
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