Content, Marjorie. Marjorie Content Photographs by Jill Quasha, et al.

W.W. Norton, 1994. Hardcover with price-clipped dust jacket. First edition, first printing. 160 pages. Fine/fine. Profile of the artist by Quasha and essays by Ben Lifson and Richard Eldridge, and Eugeneia Parry Janis comprising 52 pages, followed by a selection of her photographs.  Marjorie Content (1895-1984) was a sensitive and active photographer for 15 years who rarely published and never exhibited her work.  She was good friends with famous artists, including Alfred Stieglitz, Georgia O’Keeffe, playwright Maxwell Anderson, and novelist Kay Boyle.  Photographs (72) reproduced include Washington Square, New York; portraits; figure studies; Western Landscapes; and Native Americans.  This book established Marjorie Content’s reputation as a skilled art photographer of her era.  Summary:

Marjorie Content: Photographs  is a retrospective monograph that brings long‑overdue attention to the work of Marjorie Content (1895–1984), a largely overlooked American photographer whose images from the late 1920s through the mid‑1930s display a quietly modernist sensibility. Although Content rarely exhibited or published her photographs during her lifetime, this book assembles her work with biographical context, critical essays, and a generous selection of black‑and‑white images that reveal the depth and diversity of her eye.

The volume (about 159 pages) combines reproductions of Content’s photographs—including portraits, landscapes, still lifes, city scenes, and intimate everyday compositions—with essays that explore her life, artistic development, and the aesthetic qualities of her vision. Contributors such as Quasha and Lifson/Eldridge provide commentary on how her friends and contemporaries (including figures like Alfred Stieglitz and Georgia O’Keeffe) influenced her life and work, as well as how she positioned herself within early 20th‑century artistic circles.

The book highlights Content’s varied subject matter—from urban views of New York (e.g., Washington Square) to the Southwestern light and portraits made during travels in the early 1930s, as well as close‑up still lifes that reflect her nuanced sense of form and composition. Through this selection, readers gain insight into Content’s lyric, personal approach to photography, one that balances observational clarity with artistic restraint.

In addition to the images themselves, the book includes a chronology and notes to plates, helping situate Content’s relatively small body of work in historical and artistic context. The result is both a biographical portrait of an underestimated artist and a visual celebration of her quiet but expressive contribution to American photography.