Atget, Eugene. The World of Atget by Berenice Abbott.

Horizon, 1964, First edition, fine hardcover in black cloth with good protected dust jacket that has some chips and tears (actually looks better in person than it does in the photos accompanying this listing). 180 plates.  Includes Abbott’s text about how she met Eugene Atget in Paris, made his portrait shortly before his death, and purchased much of his archives that decades later she sold to the Museum of Modern Art (for what turned out to be a ridiculously low price).  Large heavy book, requires more postage than a typical book. Summary:

The World of Atget by Berenice Abbott (published in 1964) is a seminal photographic monograph that presents the work of Eugène Atget, the French photographer whose images of Paris at the turn of the 20th century became foundational in the history of modern photography. The book was compiled and written by Abbott, an influential American photographer who championed Atget’s work and helped establish his reputation internationally.

At its core, the book is a large-format collection of Atget’s black-and-white photographs, thoughtfully selected and organized to showcase the breadth and depth of his visual record of Paris. The images capture street scenes, architectural details, shopfronts, parks, and everyday urban life in a rapidly changing city—preserving the character of “old Paris”just as modernization transformed it. Through Atget’s lens, ordinary places and seemingly mundane subjects gain poetic resonance and documentary value, reflecting his keen eye for composition, light, and the texture of the city.

Interspersed with the photographs, Abbott’s commentary situates Atget historically and artistically, explaining how his work bridges documentary practice and artistic vision. She emphasizes his role as a pioneer in recording urban environments and interprets his quiet yet powerful visual language that influenced later generations of photographers and artists.

The book stands both as a tribute by one photographer to another and as a key document in photographic history, introducing Atget’s oeuvre to English-speaking audiences and ensuring its enduring impact. Abbott’s efforts in preserving and promoting his archive—including purchasing his negatives after his death and exhibiting his work for decades—are an essential part of the book’s contextual framework.