77 - 440 FINE AND APPLIED ARTS, ART REFERENCE
- Joints split; spine-ends sl. dam.
Freyermuth, G.S. and Fabian, R. Der erotische Augenblick. Hamburg, Gruner/ Jahr AD & Co., 1984, 344p., num. ills., orig. boards w. dustwr., 4to. - AND 9 others, i.a. M. KÖHLER, Ansichten vom Körper. Das Aktfoto 1839-1987 (Schaffhausen etc., 1987, num. ills., orig. cl. w. dustwr., 4to); A. VARGAS (ed.), La Casa de Cita. Mexican Photographs from the Belle Epoque (London/ New York, 1986, num. ills., orig. cl. w. dustwr., 4to); S. NAZARIEFF, Jeux de dames cruelles 1850-1960 (Cologne, 1992, ills., orig. wr., 4to) and J. LEWINSKI, The Naked and the Nude. A History of Nude Photography (London, 1987, ills., orig. cl. w. dustwr., 4to).
= SIGNED in pencil by both photographers on htitle.
Iidem. Gas Tanks. Cambr./ London, The MIT Press, 1993, 9 textp., 102 full-p. photogr. ills., orig. cl. w. dustwr., 4to. - AND 2 others similar by the same, both in orig. cl. w. dustwr., 4to: Zeche Hannibal (Munich, 2000) and Pennsylvania Coal Mine Tipples (ibid., 1991).
- All vols. dustwr. sl. dustsoiled.
= Thijsen, Het bedrijfsfotoboek, no. 32.
Dendermonde, M. De zaak is rond. Een halve eeuw SKF in Nederland. N.pl., n.publ., (1964), 85,(1)p., num. (col.) (photogr.) ills., orig. gilt cl. w. (sl. worn) dustwr., sq. 4to. - AND 7 others, i.a. B. SCHIERBEEK, De draad van het verhaal (Wormerveer, n.d. (±1960), photogr. ills. by C. OORTHUYS, orig. cl., 4to); M. DENDERMONDE and H.A.M.C. DIBBITS, Wegen naar morgen (ibid., 1962, photogr. ills. by C. BLAZER, orig. cl., 4to) and M. DENDERMONDE, Onderdak voor ruimte/ Ruimte voor onderdak (ibid., n.d. (±1965), photogr. ills by C. OORTHUYS, orig. cl., 4to).
= Cf. Parr/ Badger 1, p.96 (1st ed. 1928; "one of the most striking books in photographic history").
Strüwe, C. Formen des Mikrokosmos. Gestalt und Gestaltung einer Bilderwelt. Munich, Prestel, 1955, 35p., 96 photogr. ills. on plates by C. STRÜWE, orig. cl., 4to. - AND 13 others, i.a. G. SCHUH, Begegnungen. Introd. E. Brock-Sulzer (Zürich/ Stuttg., 1956, num. ills., orig. cl. w. dustwr., 4to); S. GREENOUGH and J. HAMILTON, Alfred Stieglitz. Photographs & Writings (New York, n.d., plates, orig. cl. w. dustwr., folio); C. SCHREIER (introd.), August Sander. 'In photography there are no unexplained shadows!' (London, 1997, num. ills., orig. boards w. dustwr., 4to); R. VISHNIAC, Kinder einer verschwundenen Welt. Bilder aus dem Schtetl. Ed. M. Vishniac Kohn and M. Hartman Flacks (n.pl., 2000, num. ills., orig. boards w. dustwr., folio) and W.A. EWING, Blumenfeld. Photographs. A Passion for Beauty (New York, 1996, richly illustrated, orig. cl. w. dustwr., folio).
= Exhibition catalogue of the photography collection of the Bauhaus Archiv, Berlin.
Westerbeck, C. and Meyerowitz, J. Bystander: A History of Street Photography. London, Thames & Hudson, n.d., 430p., (col.) ills., orig. cl. w. dustwr., 4to. - AND 7 others, i.a. S. HARTMANN, The Valiant Knights of Daguerre (Berkeley etc., 1978, ills., orig. cl. w. dustwr., 4to); R. BELLONE and L. FELLOT, Histoire mondiale de la photographie en couleurs (Paris, 1981, num. col. ills., orig. cl. w. dustwr., folio) and R.R. BRETTELL a.o., Paper and Light. The Calotype in France and Great Britain 1839-1870 (Boston etc., 1984, ills., orig. cl. w. dustwr., 4to).
- Covers scratched, sl. stained and worn along extremities; backstrip chipped at spine-ends.
= Rare. Parr/ Badger I, p. 138: "(...) It may be that Brandt felt something of an outsider in his own society, or perhaps his sense of the fantastic helped him, but he photographed all classes with an unusual degree of sympathy, using the pages of his book to bring out stark contrasts, which if obvious, like the nobs and tic-tac men at the race meetings, were always pertinent and had never quite been highlighted in this way before, or ever since (...)."
= Editions Neuf 1952. The plates show photographs, drawings and sculptures by Brassaï.
AND 1 other: E. STEICHEN, The Family of Man. New York, MOMA, 1955, 207p., num. black and white photogr. ills., orig. cl. w. dustwr., 4to.
- Tear in dustwr. Otherwise a fine copy. = Parr/ Badger II, p.218.
- Dustwr. trifle rubbed along extremities. Otherwise very fine.
= As in Kearney 20, the plates without the glossy finish. Brassaï's photographic plates evoke French nightlife in the thirties.
- Frontcover and backstrip sl. foxed.
Idem. Portrait de Saint-Denis. (Ibid.), Callman-Lévy, 1991, 1st ed., 91,(2)p., photogr. ills. by R. DOISNEAU, orig. cl. w. dustwr., 4to. - AND 5 others by/ on the same, i.a. P. HAMILTON, Robert Doisneau. La vie d'un photographe (ibid., 1995, num. ills., orig. rexine w. dustwr., folio); R. DOISNEAU, Paris Parade (London, 1956, 1st ed., photogr. ills., orig. cl., 4to) and M. CHEVALIER, My Paris (New York/ London, 1972, (col.) photogr. ills. by R. DOISNEAU, orig. cl. w. dustwr., 4to).
= Very fine copy of the rare DELUXE edition.
- As often without the text booklet.
Idem. Wereldreis in foto's. N.pl., Coöperatieve condensfabriek "Friesland", n.d. (1967), 4 vols., photogr. ills. by E. VAN DER ELSKEN, orig. unif. wr., sq. 4to. - AND 8 others by the same, i.a. Eye love you (Bussum, 1977, richly illustrated, orig. hcl., 4to); Een liefdesgeschiedenis in Saint Germain des Pres (Amst., 1999, reprint ed., num. ills., orig. cl. w. dustwr., 4to); L'Amour! Foto's 1950-1990 (ibid., 1995, num. ills., orig. cl. w. dustwr., 4to) and Fotografie + Film 1949-1990 (Wolfsburg, 2000, num. col. ills., orig. wr., 4to).
- First text lvs. sl. stained. Spine-ends sl. dam.; joints splitting; corners bumped.
= Parr/ Badger I, p.246: "The 1950s constituted a golden age for jazz music. The decade was also renowned for classic small-camera photography, much of it as rough and ready as the best experimental jazz. The two art forms combine to perfection in Ed van der Elsken's gem of a book, Jazz. Jazz is an elusive art form, and there would seem to be two aspects to pinning it down in a photobook: the form of the photographs and the form of the book. Van der Elsken's assiduous attention to both makes this modest volume probably the most successful of the numerous attempts to do so. (...) Pages are split into two-, three-, four-, and six-part image combinations, resembling the clusters of notes in a saxophone or trumpet run. Graphically, vertical clusters of images recall held notes. The result is not just a succession of musicians' portraits, or even a documentary record of performance, but a book that visually echoes the music itself. Other photographers, perhaps closer to the jazz community, have made books on the subject, but Van der Elsken's is the work of an authentic jazz fan and a maker of authentic photobooks."
Stock, D. De wereld van de Jazz. Text N. Hentoff. Dutch transl. M. de Ruyter. Amst., De Bezige Bij, (1960), 23 textp., 130 photogr. ills., orig. dec. cl., 4to. - AND 3 others on jazz, i.a. J.-E. BERENDT, Jazz: a Photo-History (London, 1979, photogr. ills., orig. cl. w. dustwr., 4to).
- Owner's entry on first leaf. Dustwrapper sl. worn and w. a few (closed) tears.
= Parr/ Badger I, p. 245: "Ed van der Elsken was the best known internationally of the Dutch photographers of the 1950s and 60s, due in no small measure to this book, which took the genre of the Dutch photonovel to a new level (...)."
- Dustwr. trifle worn and w. a few sm. tears repaired w. scotch tape.
= Parr p.255: "(...) The epitome of this genre [the photographic essay], is, of course, Robert Frank's The Americans, but not far behind is Ed van der Elsken's epic photojourney - Sweet Life. Whereas Frank criss-crossed the United States, Van der Elsken was even more wide-ranging. Sweet Life is the result of a 14 month world-trip that he made in 1960-1, covering West Africa, the Malay Peninsula, The Philippines, Hong Kong, Japan, the United States and Mexico. (...) Van der Elsken's magnum opus. (...) Sweet Life is a sprawling, exuberant cornucopia, a preview of the pure stream-of-consciousness, machine-gun approach that would soon come with the Japanese Provoke photographers (...)."
- Portfolio sl. dustsoiled.
= With photographs by Ed van der Elsken on inside portfolio. From the series Quadrat-Print/ Kwadraat-Blad.
- Binding sl. (water)stained.