1993, ISBN: 0224036556

Gebundene Ausgabe

[EAN: 9780224036559], Near Fine, [PU: Jonathan Cape / Eastman Kodak, London], FIRST EDITIONS; ILLUSTRATED; RICHARD AVEDON; PHOTOGRAPHY; PORTRAITS, Photography|Individual Photographer, Pho… Mehr…

[EAN: 9780224036559], Near Fine, [PU: Jonathan Cape / Eastman Kodak, London], FIRST EDITIONS; ILLUSTRATED; RICHARD AVEDON; PHOTOGRAPHY; PORTRAITS, Photography|Individual Photographer, Photography|Subjects & Themes|Portraits, Photography|Photo-essays & Documentaries, Photography|Collections, Catalogs, Exhibitions, First impression of the first UK edition, published by Jonathan Cape, with the photographic prints made on Eastman Kodak Elite paper. With 284 full-page monochrome plates by Richard Avedon. The distinctive block-letter book design, by Mary Shanahan, follows the design of "Observations" - the first book published by Avedon, in 1959. A large format portfolio. ***Near fine in brown cloth-covered boards, with a hessian-like feel, with fluorescent titles to the spine and front board. Author's self-portrait to the back board. No bumps or creases to the cloth. There are some faint marks to the front board, and a couple of indentations to the photographic back board. Spine-lettering just slightly faded. There is a light splash-stain to the bottom edge of the page block, but not affecting the interior of the book. There is a slight wrinkling to the photographic paper used, at the fore-edge of the page block. Internally near fine, with no foxing and no inscriptions. ***365 x 290 mm. Unpaginated, but 284 plates plus a section at the back of the book giving details of each portrait, and an index by name of subject. ***A unique collection of photographs which tracks the path of three crucial illusions in the author's life. The first section is about the illusion of laughter and a young man's discovery of the fine line between hilarity and panic. The second is about the illusion of power. The third section is about the loss of all illusions. ***'In 1944, Avedon began working as an advertising photographer for a department store, but was quickly endorsed by Alexey Brodovitch, who was art director for the fashion magazine Harper's Bazaar. Lillian Bassman also promoted Avedon's career at Harper's. In 1945, his photographs began appearing in Junior Bazaar and, a year later, in Harper's Bazaar. In 1946, Avedon had set up his own studio and began providing images for magazines including Vogue and Life. He soon became the chief photographer for Harper's Bazaar. From 1950, he also contributed photographs to Life, Look and Graphis and in 1952 became Staff Editor and photographer for Theatre Arts Magazine. Avedon did not conform to the standard technique of taking studio fashion photographs, where models stood emotionless and seemingly indifferent to the camera. Instead, Avedon showed models full of emotion, smiling, laughing, and, many times, in action in outdoor settings, which was revolutionary at the time. However, towards the end of the 1950s, he became dissatisfied with daylight photography and open-air locations and turned to studio photography, using strobe lighting. Avedon was always interested in how portraiture captures the personality and soul of its subject. As his reputation as a photographer became widely known, he photographed many noted people in his studio with a large-format 8×10 view camera. His subjects include Buster Keaton, Marian Anderson, Marilyn Monroe, Ezra Pound, Isak Dinesen, Dwight D. Eisenhower, Andy Warhol, and the Chicago Seven. His portraits are distinguished by their minimalist style, where the person is looking squarely at the camera, posed in front of a sheer white background. [Wiki] ***First impression of the first UK edition - a celebration of the work of legendary portrait photographer Richard Avedon. ***For all our books, postage is charged at cost, allowing for packaging: any shipping rates indicated on ABE are an average only. ***As this is a large format portfolio book - please contact us for postal rates before purchasing if you live outside the UK! Many thanks., Books<

1993, ISBN: 0224036556

Gebundene Ausgabe

[EAN: 9780224036559], Near Fine, [PU: Jonathan Cape / Eastman Kodak, London], FIRST EDITIONS; ILLUSTRATED; RICHARD AVEDON; PHOTOGRAPHY; PORTRAITS, Photography|Individual Photographer, Pho… Mehr…

[EAN: 9780224036559], Near Fine, [PU: Jonathan Cape / Eastman Kodak, London], FIRST EDITIONS; ILLUSTRATED; RICHARD AVEDON; PHOTOGRAPHY; PORTRAITS, Photography|Individual Photographer, Photography|Subjects & Themes|Portraits, Photography|Photo-essays & Documentaries, Photography|Collections, Catalogs, Exhibitions, First impression of the first UK edition, published by Jonathan Cape, with the photographic prints made on Eastman Kodak Elite paper. With 284 full-page monochrome plates by Richard Avedon. The distinctive block-letter book design, by Mary Shanahan, follows the design of "Observations" - the first book published by Avedon, in 1959. A large format portfolio. ***Near fine in brown cloth-covered boards, with a hessian-like feel, with fluorescent titles to the spine and front board. Author's self-portrait to the back board. No bumps or creases to the cloth. There are some faint marks to the front board, and a couple of indentations to the photographic back board. Spine-lettering just slightly faded. There is a light splash-stain to the bottom edge of the page block, but not affecting the interior of the book. There is a slight wrinkling to the photographic paper used, at the fore-edge of the page block. Internally near fine, with no foxing and no inscriptions. ***365 x 290 mm. Unpaginated, but 284 plates plus a section at the back of the book giving details of each portrait, and an index by name of subject. ***A unique collection of photographs which tracks the path of three crucial illusions in the author's life. The first section is about the illusion of laughter and a young man's discovery of the fine line between hilarity and panic. The second is about the illusion of power. The third section is about the loss of all illusions. ***'In 1944, Avedon began working as an advertising photographer for a department store, but was quickly endorsed by Alexey Brodovitch, who was art director for the fashion magazine Harper's Bazaar. Lillian Bassman also promoted Avedon's career at Harper's. In 1945, his photographs began appearing in Junior Bazaar and, a year later, in Harper's Bazaar. In 1946, Avedon had set up his own studio and began providing images for magazines including Vogue and Life. He soon became the chief photographer for Harper's Bazaar. From 1950, he also contributed photographs to Life, Look and Graphis and in 1952 became Staff Editor and photographer for Theatre Arts Magazine. Avedon did not conform to the standard technique of taking studio fashion photographs, where models stood emotionless and seemingly indifferent to the camera. Instead, Avedon showed models full of emotion, smiling, laughing, and, many times, in action in outdoor settings, which was revolutionary at the time. However, towards the end of the 1950s, he became dissatisfied with daylight photography and open-air locations and turned to studio photography, using strobe lighting. Avedon was always interested in how portraiture captures the personality and soul of its subject. As his reputation as a photographer became widely known, he photographed many noted people in his studio with a large-format 8×10 view camera. His subjects include Buster Keaton, Marian Anderson, Marilyn Monroe, Ezra Pound, Isak Dinesen, Dwight D. Eisenhower, Andy Warhol, and the Chicago Seven. His portraits are distinguished by their minimalist style, where the person is looking squarely at the camera, posed in front of a sheer white background. [Wiki] ***First impression of the first UK edition - a celebration of the work of legendary portrait photographer Richard Avedon. ***For all our books, postage is charged at cost, allowing for packaging: any shipping rates indicated on ABE are an average only. ***As this is a large format portfolio book - please contact us for postal rates before purchasing if you live outside the UK! Many thanks., Books<

1993, ISBN: 9780224036559

Hard cover, photography portrait autobiography avedon history family, 1993. Jonathan Cape. First. Hard Cover. Book-VG+, b/w plate on back board, red titles on front board & spine, brown b… Mehr…

Hard cover, photography portrait autobiography avedon history family, 1993. Jonathan Cape. First. Hard Cover. Book-VG+, b/w plate on back board, red titles on front board & spine, brown boards. 14x11.5. Profuse b/w photos by Avedon. ***PLEASE NOTE: WE ARE SORRY, BUT THIS IS A HEAVY ITEM AND MAY REQUIRE EXTRA POSTAGE PARTICULARLY FOR OVERSEAS POST. **** A unique collection of photographs which tracks the path of three crucial illusions in the author's life. The first section is about the illusion of laughter and a young man's discovery of the fine line between hilarity and panic. The second is about the illusion of power. The third section is about the loss of all illusions., [PU: Jonathan Cape Ltd]<

1993, ISBN: 9780224036559

Jonathan Cape Ltd. Very Good with no dust jacket. 1993. Hardback. 0224036556 . Please note that this is a heavy item and will require additional postage. ; Brown cloth boards clean, slig… Mehr…

Jonathan Cape Ltd. Very Good with no dust jacket. 1993. Hardback. 0224036556 . Please note that this is a heavy item and will require additional postage. ; Brown cloth boards clean, slightly bumped on bottom corners w/ minute fraying of cloth, red lettering slightly rubbed; Pages lightly age-toned at edges, previous ownership stamp on ffep, B&W plates; Binding tight, though spine a touch cocked due to weight of book. ; 11.5 x 14.5"; 432 pages ., Jonathan Cape Ltd, 1993, 3<

1993, ISBN: 0224036556

[EAN: 9780224036559], Gebraucht, sehr guter Zustand, [PU: Jonathan Cape Ltd], PHOTOGRAPHY, Please note that this is a heavy item and will require additional postage. ; Brown cloth boards … Mehr…

[EAN: 9780224036559], Gebraucht, sehr guter Zustand, [PU: Jonathan Cape Ltd], PHOTOGRAPHY, Please note that this is a heavy item and will require additional postage. ; Brown cloth boards clean, slightly bumped on bottom corners w/ minute fraying of cloth, red lettering slightly rubbed; Pages lightly age-toned at edges, previous ownership stamp on ffep, B&W plates; Binding tight, though spine a touch cocked due to weight of book. ; 11.5 x 14.5"; 432 pages, Books<