106 - 571 FINE and APPLIED ARTS, ART REFERENCE
- First and last few pages sl. foxed. Top of spine sl. worn and 2 chips from (browned) title-piece; corners showing.
= Parr/ Badger I, p.114f and passim.
- Spine-ends sl. rubbed.
- Covers sl. rubbed along edges.
= Arnold Fanck was a pioneering director in the mountain film genre, who helped launch the career of, among others, Leni Riefenstahl (her portrait on p.55). Contains striking images of the filming process at high altitudes.
- Sm. rectangle cut from title; (sl.) foxed; first few lvs. bumped in lower corner. Binding soiled/ sl. stained; slipcase worn and badly (water)stainedl and partly split/ dam. on edges.
- Covers sl. soiled.
= With AUTOGRAPH DEDICATION "Voor Armando en Tony" by Cees Nooteboom on first free endpaper.
Brasser, F. Water Towers. Watertorens. Wassertürme. Rott., 010, 2005, 152p., full-p. ills., orig. cl. w. dustwr., 4to.
= With AUTOGRAPH DEDICATION "Für Armando uw Fonsenman! 4/05" on htitle.
Diepraam, W. Foto's. Photographs. Text G. van Westerloo. Amst., Fragment, 1985, 119,(2)p., full-p. ills., printed in 2000 copies, orig. cl. w. mounted photogr. plate, 4to.
- Spine sunned.
= With AUTOGRAPH SIGNED DEDICATION by the photographer "Voor Armando Dank!" on first free endpaper.
AND 7 others, i.a. A. CORBIJN, Inwards and onwards. Text F. Hodgson (Munich, 2011, ills., orig. boards w. dustwr.) and M. COPPENS, Land van stilte (Eindh., n.d., ills., printed in 500 numb. copies, orig. cl. w. dustwr., 4to. Owner's entry of ARMANDO on first free endpaper).
- Frontcover partly sunned.
- Owner's entry on upper pastedown. Wrapper trifle worn along extremities; sm. dent in backcover.
= Parr/ Badger I, p.244: "In 1955, the 17-year old Joan van der Keuken caused a stir in Dutch publishing with his book Wij zijn 17 (We are 17), prefiguring the even greater furore that would greet the publication of Ed van der Elsken's Een liefdesgeschiedenis in Saint Germain des Prés (Love on the Left Bank) a year leater. Van der Keuken's book was as innovative as Van der Elsken's in its treatment of a section of society - not a class exactly, but a societal group - that was beginning to be regarded as a class apart. (...) The Beat Generation, the Beatnik movement, James Dean - the original rebel without a cause - and a pouting, gyrating phenomenon called Elvis Presley, drew the world's attention to the fact that, since the war, a new alien species seemed to have been dropped on to the planet - the teenager. Van der Keuken's two books, Wij zijn 17 and Achter Glas (Behind Glass, 1957), caught this mood perfectly. Whilst perhaps not stream-of-consciousness in style, they certainly are in terms of attitude, capturing a moment's experience in which nothing much happens except for the moment itself (...)."
- Wrappers trifle worn. = Parr/ Badger I, p.244 (1st ed., 1955).
Eisenstadt, A. Witness to our time. New York, Viking Press, 1966, 343p., richly illustrated, orig. cl. w. (defective) dustwr., 4to. - AND 10 others, i.a. R. CAPA, Grote fotografen (Amst., 2011, ills., orig. wr., folio) and FACES AND FACADES. Introd. P.C. Bunnell (Cambridge, 1977, ills., orig. boards w. dustwr., 4to).
- Without dustwr. and without the separately published booklet; binding w. some fading (esp. backstrip).
= Album Petite Planète 1. Parr/ Badger I, p.243: (...) Robert Frank's The Americans is usually regarded as the epitome of the Beat photobook. But William Klein's magnum opus, Life is Good and Good for You in New York (...), a book with a Beat mantra for a title, surely has the edge in this regard. This is partly because it was the earlier model, partly because it is less political and more exuberant, and, importantly, because its conception is so complete - photographs, layout, design, topography, 'found' ephemera coalescing into what is in effect one of the first great 'Pop' books. (...)."