Avedon, Richard; Judith Thurman (8 results)

Hardcover. Condition: Near Fine. Hardcover. First Edition. 15" x 11.5". 56 pp. Photographic illustrations with facsimile reproductions of Harper's Bazaar's working notebooks. Publisher's cardboard boards with paste-down illustrations to covers; tan cloth spine with titles in black. No DJ, as issued. Some wear to edges of boards; very faint rubbing to spine. Near Fine. ISBN 188133712.

Hardcover. Condition: Very Good. 1st Edition. First Edition of 5000 copies. 4to. Unpaginated. b/w photographic plates with facsimile reproductions of Avedon s notebook pages. Illustrated boards with photographic illustrations and tan cloth binding lettered in black at spine. Board edges and corners show minor bumps and creases, lettering at spine slightly faded and soiling. Very Good.

First Edition. MADE IN FRANCE, Fraenkel Gallery, 2001, first edition, fine without dust-wrapper as issued. Profusely illustrated with photos executed in the 1950's when Avedon was doing photo shoots for Harper's Bazaar in Paris with essay by Judith Thurman. Some famous models photographed are Suzy Parker & Audrey Hepburn. 1/5,000 copies.

hardcover. Condition: fine. Avedon, Richard (illustrator). First. Illustrated with numerous wonderful b/w photographs and other pages, reproducing annotations and stains of originals. Thin folio, bound with heavy pictorial boards with a linen spine. (San Francisco: Fraenkel Gallery, 2001). First trade edition, one of 5000 copies. A fine copy, as new. Scarce.

Hardcover. Dust Jacket Condition: no dust jacket. First Edition. Near fine with slight shelf wear.

Folio (15" x 11.5"), pictorial white boards, linen spine with printed title, etc.,reproduced rubber-stamp title on upper cover. 56 pp. 40 b&w illus. Author inscription on copyright map. CONDITION: Good+, light soiling to covers; contents bright and clean. First trade edition, inscribed by Avedon to fashion editor Polly Allen Mellen and her husband Henry as follows: "For dear Polly & Henry-a la recherche de temps perdu. Love Dick Avedon 2001." This exhibition catalog features Avedon's work for Harper's Bazaar in 1950s Paris complimented by images of period production notes, rescued and reproduced in their original form. One such note,by editor-in-chief Carmel Snow, regarding a photo with favorite model Suzy Parker modeling a Gres white chiffon evening gown, partying with two handsome males, instructs "Note how much you can see of the bosom." Other Avedon "stable" models pictured here include Audrey Hepburn (here with Art Buchwald!), Carmel, and China Machado. Gowns are from Balmain, Dior, Lanvin-Castillo and others, locations include Cafe des Beaux Arts, Moulin Rouge, Sheherazade in Paris. Commentary from Judith Furman, New Yorker fashion writer, describes the influence of Richard Avedon on the world of fashion photography, capturing the Paris bohemian culture as it was embraced by Hollywood films such as Sabrina, Funny Face, Gigi and American in Paris. About this book, Avedon said "A picture in a magazine is a view without a window. Here you have the window-the context of production. It's pure chance that these prints escaped the garbage pail." Polly Allen Mellen (1924-) was a fashion editor and stylist who worked for Harper's Bazaar (under Diana Vreeland) and later Vogue (under Vreeland and Grace Mirabella)-her career spanning over sixty years. She served as a nurse's aide during WWII and moved to New York in 1949. At Harper's Bazaar she met her future longtime collaborator Richard Avedon, who initially found Mellen "too noisy." In time, however, Avedon would describe her as "the most creative sittings editor I ever worked with." Mellen's work at Harper's and later Vogue, Nicolas Ghesquiere has argued, came to "define a new, more modern ethos about clothes and how women wore them. With an almost playful daring, [the ethos] brimmed with a kind of strong, smart, unabashedly celebratory feminine independence-as well as an artful element of provocation and extravagance-that Mellen herself embodied and drew upon in her collaborations" (Ghesquiere, Polly Mellen). Over the course of her career, Mellen worked with such photographers as Newton, Avedon, Arthur Elgort, Irving Penn, Steven Meisel, and Mario Testino. Polly and Henry Wigglesworth Mellen (1920-2014) married in 1965. Richard Avedon was born in New York in 1923, studied photography at the New School during the late 1940s, spent twenty years as a photographer for Harper's Bazaar creating iconic images we continue to recognize, moved to Vogue after disputes over his desire to work with models of color, became first staff photographer at the New Yorker.Avedon used his commercial work to support his social projects, and published many books including Portraits, Nothing Personal, Observations, and Evidence.

Hardcover. Condition: Fine. 1st Edition. First edition, first printing. Hardcover. Photographically illustrated laminated archival boards with title printed in brown on linen spine, and tritone plates tipped-in the front and rear covers; no dust jacket as issued. Photographs and text by Richard Avedon. Essay by Judith Thurman, staff writer for The New Yorker. Includes Harper's Bazaar layouts illustrating how the plates appeared in the published magazine. Designed by Gregory Wakabayashi. Unpaginated (56 pp.), with 40 tritone and four-color facsimile plates reproducing recto and verso production boards, with photographs, extensive notes on cropping, information on featured designs and page layout instructions, beautifully printed on coated cover stock paper by Meridian Printing, East Greenwich, Rhode Island, from separations by Martin Senn, Philomont, Virginia. 14-13/16 x 11-1/4 inches. Out of print. Very scarce. Published on the occasion of a 2001 exhibition at Fraenkel Gallery, San Francisco. This first edition was limited to 5000 copies. Fine. A Mint copy. The book is protected by an archival heavy mylar cover. From the publisher: "This major new monograph stands as an important rediscovery of a small but central body of work in the career of one of the world's best known and beloved photographers. The Richard Avedon images presented here, many for the first time, were made in Paris for Harper's Bazaar during the 1950s. What is particularly special about this presentation is that the images are being reproduced to the exact scale of the engraver's prints made for Avedon by the master printer Andre Gremola, and are uncropped, on their original mounts, with all of the artist's notations on both front and back. Thus, they provide a remarkable portrait of the working methods of one of the most influential fashion photographers in history. This oversized book is being printed without compromise with tritone plates throughout, and will be a stunning object in its own right. With this body of work, which includes the photographer's iconographic Dovima with Elephants, Cirque d'Hiver, 1955, Avedon broke radical new ground in the history of photography. He documented the moment in which postwar France was striving through fashion to reclaim its cultural eminence. Judith Thurman, fashion writer for The New Yorker contributes the book's introduction.".

Hardcover. Condition: gut. 2001. Von 5000 Exemplaren, die erschienen sind, habe ich eines. Die Fotos sind sensationell, schwarz/weiß und typisch für die Modeepoche von Dior und Grès in den 50zigern. Die Fotomodelle sind mit Namen und Details beschrieben, z.B. welchen Schmuck, Farbe des Kleides und wo und wann aufgenommen. Es ist ein echtes Sammlerstück für Liebhaber dieser Fotographien und Mode. Die Buchseiten sind aus Karton, stabil wie ein Kinderbuch, die Fotos sind mit Randbemerkungen des Designers und des Fotografen versehen, was dem Buch einen "Entwurf-Buch" verleiht. Die Farbe des Buchen ist die eines vergilbten Papiers, leicht fleckig bräunlich mit kleinen schwarzen Punkten drauf. Das ist durchaus gewollt und zeichnet das Buch als stylisch aus. Avedon war halt seiner Zeit voraus. I received this book as a gift shortly after it came out. The photos are absolutely stunning, and I love the "rough" presentation. It really shows Avedon's talent- these photos are all amazing in their raw state. I never get tired of looking at this book, and as tempting as it was as a starving college student to sell it, I never could. I always joked that I'd rather take it with me to my cardboard box under the bridge than ever sell it. Who gives a ding-dong if Avedon is mining his archives for book material. This stuff is great and I like the way it has been put together. It's a fun, loose design balanced by elegantly composed and seen photographs. Most of his books have been very clean from start to finish. That wouldn't be good for this project. This work is wet and playful without losing all the good stuff. It's a fresh jelly donut with the perfect ratio of jelly to donut. At no point during the experience does it fall apart and there is goodness in every page. No one individual has made such an impact on my career than Richard Avedon. He has embodied everything there is to be sais about fashion and photography with the photograph. This book is no exception. Zusatzinfo 40 colour Verlagsort San Francisco Sprache englisch Maße 310 x 370 mm Kunst Musik Theater Fotokunst ISBN-10 1-881337-12-X / 188133712X ISBN-13 978-1-881337-12-6 / 9781881337126 Richard Avedon Made in France (Englisch) [Hardcover] Judith Thurman (Autor) In englischer Sprache. 56 pages. 28,6 x 1,3 x 37,5 cm.