736 - 1327 FINE and APPLIED ARTS, ART REFERENCE
- Contents fine; owner's stamp of Gust Romijn on title-p. Covers vaguely fingersoiled along spine; spine-ends sl. rubbed/ trifle worn. Slipcase worn/ rubbed along extremities and sl. yellowed.
- Contents occas. sl. yellowed. Boards trifle soiled. = Thijsen, Het bedrijfsfotoboek, no. 22.
N.V. Nederlandsche Aanneming Maatschappij v/h Fa. H.F. Boersma. The Hague, v/h Fa. H.F. Boersma, n.d. (1934), 119p., num. photogr. ills., design and orig. wr. by H.TH. WIJDEVELD, a.e.g., 4to.
- Some rust offsetting of a paperclip on htitle and inside frontwr. Wr. trifle frayed.
= Nice commemorative volume.
Buijs, J.W.E. and Lürsen, J.B. N.V. Drukkerij en Uitgeversmaatschappij De Arbeiderspers. N.pl., n.publ., n.d. (Amst., De Arbeiderspers, 1931), (48)p., 1 plan, 42 photogr. ills., orig. (sl. frayed) wr., obl. 8vo. - AND 7 other corporate (photo)books on i.a. ACZC (Thijsen, no.96), PLEM, Provinciale Limburgsche Electriciteits-Maatschappij (Thijssen, no.80) and BBB: Bouwen en Industrie, Bouwen en speurwerk, Bouwen en organistatie (Thijssen, no. 86).
- Binding sl. dustsoiled.
= Cf. Parr/ Badger I, p.96 (1st ed., 1928; "one of the most striking books in photographic history").
- Wrappers sl. foxed; otherwise fine.
= Vivid photographic record of the strong rebellion against the destruction of the old Nieuwmarkt in Amsterdam, where the leftist municipal government had planned an underground line for the Amsterdam metro. Eventually there was such strong opposition by a significant part of Amsterdam citizens living in the area that the authorities cancelled further destruction/ construction for the Amsterdam metro in the city centre. Rare. Parr/ Badger III, p.68f; Giertsberg a.o., Het Nederlandse fotoboek, p.175.
= This booklet showcases and glorifies the "success" of the revolution and subsequent effort to remake Chinese society, economy and culture, featuring portraits of workers, artisans, farmers and athletes, urbanized constructions and industrial factories, as well as art works from well-known artists.
- Apart from some unobtrusive defect, all fine.
= Rare publication with many (propagandistic) photographic reportages on Chinese everyday life. Many with loose table of contents in French or English inside.
- Very fine copy.
= Parr/ Badger II, p.190: "Martien Coppens was considered one of the more traditional postwar Dutch photographers (...). In 1958, however, he made a photobook for the paper company Lecturis based in Eindhoven, which spectacularly threw off his somewhat staid image. Much of the credit for this, though, must go to the graphic designer, Herman Rademaker, who fabricated a highly experimental design using photographs that Coppens had taken in the marshy region of De Peel, in Brabant. There, the burnt down trees and stumps - as Coppens writes in the book - had assumed the form of grotesque monsters". SEE ILLUSTRATION PLATE XXXIII.
- A few lvs. w. some tiny surface dam. spots. Dustwr. sl. creased and worn.
= 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 (...)."
= Comprises the book Etant donné Marcel Duchamp #5 (Paris, 2003, ills., orig. wr., 4to. Signed by N. FINKELSTEIN on htitle), 5 silver prints under passepartout depicting i.a. SALVADOR DALÍ, MARCEL DUCHAMP and ANDY WARHOL. The photographs were taken during a session in which Warhol photographed Marcel Duchamp.
- Lower joint splitting at top of spine; backcover sl. scratched.
= Parr/ Badger II, p.278. Series of photographs of (empty) boardroom tables of European multinational corporations. "The Table of Power is at once a completely objective book and a wholly subversive one. (...) the book's subversiveness emanates from its very objectivity. It presents the simple facts about a particular and powerful symbol of power, and by drawing our attention to it forces us to think about what these facts might represent and conceal - a large subject contained in a deliciously small package" (Parr/ Badger).
- Dustwr. frayed. Otherwise fine.
= Cf. Derra de Moroda 1368 (6th ed.). Fine photographic studies of dancers in various surroundings outdoors.
- Small annot. on first free endpaper. Dustwr. sl. rubbed in outer corners and sm. tear in upper margin of backwrapper.
Idem. Kalypso & Nausikaä. Amst., De Verbeelding, 2004, 1st ed., (48)p., (full-p.) photogr. ills. by A. KANDO, orig. boards., 4to.
= Cf. Parr/ Badger I, p.244.
Elsken, E. van der. Eye love you. Bussum, Holkema & Warendorf, 1977, 1st ed. (?), no pagination, num. col. photogr. ills., orig. clothbacked boards, 4to. - AND 8 others, i.a. N. VAN ONNA, NYC360 (n.pl., 2012, full-p. col. photogr. ills., orig. boards, folio) and K. WESSING, China 85/07 (Antw., 2007, num. ills., orig. boards, obl. 4to).
- Corner frontwr. creased; edges backwr. sl. dustsoiled. = Parr/ Badger I, p.244.
Idem. Wij zijn 17. Introd. S. Carmiggelt. Bussum, C.A.J. van Dishoeck, n.d. (±1960), 4th ed., no pagination, photogr. plates and orig. wr. by J. VAN DER KEUKEN.
- Lamination loosening along spine. = Parr/ Badger I, p.244.
AND 5 others, i.a. E. ANDRIESSE, Beeldroman. Text J.B. Charles (The Hague, 1956, 1st ed., num. photogr. ills., orig. cl., 4to); N. JESSE, Mensen van Menko (Enschede, n.d. (1956), 1st ed., num. photogr. ills., orig. boards, 4to) and G. HEYEN, Waren wij maar 17. Introd. R. Campert (Amst., 1958, photogr. ills., orig. boards, sm. 8vo).
- Cloth sl. browned. Frontwr. sl. stained/ discoloured and sl. worn along extremities.
= Parr/ Badger I, p.248-249.
AND 1 other by the same: Wij zijn 17 (Bussum, n.d., 4th ed., ills., orig. wr. Owner's entry on inside wr.).