Publisher: San Francisco: Fraenkel Gallery, 2001
Edition: 1st Edition
Condition: Fine / No dust jacket as issued
Item #: 102644
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."