= Published on the occasion of the eponymous exposition in the same year.
- Slipcase sl. worn; otherwise very fine.
Idem. Observations. Transl. J. Lepman. Luzern, Camera Verlag, 1959, 151,(1)p., photogr. ills. by R. AVEDON, orig. boards, folio.
- Spine-ends worn; otherwise fine.
AND 1 other by the same: Photographs 1947-1977. Introd. H. Brodkey (New York, 1978, 1st ed., num. ills., orig. dec. boards, folio. Bookblock loosening).
= Published in conjunction with the eponymous solo exhibition in De Hallen in Haarlem (2002).
Brasser, F. Water Towers Watertorens Wassertürme. Rott., 010, 2005, 152p., full-p. photogr. ills., orig. cl. w. dustwr., 4to (lacks accomp. textbooklet). Elsken, E. van der. Bagara. Foto's uit Equatoriaal Afrika. N.pl. (Amst.), De Bezige Bij, n.d. (1958), 1st ed., 176p., num. (col.) photogr. plates by ED VAN DER ELSKEN, orig. boards w. (worn) dustwr., 4to. - AND 5 others by/ on Dutch photography/ photographers, i.a. H. KERSTENS and M. VAN DEN HEUVEL, Hendrik Kerstens (Deventer, 2010, richly illustrated, orig. pict. boards, 4to) and C. VAN GENNEP and G. WESSEL, Werk van Wessel. Introd. J. Zwagerman (Amst., 2003, richly illustrated, orig. pict. boards, 4to).
= Provenance: the collection of Johan Deumens.
- Upper corner of covers and of dustwr. sl. waterstained.
- Wrappers sl. worn. = Rare example of Besnÿo's photomontage.
AND 1 other w. anonymous photomontage boards: SLING (P. SCHLESINGER), Richter und Gerichtete (Berlin, 1927, 2nd ed., sm. 4to).
- Top edge sl. foxed.
- Upper hinge weak/ nearly broken; endpapers foxed. Foot of spine worn.
= Parr/ Badger I, p.96: "one of the most striking books in photographic history".
- Dustwr. sl. worn at spine-ends. = The Gordon Fraser Photographic Monographs 7
Wise, K. (ed.). Lotte Jacobi. Danbury, Addison House, 1978, 187p., photogr. ills. by LOTTE JACOBI, orig. cl. w. dustwr., 4to.
- Owner's dedication on first free endpaper. Backstrip of dustwr. sunned.
AND 5 others, i.a. R. LONG, From time to time (Ostfildern-Ruit, 1997, ills., orig. cl. w. dustwr. obl. 4to) and R. FABIAN and H.-C. ADAM, Masters of Early Travel Photography (London, 1983, num. ills., orig. cl. w. dustwr., sm. folio).
= Both with an AUTOGRAPH SIGNED dedication to Eli [Content] on htitle.
AND 3 others on Israel, i.a. IDEM, Zerheilt. Healed to Pieces (ibid., 2021, richly illustrated, orig. cl., 4to. With an AUTOGRAPH SIGNED dedication to the same).
= Copy of the DELUXE edition, published in 50 signed copies (our copy signed on the title-p. with autograph motto "nil nequit amor"), with 3 fine art prints (see below) (the publisher's website calls for 2 fine art prints), each provided with a signed, titled and numbered ("LE 33/50") (referring to tthe Luxe edition) Certificate of Authenticity, with on each certificate the specific number of the print. SEE ILLUSTRATION PLATE XVII.
The following 3 fine art prints, all portraits, all 37,5x28 cm., are included in the lot: "The Rosenberg Trio" (numb. "05/50"), "Johan Cruijff" (no. "08/50") and "Wende Snijders" (no. "03/50") all framed).
= Monthly periodical (skipping July and August) on theatre and cinema. Its main photographic contributor was Josef Koudelka.
= Photographs printed in various techniques. Van Sinderen p.98: "Er zijn maar weinig fotografen die in twee totaal verschillende disciplines werkzaam zijn en in beide succes hebben. Desiree Dolron is zowel bekend geworden door haar indringende reisreportages als door haar geënsceneerde fotografie, die deels met behulp van de computer tot stand komt."
= Famous collection of nude studies. Parr/ Badger I, p.79: "František Drtikol's Žena ve světle (Women in Light) was a popular example of 1930s Czech photographic publishing. The book is not so much modernist in the progressive sense, as moderne - pictorial in content but with a veneer of modernism. (...) In contrast to the generally purist views of the photographic modernists, Drtikol opted for a painterly approach, heavily reworking his prints by hand. He preferred pictorialist-style pigment prints over the modernist's favoured silver gelatin, and these are used to great effect in Žena ve světle."