Lillian Bassman. Women. Photographs by Lillian Bassman. Essay Deborah Solomon. Harry N Abrams, New York, 2009. 240 pp. Large quarto. First printing. SIGNED on half-title page, Hardbound in photo-illustrated dust jacket. 140 tritone reproductions.
Fine-;one corner just slightly pushed.
"With more than 140 of her best images reproduced in stunning tritone, including many never published before and others not seen since they appeared in the pages of the legendary Harper's Bazaar of the 1950s, Lillian Bassman: Women offers a retrospective view of an extraordinary career in photography.
At 91 and still hard at work, Bassman is a beloved figure in the pantheon of fashion photographers. Her signature style, once described by Richard Avedon as making 'visible that heart-breaking invisible place between the appearance and the disappearance of things,' offered a sensuous and intimate vision of modern women. Says Judith Thurman, 'Bassman's women-perennially soulful,elusively chic-have the poignance of an endangered species.'
Well-known art writer and journalist Deborah Solomon contributes an introduction. An illustrated chronology gives a cinematic overview of a remarkable life. "--the publisher
The Silver Cord. Photographs by David Armstrong. Afterword by Nan Goldin. SCALO, Zurich, 1997. 128 pp., Quarto. First edition. INSCRIBED on title page, 'For Lillian Bassman/It as an honor and a pleasure/David Armstrong.' Clothbound in photo-illustrated dust jacket. 100 duotone reproductions.
Near Fine+; slight 'dings' to one corner.
"In an age of media hype and political proselytizing David Armstrong’s work resonates with calm intensity. The title The Silver Cord is a quote from Ecclesiastes 12,6, a sermon on youth, aging, and a need for spiritual awakening before "the silver cord is snapped." A melancholy awareness of time’s passing and man’s fragility underlies Armstrong’s refined portraits and wistful landscapes. David Armstrong, a longtime friend of Nan Goldin’s, has kept his work sheltered and protected for almost 25 years. This decision has allowed him to maintain an absolute integrity above and beyond passing trends and fads. His classical, deceptively simple photographs try to capture timeless essence rather than mere circumstance. Armstrong started out as an artist taking pictures of the people who gave meaning to his life. Tender longing pervades his homoerotic portraits of boys in the impermanence of their youth, his studies of close women friends, people of unspecific gender, and of gay couples both old and young. Serenely, Armstrong reveals and celebrates his sitters’ vulnerability and desire. His out-of-focus images of gardens, palaces, and New York City streets convey a realm transcending the particularities of time and space. Armstrong’s work is an antidote to the growing all-pervasive cynicism around us: he dares you to believe in the truth inherent in beauty. "--th publisher