Hardcover (paper over boards), 14 ½ x 11 inches, unpaginated, halftone illustrations. Farewell to Bosnia, New York: Scalo, 1994. Light foxing, a few bumped corners, some separation at spine, in dustjacket that is missing a few small pieces. Includes a story by Sally Lee Woodall, but Frissell’s images dominate the pages to a greater degree than her two other children’s books. Her young subjects picnic, swim, fish, boat, and ride both turtles and bikes. It is set on the island of Bermuda and is seen through the eyes of native children.
Camera publisher Maloney secured Frissell to illustrate this title. Hardcover (paper over boards), 10 ¾ x 9 inches, 72 pages, 47 halftone illustrations, dustjacket.ĭue to the success of another children’s book, U.S. Near fine condition, with fold to front free endpaper. The oversize plates are so romantic that they are paired with bits of verse from various writers, most of them contemporaries of the photographer. The collaborative text draws on a family member’s insights into Misonne’s life and work. Hardcover (black and brown-stamped tan cloth), 10 ¼ x 12 ½ inches, unpaginated, 50 halftone illustrations.Ī large-scale tribute to Misonne’s soft-focus, accessible images of both urban and rural scenes bathed in glowing light. Marian Schwabik and Maurice Misonne, Léonard Misonne, Ein Fotograf aus Belgien, 1870-1943, Seebruck am Chiemsee, Germany: Heering-Verlag, 1976.
Combining his interest in the sport and his aptitude with his Leica III, he shows the beauty of the mountain, patterns in the snow, and dramatic skiing moves by his fellow adventurers. Professor Kruckenhauser examines skiing in the Arlberg Pass of western Austria. Hardcover (blue-stamped gray cloth and paper over boards), 10 ½ x 8 ¼ inches, 120 pages, 88 screen-gravure illustrations. Snow Canvas: Ski, Men and Mountains with the Leica, Berlin: Photokino-Verlag, 1937. This copy signed by Conklin, Faber, and Koppitz’s daughter, Liselotte Tavs-Koppitz. Rudolf Koppitz (1884-1936) was the most important photographer in Austria between the World Wars, producing work that was an amalgamation of modernism and pictorialism. His signature piece, Bewegungsstudie (“Movement Study”) features a nude female figure backed by a frieze-like group of black-robed women, reproduced on the cover. Also addressed are his major bodies of work: outdoor male nudes, dance pictures, and ethnographic photographs. Conklin, Faber, and Peter Weiermair provide essays that cover Koppitz’s time as an apprentice, traveler, pilot, exhibitor, and teacher. This handsome monograph was produced in conjunction with an exhibition seen at the University of Iowa Museum of Art and in Europe.
Softcover, 11 ¼ x 9 ¼ inches, 128 pages, halftone illustrations. Jo-Ann Conklin and Monika Faber, Rudolf Koppitz, 1884-1936, Vienna: Verlag Christian Brandstätter, 1995.
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