Hardcover. Folio. 107 pp. First Edition from a limited run of 4000 copies as stated on the copyright page. Black boards, silver authorial initials to front, silver lettering to spine, fine. Dj is fine, with some light rubbing and very minor creasing to top of spine.
From the library of the important American poet Frank Bidart, who received the 2018 Pulitzer Prize for Poetry, the Griffin Poetry Prize Lifetime Recognition Award, and the 2017 National Book Award for Poetry for his book Half-light: Collected Poems 1965–2016. His signature of ownership is on the blue endpage.
Lynes opened his photographic studio in New York in 1932. He came from Paris, where he had studied with Man Ray, and was inspired by the European visual movements of Surrealism and neo-romanticism. George Balanchine and Lincoln Kirstein both invited him to photograph their ballets, and the pictures in this collection, spanning the years 1933 to 1957, are the result of their collaborations. Ambivalent about the status of photography as an art form, Lynes photographed the dance because he loved it, seeking to capture and perpetuate the essence, rather than the actuality, of what he saw on the stage. These 83 richly printed gravures are a handsome testament to his passion.
Hardcover. Folio. 107 pp. First Edition from a limited run of 4000 copies as stated on the copyright page. Black boards, silver authorial initials to front, silver lettering to spine, fine. Dj is fine, with some light rubbing and very minor creasing to top of spine.
From the library of the important American poet Frank Bidart, who received the 2018 Pulitzer Prize for Poetry, the Griffin Poetry Prize Lifetime Recognition Award, and the 2017 National Book Award for Poetry for his book Half-light: Collected Poems 1965–2016. His signature of ownership is on the blue endpage.
Lynes opened his photographic studio in New York in 1932. He came from Paris, where he had studied with Man Ray, and was inspired by the European visual movements of Surrealism and neo-romanticism. George Balanchine and Lincoln Kirstein both invited him to photograph their ballets, and the pictures in this collection, spanning the years 1933 to 1957, are the result of their collaborations. Ambivalent about the status of photography as an art form, Lynes photographed the dance because he loved it, seeking to capture and perpetuate the essence, rather than the actuality, of what he saw on the stage. These 83 richly printed gravures are a handsome testament to his passion.