Gorey, Edward. (1925-2000). "The Lavender Leotard" – SIGNED. New York : Gotham Book Mart. 1973. First Edition.
Rare 1973 first printing of the whimsical book by the legendary American writer and artist of the macabre, who has signed to the title page in ink. One of eleven hundred copies for sale (this example not one of the issued 100 signed and numbered copies). Paperback, 32 pp. Some toning to the spine and page margins, overall in fine condition. 4.5 x 6 inches (11.4 x 15.2 cm.).
"Appearing first in the Spring 1970 edition of Playbill, Edward Gorey's The Lavender Leotard: or, Going a lot to the New York City Ballet was first published as a tribute the 50th Anniversary of the New York City Ballet. Caricaturist not of personalities, but of events and ambiances, he chronicles the company's distinctive foibles, faults which have somehow become endearing to those of us who've seen the New York City Ballet through its lean years as well as the fat. There is its inability to cope with costumes and scenery, beginning with the poverty-stricken leotard and blue cyclorama days, when the company was rich only in aesthetic--'Don't you feel the whole idea of sets and costumes is vulgar?'" (Tobi Tobias, Balletgorey, Dance Magazine January 1974)
Gorey, Edward. (1925-2000). "The Lavender Leotard" – SIGNED. New York : Gotham Book Mart. 1973. First Edition.
Rare 1973 first printing of the whimsical book by the legendary American writer and artist of the macabre, who has signed to the title page in ink. One of eleven hundred copies for sale (this example not one of the issued 100 signed and numbered copies). Paperback, 32 pp. Some toning to the spine and page margins, overall in fine condition. 4.5 x 6 inches (11.4 x 15.2 cm.).
"Appearing first in the Spring 1970 edition of Playbill, Edward Gorey's The Lavender Leotard: or, Going a lot to the New York City Ballet was first published as a tribute the 50th Anniversary of the New York City Ballet. Caricaturist not of personalities, but of events and ambiances, he chronicles the company's distinctive foibles, faults which have somehow become endearing to those of us who've seen the New York City Ballet through its lean years as well as the fat. There is its inability to cope with costumes and scenery, beginning with the poverty-stricken leotard and blue cyclorama days, when the company was rich only in aesthetic--'Don't you feel the whole idea of sets and costumes is vulgar?'" (Tobi Tobias, Balletgorey, Dance Magazine January 1974)