BALLET. - Mydtskov, Rigmor:

Copenhagen: Royal Danish Ballet School / Det Kongelige Teaters Balletskole, 1980's. 10 vintage photographic prints, various sizes, from around 22 x 17 up to around 22 x 30 cm. Overall well preserved.

New York City Ballet 1970's and 1980's. Most photos with a paper size around 20 x 25 cm. Mostly very well preserved. Enclosed are New York City Ballet Programmes from 1970's and 1980's (5). Please inquire for more photos and information. Collection of eighteen original vintage photographic prints by Martha Swope, the photographer who immortalized the movements of the New York City Ballet: "In 1957, a young woman named Martha Swope walked into a studio at the New York City Ballet company, where her friend Jerome Robbins was taking classes to prepare for rehearsals of his new show, West Side Story. Swope—a lanky girl of 5’9” with long arms and slender fingers—was a student at the adjoining School of American Ballet, and had befriended him during her studies. Robbins, who was also an amateur photographer, noticed that Swope often photographed her teachers and shared his passion for the medium. He invited her to use his darkroom, and then asked her to take some informal shots of rehearsals. West Side Story was a smash hit, and one of Swope’s photographs ended up in Time magazine. But she was still set on becoming a professional dancer. Then, one day—“mid-plié,” as Swope would later recall to dance critic Francis Mason—Lincoln Kirstein, who co-founded the New York City Ballet with George Balanchine, walked into her class and offered her a job as the company’s official photographer. Swope lived in the dance studio for the rest of her career, but not as a dancer. In addition to her photographs for the New York City Ballet, she also shot Broadway productions of Annie and the first run of Cats. She was in the studio when choreographers like John Taras and Merce Cunningham were creating experimental, modern ballets alongside Arthur Mitchell—New York City Ballet’s first African-American dancer. But she also had unfettered access to Balanchine, arguably ballet’s most legendary and influential choreographer, in his prime. By the time Swope began photographing the company full-time, Balanchine was in the midst of choreographing some of his most notable works: Agon in 1957, Stars and Stripes in 1958, and later Harlequinade and Jewels in the mid-1960s. Swope viewed Balanchine and his muses—among them Allegra Kent, Suzanne Farrell, Patricia McBride, and Jacques d’Amboise—with intimacy and tenderness. The genius technique and style of Farrell and Balanchine, especially when she danced under his tutelage, often softens into vulnerability through her lens. While audiences enjoy the near-spiritual experience of watching humans transform into divine forms, Swope saw their fragile act of creation unfold in the studio. When they perform, we aren’t meant to see the dancers as one of us; they are supposed to transcend the earthly realm. Perhaps unwittingly, she betrayed to the viewer an often ignored and yet obvious truth about ballet: Achieving physical perfection is crushing, difficult work. Her lens captured the dancers’ focused faces, staring hard at Balanchine while mimicking uncanny contortions; to regular people, their abilities are nothing short of magic. In fact, Swope had a dancer’s mind, which gave her the ability to click the shutter at the precise moment of fluidity and action. Yet her body of work, which she donated to the New York Public Library in 2010 (she passed away in 2017, at 88 years old), is much more than just elegant photos of dancers performing difficult moves; she saw them at the height of their talent, and used her camera not as an opportunity to capture another example of perfection, but to make them accessible, refreshingly human. Her lens dispensed with the typical self-important snobbery often associated with ballet; the resulting photographs capture moments of silliness, frustration, and joy. This mindset toward photographing ballet was especially important in a field that is dominated by women, but their performances crafted by male choreographers and composers. The ballerina is viewed as a vessel, translating the vision of a man, possessed by the spirit of ballet. Swope saw these women differently. She stripped away fantasies about dancers and focused on the ballerina as an artist and an athlete, not an object. Yet her photographs do capture many awe-inspiring moments simply because the ballerina is capable of extraordinary physical feats. Swope’s photos could see both the incredible talent and the person behind it. Whether she intended it or not, Swope’s photographs helped lift the veil over ballet without taking away any of the wonder that watching it provokes. The little window that she carved into New York City Ballet’s hallowed studios remains a necessary view of the artistic process of creation, but perhaps more importantly, it gives the ballerina a break from living on a pedestal on high. In Swope’s photographs, ballerinas come back to earth, where they belong. " (Elisabeth Sherman). 

Copenhagen: Royal Danish Ballet School / Det Kongelige Teaters Balletskole, 1970's. 20 vintage photographic prints, various sizes, most measure around 17 x 24 cm. Overall well preserved. "Artistically, Johnsen towers above the vast majority of his contemporaries, and in the period 1967-96, during which he photographed the Royal Danish Ballet and leading international companies such as New York City Ballet, Alvin Ailey American Dance Theater and Martha Graham Dance Company, he was indisputably his country’s foremost photographer of dance.His photographs uniquely document the work of these outstanding companies in that period. Johnsen’s photographs show taut, lithely elegant bodies captured in mid-movement, beads of perspiration often visible on the skin, his camera preferring always to be as close as possible" (From the foreword to "Dance in the Mirror"). 

London: Unit Editions, 2012. Very heavy large 4to hardcover with jacket and original box - white lettered red cloth with wrap-around band. Box with wear to corners, book itself completely unharmed, in fine, very well preserved and clean condition. 448 pages. Illustrated richly. First edition, 1st printing - the limited numbered printing, this being # 1806. The monograph features hundreds of examples of Lubalin’s work (many never before published), and previously unseen photographs of him at work and play. Divided into sections on his work in Advertising, Typography and Editorial, it features an extensive biographical text by Adrian Shaughnessy that includes interviews with George Lois, Seymour Chwast, Alan Peckolick, Carl Fischer, Steven Heller, and members of the Lubalin family. Due to weight foreign shipping will be extra - please inquire before ordering this item!

Brooklyn: Powerhouse Books, 2014. Large heavy oversized hardcover complete with clear see-through dustjacket. xxix-270pp., illustrated throughout in color. Minor wear to the jacket else a clean and well preserved copy. First edition, 2nd printing.

London: Unit Editions, 2014. Heavy 4to in wraps with dustjacket and slipcase as issued. 310 pages. Illustrated richly. Slipcase a bit worn, book jacket sunned, ese very well preserved clean copy. In all a very good copy. First edition. "Supernew Supergraphics reflects the numerous ways in which graphics are invading public spaces and disrupting the sometimes-staid world of public architecture. It’s a compendium of graphic excess on a monumental scale. It features new work from around the globe, and interviews with leading practitioners Felice Varini, Sascha Lobe, Sara De Bondt and Boa Mistura. The book’s design by Spin is a tour de force of graphic expression. The cover pays homage to the originators of Supergraphics in the 1960s – a group of radical architects who broke the unwritten rule that you never paint on architecture. Not only did they apply paint to architecture, but they always made sure the graphics were too big for the surfaces they were applied to. This is echoed in the cover for Supernew Supergraphics." - "Supernew Supergraphics is a collection of the best architectural, environmental and interior graphic design. This all-new book shows how the current generation of designers and architects are blasting typography and graphic forms across walls – even landscapes. It shows how they are distorting space and warping entire buildings with color, typographic messages and abstract shapes."