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[publisher: Berlin, Im Deutschen Verlag] Hardcover First Edition Berlin, Im Deutschen Verlag, 1937. Pleine toile rouge avec lettrage et décor dorés sur le premier plat et le dos, jaquette illustrée, étui d origine avec le tampon de la photographe (pour le premier exemplaire uniquement), 210 x 235 mm. 282 pages et 285 photographies. Avant-propos de Leni Riefenstahl légendées en anglais, allemand, français, italien et espagnol. Les photographies de cet ouvrage sont tirées du film de Léni Riefenstahl "Olympia", tourné lors des jeux Olympiques de l'été 1936. Film largement reconnu pour ses réalisations techniques et esthétiques. "Schönheit Im Olympischen Kampf" est le premier ouvrage où des athlètes ont pu être photographiés de si près. Pour la première partie de son livre, Leni Riefenstahl présente un idéal grec antique à travers des temples et des corps athlétiques. La seconde partie débute avec l'arrivée dans le stade olympique de l'équipe allemande dans un uniforme blanc immaculé sous le regard du Führer, et l'ouvrage se termine avec un aperçu du du tournage du film « Olympia ». - Premier exemplaire avec la photographie de la page 237 inversée et les noms des collaborateurs imprimés à la dernière page dont Willy Zilke où l on lit: « La plupart des images sont des agrandissement du film olympique. Les photos des temps (anciens), des sculptures et des nus sont de Willy Zielke. Arthur Grimm ...
Berlin: im Deutschen Verlag,, Date: 1937. SIGNED AND INSCRIBED BY AUTHOR at half-title page - " Arthur Kiekebusch su wiedersehen 1937 herrlich (?) Leni Riefenstahl". Arthur Kiekebusch was a German production manager and director, best known for the 1920 silent film "The Woman in the Dolphin" starring Bela Lugosi. He was the assistant production manager, with responsibility for all cameras and lenses, on Riefenstahl's film "Olympia" from which the photographs in this book were taken. He also worked with Leni on her 1935 film "Triumph of the Will" as unit manager and head cameraman. The First Edition book is Very Good Minus, boards bowed, cloth rubbed at corners and spine ends, prior owner name and US address front end page, hinges starting, lacking the dust jacket . Regardless, given their close working relationship, an important and historic association copy in German film making.. SIGNED AND INSCRIBED BY AUTHOR. First Edition. Cloth. Very Good Minus/No Jacket. 4to - over 9¾" - 12" tall. Association Copy. 1937. im Deutschen Verlag, US
Berlin: im Deutschen Verlag,, Date: 1937. SIGNED AND INSCRIBED BY AUTHOR at half-title page - " Arthur Kiekebusch su wiedersehen 1937 herrlich (?) Leni Riefenstahl". Arthur Kiekebusch was a German production manager and director, best known for the 1920 silent film "The Woman in the Dolphin" starring Bela Lugosi. He was the assistant production manager, with responsibility for all cameras and lenses, on Riefenstahl's film "Olympia" from which the photographs in this book were taken. He also worked with Leni on her 1935 film "Triumph of the Will" as unit manager and head cameraman. The First Edition book is Very Good Minus, boards bowed, cloth rubbed at corners and spine ends, prior owner name and US address front end page, hinges starting, lacking the dust jacket . Regardless, given their close working relationship, an important and historic association copy in German film making.. SIGNED AND INSCRIBED BY AUTHOR. First Edition. Cloth. Very Good Minus/No Jacket. 4to - over 9¾" - 12" tall. Association Copy. 1937. im Deutschen Verlag, [US]
[publisher: im Deutschen Verlag,, Berlin] Hardcover First Edition SIGNED AND INSCRIBED BY AUTHOR at half-title page - " Arthur Kiekebusch su wiedersehen 1937 herrlich (?) Leni Riefenstahl". Arthur Kiekebusch was a German production manager and director, best known for the 1920 silent film "The Woman in the Dolphin" starring Bela Lugosi. He was the assistant production manager, with responsibility for all cameras and lenses, on Riefenstahl's film "Olympia" from which the photographs in this book were taken. He also worked with Leni on her 1935 film "Triumph of the Will" as unit manager and head cameraman. The First Edition book is Very Good Minus, boards bowed, cloth rubbed at corners and spine ends, prior owner name and US address front end page, hinges starting, lacking the dust jacket . Regardless, given their close working relationship, an important and historic association copy in German film making. Size: 4to - over 9¾" - 12" tall [Bloomington, IN, U.S.A.] [Publication Year: 1937]
[publisher: Berlin: Im Deutschen Verlag, 1937] First Edition First edition, first printing, an exceptional copy retaining the rare glassine and card slipcase. This photobook was produced alongside Olympia, Riefenstahl's landmark documentary of the 1936 Berlin Olympics. Olympia was immediately recognized as truly innovative, experimenting with cutting-edge shooting and editing techniques, winning the Best Foreign Film in Venice following its premiere in 1938. The majority of the images featured in this volume are taken from the film, but the concluding section adds 31 behind-the-scenes production photos. Riefenstahl's legacy has been bitterly contested since the Second World War. Some (including Riefenstahl herself) have attempted to portray her as an independent artist, with a purely aesthetic mission, having little interest in the Nazi programme. It has been argued that her film, in fact, offended the sensibilities of senior Nazis and that Goebbels tried to have it destroyed. However, the consensus has been less forgiving. Susan Sontag, in her essay "Fascinating Fascism", attacked these attempts to sanitize Riefenstahl's reputation, asserting that Olympia was "commissioned and entirely financed by the Nazi government. and facilitated by Goebbels's ministry at every stage of the shooting". However, both the film and book inevitably included images of African-American quadruple gold medallist Jesse Owens, an electrifying ...
Berlin: Im Deutschen Verlag,, Date: 1937. The Berlin Olympics First edition, first printing, an exceptional copy retaining the rare glassine and card slipcase. This photobook was produced alongside Olympia, Riefenstahl's landmark documentary of the 1936 Berlin Olympics. Olympia was immediately recognized as truly innovative, experimenting with cutting-edge shooting and editing techniques, winning the Best Foreign Film in Venice following its premiere in 1938. The majority of the images featured in this volume are taken from the film, but the concluding section adds 31 behind-the-scenes production photos. Riefenstahl's legacy has been bitterly contested since the Second World War. Some (including Riefenstahl herself) have attempted to portray her as an independent artist, with a purely aesthetic mission, having little interest in the Nazi programme. It has been argued that her film, in fact, offended the sensibilities of senior Nazis and that Goebbels tried to have it destroyed. However, the consensus has been less forgiving. Susan Sontag, in her essay "Fascinating Fascism", attacked these attempts to sanitize Riefenstahl's reputation, asserting that Olympia was "commissioned and entirely financed by the Nazi government... and facilitated by Goebbels's ministry at every stage of the shooting". However, both the film and book inevitably included images of African-American quadruple gold medallist Jesse Owens, an electrifying refutation Nazi claims to Aryan athletic ...
[publisher: Berlin: Im Deutschen Verlag, 1937] First Edition First edition, first printing, an exceptional copy retaining the rare glassine and card slipcase. This photobook was produced alongside Olympia, Riefenstahl's landmark documentary of the 1936 Berlin Olympics. Olympia was immediately recognized as truly innovative, experimenting with cutting-edge shooting and editing techniques, winning the Best Foreign Film in Venice following its premiere in 1938. The majority of the images featured in this volume are taken from the film, but the concluding section adds 31 behind-the-scenes production photos. Riefenstahl's legacy has been bitterly contested since the Second World War. Some (including Riefenstahl herself) have attempted to portray her as an independent artist, with a purely aesthetic mission, having little interest in the Nazi programme. It has been argued that her film, in fact, offended the sensibilities of senior Nazis and that Goebbels tried to have it destroyed. However, the consensus has been less forgiving. Susan Sontag, in her essay "Fascinating Fascism", attacked these attempts to sanitize Riefenstahl's reputation, asserting that Olympia was "commissioned and entirely financed by the Nazi government. and facilitated by Goebbels's ministry at every stage of the shooting". However, both the film and book inevitably included images of African-American quadruple gold medallist Jesse Owens, an electrifying ...
Berlin: Deutschen Verlag. 1st Edition. Hardcover. Fine/Fine. FIRST EDITION, in exceptionally fine dust jacket and extremely rare original glassine, of Riefenstahl's classic monument to the athletes of the 1936 Olympics. Profusely illustrated with 273 black-and-white photographs. "With the German photographer Leni Riefenstahl, sports imagery rose to new aesthetic heights. Commissioned by Joseph Goebbels, she brought her considerable visual and organizational skills to bear on both the photographing and filming the 1936 Olympic Games. Although the film Olympiad has become an acknowledged classic, her book of photographs, Schönheit im Olympischen Kampf, no less spectacular in its own way, is less known. Sometimes Riefenstahl relied on poses modelled on the antique Greek ideal, faithful to Hitler's belief that modern Teutonic man was 'feeling closer to classical antiquity' than he had 'in possibly a thousand years'. But far more original were her depictions of superbly athletic bodies soaring gracefully through the air and knifing effortlessly through the water. Riefenstahl applied certain devices characteristic of the new German photography- strong diagonals, tight croppings, and bird's-eye and worm's-eye views. No longer was the camera an earthbound witness; it took to the air and the water with the athletes" (William A. Ewing, The Body). Roth 96: ("These are such exquisite, such transcendentally beautiful images of ...
Berlin: Deutschen Verlag. 1st Edition. Hardcover. Fine/Fine. FIRST EDITION, in exceptionally fine dust jacket and extremely rare original glassine, of Riefenstahl's classic monument to the athletes of the 1936 Olympics. Profusely illustrated with 273 black-and-white photographs. "With the German photographer Leni Riefenstahl, sports imagery rose to new aesthetic heights. Commissioned by Joseph Goebbels, she brought her considerable visual and organizational skills to bear on both the photographing and filming the 1936 Olympic Games. Although the film Olympiad has become an acknowledged classic, her book of photographs, Schönheit im Olympischen Kampf, no less spectacular in its own way, is less known. Sometimes Riefenstahl relied on poses modelled on the antique Greek ideal, faithful to Hitler's belief that modern Teutonic man was 'feeling closer to classical antiquity' than he had 'in possibly a thousand years'. But far more original were her depictions of superbly athletic bodies soaring gracefully through the air and knifing effortlessly through the water. Riefenstahl applied certain devices characteristic of the new German photography- strong diagonals, tight croppings, and bird's-eye and worm's-eye views. No longer was the camera an earthbound witness; it took to the air and the water with the athletes" (William A. Ewing, The Body). Roth 96: ("These are such exquisite, such transcendentally beautiful images of ...
[publisher: Deutschen Verlag, Berlin] Hardcover First Edition FIRST EDITION, in exceptionally fine dust jacket and extremely rare original glassine, of Riefenstahl's classic monument to the athletes of the 1936 Olympics. Profusely illustrated with 273 black-and-white photographs. "With the German photographer Leni Riefenstahl, sports imagery rose to new aesthetic heights. Commissioned by Joseph Goebbels, she brought her considerable visual and organizational skills to bear on both the photographing and filming the 1936 Olympic Games. Although the film Olympiad has become an acknowledged classic, her book of photographs, Schönheit im Olympischen Kampf, no less spectacular in its own way, is less known. Sometimes Riefenstahl relied on poses modelled on the antique Greek ideal, faithful to Hitler's belief that modern Teutonic man was 'feeling closer to classical antiquity' than he had 'in possibly a thousand years'. But far more original were her depictions of superbly athletic bodies soaring gracefully through the air and knifing effortlessly through the water. Riefenstahl applied certain devices characteristic of the new German photography- strong diagonals, tight croppings, and bird's-eye and worm's-eye views. No longer was the camera an earthbound witness; it took to the air and the water with the athletes" (William A. Ewing, The Body). Roth 96: ("These are such exquisite, such transcendentally beautiful images ...
[publisher: Im Deutschen Verlag, Berlin] Hardcover First Edition Brown cloth with gilt lettering on front cover and spine. Original dust jacket with small closed tears and fraying along top and bottom of spine and flap corners. Early association copy inscribed by Leni Riefenstahl on the half title: "Für Ernst Lemmer. Zur Erinnerung an den 10. Mai 1938. Leni Riefenstahl". Ernst Lemmer was a member of the Reichstag and founding member of the Eastern zone CDU. During the war he was a foreign newspaper correspondent. After the war he was a minister in the Bonn federal government. Tape remainders on endpaper and half title page probably used to keep these pages together and so hide the inscription. Printed in photogravure. Illustrated with 286 photos from different photographers, under the direction of Riefenstahl. Picture captions in English, German, Spanish, and French. Scarce first printing; there was also a second printing in the same year (1937) and a reprint in 1988. Andrew Roth, The Book of 101 Books, page 96/97. 802 photobooks of the M. + M. Auer collection, page 225. 282 pp. 30,6 x 23,5 cm. Important photobook wit a historical interesting inscription by Leni Riefenstahl. [Veldhoven, Netherlands] [Publication Year: ...
Hardcover First Edition (Berlin: Deutschen Verlag, 1937). FIRST EDITION, in an outstanding fine D/W together with the extremely rare original glassine (almost always missing). Riefenstahl's classic monument to the athletes of the 1936 Olympics. Profusely illustrated with nearly 300 black-and-white photographs. Quarto, publisher's original copper cloth boards with gilt lettering to the front board. With picture captions in English, German, Spanish, and French. An absolutely fine copy (no foxing to the page block edges) in like D/W with no edgewear whatsoever. The rare glassine has a little edgewear but is entirely original. Exceedingly uncommon with these attributes and an outstanding copy. A REALLY FINE COPY IN D/W WITH THE ORIGINAL GLASSINE. Photographs/scans available upon request. [LEICESTER, United Kingdom] [Publication Year: 1937]
Date: 1937. First Edition. Hard Cover. Dust Jacket. (Berlin: Deutschen Verlag, 1937). FIRST EDITION, in an outstanding fine D/W together with the extremely rare original glassine (almost always missing). Riefenstahl's classic monument to the athletes of the 1936 Olympics. Profusely illustrated with nearly 300 black-and-white photographs. Quarto, publisher's original copper cloth boards with gilt lettering to the front board. With picture captions in English, German, Spanish, and French. An absolutely fine copy (no foxing to the page block edges) in like D/W with no edgewear whatsoever. The rare glassine has a little edgewear but is entirely original. Exceedingly uncommon with these attributes and an outstanding copy. A REALLY FINE COPY IN D/W WITH THE ORIGINAL GLASSINE. Photographs/scans available upon request. 1937. [GB]
Berlin: Im Deutschen Verlag, Date: 1937. First Edition. Laid in is a vintage postcard photograph of Leni Riefenstahl, a portrait from one of her films, signed in ink by the author - film director, Leni Riefenstahl. Large folio volume of still photographs of Riefenstahl’s filming of her motion picture Olympia. Generally considered the finest sports documentary ever produced, Olympia is well portrayed in this wonderful collection of photographs of the various sporting events of the 1936 Berlin Olympics. Each of the full page photographs is captioned in English, German, Spanish, and French. At the rear of this 281 page coffee table book is a section showing many pictures of Riefenstahl shooting the film. Bound in full copper cloth with gilt stamping. Neat ownership signature, else fine in a near fine bright lightly used dust jacket. 1937. Im Deutschen Verlag US
Berlin: Im Deutschen Verlag, Date: 1937. First Edition. Laid in is a vintage postcard photograph of Leni Riefenstahl, a portrait from one of her films, signed in ink by the author - film director, Leni Riefenstahl. Large folio volume of still photographs of Riefenstahl’s filming of her motion picture Olympia. Generally considered the finest sports documentary ever produced, Olympia is well portrayed in this wonderful collection of photographs of the various sporting events of the 1936 Berlin Olympics. Each of the full page photographs is captioned in English, German, Spanish, and French. At the rear of this 281 page coffee table book is a section showing many pictures of Riefenstahl shooting the film. Bound in full copper cloth with gilt stamping. Neat ownership signature, else fine in a near fine bright lightly used dust jacket. 1937. Im Deutschen Verlag [US]
[publisher: Berlin Im Deutschen Verlag 1937] Hardcover First Edition First Edition. Laid in is a vintage postcard photograph of Leni Riefenstahl, a portrait from one of her films, signed in ink by the author - film director, Leni Riefenstahl. Large folio volume of still photographs of RiefenstahlÕs filming of her motion picture Olympia. Generally considered the finest sports documentary ever produced, Olympia is well portrayed in this wonderful collection of photographs of the various sporting events of the 1936 Berlin Olympics. Each of the full page photographs is captioned in English, German, Spanish, and French. At the rear of this 281 page coffee table book is a section showing many pictures of Riefenstahl shooting the film. Bound in full copper cloth with gilt stamping. Neat ownership signature, else fine in a near fine bright lightly used dust jacket. [Santa Barbara, CA, U.S.A.] [Publication Year: 1937]
[publisher: Deutschen Verlag, Berlin] Hardcover First Edition First edition, first printing. With dedication by Leni Riefenstahl on both a photo of Leni Riefenstahl and on the book- to Renate Ditmar! Scarce first printing; there was also a second printing in the same year (1937) and a reprint in 1988. Important photo book: Andrew Roth, The Book of 101 Books, page 96/97. 802 photobooks of the M. + M. Auer collection, page 225. Hardback in full brown cloth, illustrated paper dust jacket, transparent jacket and slipcase with "Riefenstahl" stamp. 306 x 235 mm. 282 pages. 286 photos from different photographers, under the direction of Riefenstahl. Printed in photogravure. Condition: A waterspot on the cover page which caused the cover letters to partially fall,otherwise clean conditon inside,minimal spotting on some of the pictures. With picture captions in English, German, Spanish, and French. [Sofia, Bulgaria] [Publication Year: 1936]
[publisher: Berlin, Deutscher Verlag (1937).] Hardcover First Edition 4°. 280 S., [2] Bl. mit teils ganzs. Abb. in Kupfertiefdruck. OLn. mit goldgepr. Rücken- u. Deckeltitel (Entwurf: F. H. Ehmcke) u. illustr. Orig.-Schutzumschlag sowie zusätzlicher Japanpapier-Schutzumschlag. Auer 255. Heidtmann 17277. Heiting/Jaeger II, 530 ff. Koetzle 369 f. Lederman/Yatskevich 93. Parr/Badger I, 151. Roth, The Book of 101 Books 96 f. - Erste Ausgabe der ersten Bindequote. - Dazu: signiertes Porträtfoto von L. Riefenstahl (aus den 1930er Jahren, Signatur und Abzug um 1980) und 1 Orig.-Photographie (Silbergelatine, 23,5 x 30 cm.) "Die Fünfkampfsieger Handrick-Deutschland, Leonard, USA und Abba, Italien", im Buch abgebildet auf S. 179, rückseitig mit Stempel "Foto: Tobis. Fimkunst G.m.b.H." (Kino-Aushangfoto). - "Der größte Teil der Bilder sind Vergrößerungen aus dem Olympia-Film. Von Willy Zielke sind die Aufnahmen der Tempel, Plastiken und Akte. Arthur Grimm machte die Standfotos. Die Werkaufnahmen sind von Arthur Grimm und Rolf Lantin. Das Heraussuchen der Bilder aus dem Filmmaterial erfolgte durch Guzzi Lantschner. Vergrößerungen und Ausarbeitung der Fotos: Gertrud Sieburg und Rolf Lantin" (T. Wiegand in Heiting/Jaeger). - "These are such exquisite, such trancscendentally beautiful images of athletes, that one almost forgets their context. . 'Schönheit im Olympischen Kampf' begins with the pillars of the Parthenon and ...
Berlin: Im Deutschen Verlag, Date: 1937. First edition. Hardcover. Very good to fine condition. Folio. 280, (4)pp. Privately bound vellum-covered boards of the time with Olympic Rings and calligraphed black lettering in ink on cover, housed in tan cloth-covered clamshell box with vellum slip flap. Illustrated with 273 spectacular captioned photogravures, this seminal work in the history of sports begins with the pillars of the Parthenon and ends with the stacks of film reels on Leni Riefenstahl's shelves. The photographs were taken from the author's groundbreaking film "Olympia," the first documentary feature film of the Olympic Games ever made and widely noted for its technical and aesthetic achievements. Although Josef Goebbels told Riefenstahl to ignore non-Aryan athletes, she filmed and photographed (as seen in this work) competitors of all races, including African-American Jesse Owens. Includes two photos of Hitler, one as the German team enters the stadium, the other with Reichssportführer Hans von Tschammer und Osten. The last section of the book documents the preparation of the Olympic film, showing cameras on dollies, and tracks, cranes, and swivels submerged in pits and suspended from balloons. There are underwater cameras, miniature and giant cameras, cameras on towers and boats. Foreword in German, captions in German, French, English, Spanish and Italian. Some very light stains on cover and spine, and lightly rubbed on inside front cover of box. Vellum ...
Berlin: Im Deutschen Verlag, Date: 1937. First edition. Hardcover. Very good to fine condition. Folio. 280, (4)pp. Privately bound vellum-covered boards of the time with Olympic Rings and calligraphed black lettering in ink on cover, housed in tan cloth-covered clamshell box with vellum slip flap. Illustrated with 273 spectacular captioned photogravures, this seminal work in the history of sports begins with the pillars of the Parthenon and ends with the stacks of film reels on Leni Riefenstahl's shelves. The photographs were taken from the author's groundbreaking film "Olympia," the first documentary feature film of the Olympic Games ever made and widely noted for its technical and aesthetic achievements. Although Josef Goebbels told Riefenstahl to ignore non-Aryan athletes, she filmed and photographed (as seen in this work) competitors of all races, including African-American Jesse Owens. Includes two photos of Hitler, one as the German team enters the stadium, the other with Reichssportführer Hans von Tschammer und Osten. The last section of the book documents the preparation of the Olympic film, showing cameras on dollies, and tracks, cranes, and swivels submerged in pits and suspended from balloons. There are underwater cameras, miniature and giant cameras, cameras on towers and boats. Foreword in German, captions in German, French, English, Spanish and Italian. Some very light stains on cover and spine, and lightly rubbed on inside front cover of box. Vellum ...
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[publisher: Im Deutschen Verlag, Berlin] Hardcover First Edition Folio. 280, (4)pp. Privately bound vellum-covered boards of the time with Olympic Rings and calligraphed black lettering in ink on cover, housed in tan cloth-covered clamshell box with vellum slip flap. Illustrated with 273 spectacular captioned photogravures, this seminal work in the history of sports begins with the pillars of the Parthenon and ends with the stacks of film reels on Leni Riefenstahl's shelves. The photographs were taken from the author's groundbreaking film "Olympia," the first documentary feature film of the Olympic Games ever made and widely noted for its technical and aesthetic achievements. Although Josef Goebbels told Riefenstahl to ignore non-Aryan athletes, she filmed and photographed (as seen in this work) competitors of all races, including African-American Jesse Owens. Includes two photos of Hitler, one as the German team enters the stadium, the other with Reichssportführer Hans von Tschammer und Osten. The last section of the book documents the preparation of the Olympic film, showing cameras on dollies, and tracks, cranes, and swivels submerged in pits and suspended from balloons. There are underwater cameras, miniature and giant cameras, cameras on towers and boats. Foreword in German, captions in German, French, English, Spanish and Italian. Some very light stains on cover and spine, and lightly rubbed on inside front cover of box. Vellum slip flap ...
[publisher: Im Deutschen Verlag, Berlin] Hardcover First Edition Folio. 280, (4)pp. Privately bound vellum-covered boards of the time with Olympic Rings and calligraphed black lettering in ink on cover, housed in tan cloth-covered clamshell box with vellum slip flap. Illustrated with 273 spectacular captioned photogravures, this seminal work in the history of sports begins with the pillars of the Parthenon and ends with the stacks of film reels on Leni Riefenstahl's shelves. The photographs were taken from the author's groundbreaking film "Olympia," the first documentary feature film of the Olympic Games ever made and widely noted for its technical and aesthetic achievements. Although Josef Goebbels told Riefenstahl to ignore non-Aryan athletes, she filmed and photographed (as seen in this work) competitors of all races, including African-American Jesse Owens. Includes two photos of Hitler, one as the German team enters the stadium, the other with Reichssportführer Hans von Tschammer und Osten. The last section of the book documents the preparation of the Olympic film, showing cameras on dollies, and tracks, cranes, and swivels submerged in pits and suspended from balloons. There are underwater cameras, miniature and giant cameras, cameras on towers and boats. Foreword in German, captions in German, French, English, Spanish and Italian. Some very light stains on cover and spine, and lightly rubbed on inside front cover of box. Vellum slip flap ...
[publisher: Berlin, Deutscher Verlag (1937).] Hardcover First Edition 4°. 280 S., [2] Bl. mit teils ganzs. Abb. in Kupfertiefdruck. OLn. mit goldgepr. Rücken- u. Deckeltitel (Entwurf: F. H. Ehmcke) u. illustr. Orig.-Schutzumschlag. Auer 255. Heidtmann 17277. Heiting/Jaeger II, 530 ff. Koetzle 369. Lederman/Yatskevich 93. Parr/Badger I, 151. Roth, The Book of 101 Books 96 f. - Erste Ausgabe der ersten Bindequote. - Dazu: Autogrammkarte mit eigenhändiger Widmung von L. Riefenstahl (um 1935) und 1 Orig.-Photographie (Silbergelatine, 23,5 x 30 cm.) Kugelstoßer "Hans Woellke, Olympiasieger", im Buch abgebildet auf S. 89, rückseitig mit Stempel "Foto: Tobis. Fimkunst G.m.b.H." (Kino-Aushangfoto). - "The German filmmaker and Nazi sympathizer Leni Riefenstahl published 'Schönheit im Olympischen Kampf' (Beauty in the Olympic Games) - both a masterpiece of modern art and a tool for political propaganda - to mark the occasion of the 1956 Olympic Games held in Berlin. Adolf Hitler, who viewed the event as an opportunity to advance his Nazi ideals of racial superiority, engaged Riefenstahl under the direction of his propaganda minister Joseph Goebbels during the summer of 1936 to direct Olympia (1938), a film that employed groundbreaking visual techniques of glorify the Nazi Party and its role as host of the Olympic Games. Still frames from the film's rough footage, along with images from several photographers hired by Riefenstahl, ...
[publisher: Berlin, Deutscher Verlag (1937).] Hardcover First Edition 4°. 280 S., [2] Bl. mit teils ganzs. Abb. in Kupfertiefdruck. OLn. mit goldgepr. Rücken- u. Deckeltitel (Entwurf: F. H. Ehmcke) u. illustr. Orig.-Schutzumschlag sowie zusätzlicher Japanpapier-Schutzumschlag. Auer 255. Heidtmann 17277. Heiting/Jaeger II, 530 ff. Koetzle 369 f. Lederman/Yatskevich 93. Parr/Badger I, 151. Roth, The Book of 101 Books 96 f. - Erste Ausgabe der ersten Bindequote. - Dazu: signiertes Porträtfoto von L. Riefenstahl (aus den 1930er Jahren, Signatur und Abzug um 1980) und 1 Orig.-Photographie (Silbergelatine, 23,5 x 30 cm.) "Die Fünfkampfsieger Handrick-Deutschland, Leonard, USA und Abba, Italien", im Buch abgebildet auf S. 179, rückseitig mit Stempel "Foto: Tobis. Fimkunst G.m.b.H." (Kino-Aushangfoto). - "Der größte Teil der Bilder sind Vergrößerungen aus dem Olympia-Film. Von Willy Zielke sind die Aufnahmen der Tempel, Plastiken und Akte. Arthur Grimm machte die Standfotos. Die Werkaufnahmen sind von Arthur Grimm und Rolf Lantin. Das Heraussuchen der Bilder aus dem Filmmaterial erfolgte durch Guzzi Lantschner. Vergrößerungen und Ausarbeitung der Fotos: Gertrud Sieburg und Rolf Lantin" (T. Wiegand in Heiting/Jaeger). - "These are such exquisite, such trancscendentally beautiful images of athletes, that one almost forgets their context. . 'Schönheit im Olympischen Kampf' begins with the pillars of the Parthenon and ...
[publisher: Berlin, Deutscher Verlag (1937).] Hardcover First Edition 4°. 280 S., [2] Bl. mit teils ganzs. Abb. in Kupfertiefdruck. OLn. mit goldgepr. Rücken- u. Deckeltitel (Entwurf: F. H. Ehmcke) u. illustr. Orig.-Schutzumschlag. Auer 255. Heidtmann 17277. Heiting/Jaeger II, 530 ff. Koetzle 369. Lederman/Yatskevich 93. Parr/Badger I, 151. Roth, The Book of 101 Books 96 f. - Erste Ausgabe der ersten Bindequote. - Dazu: Autogrammkarte mit eigenhändiger Widmung von L. Riefenstahl (um 1935) und 1 Orig.-Photographie (Silbergelatine, 23,5 x 30 cm.) Kugelstoßer "Hans Woellke, Olympiasieger", im Buch abgebildet auf S. 89, rückseitig mit Stempel "Foto: Tobis. Fimkunst G.m.b.H." (Kino-Aushangfoto). - "The German filmmaker and Nazi sympathizer Leni Riefenstahl published 'Schönheit im Olympischen Kampf' (Beauty in the Olympic Games) - both a masterpiece of modern art and a tool for political propaganda - to mark the occasion of the 1956 Olympic Games held in Berlin. Adolf Hitler, who viewed the event as an opportunity to advance his Nazi ideals of racial superiority, engaged Riefenstahl under the direction of his propaganda minister Joseph Goebbels during the summer of 1936 to direct Olympia (1938), a film that employed groundbreaking visual techniques of glorify the Nazi Party and its role as host of the Olympic Games. Still frames from the film's rough footage, along with images from several photographers hired by Riefenstahl, ...
[publisher: Im Deutschen Verlag, Berlin.] Hardcover First Edition First edition. Quarto. 281 pages, almost all devoted to stills from Riefenstahl's groundbreaking documentary film of the 1936 Olympic Games. Captions in five languages. Red cloth gilt.Near fine in very good indeed dustwrapper with several nicks at the edges. [London, United Kingdom] [Publication Year: 1937]
Berlin Im Deutschen Verlag 1937 First Edition Hardcover Riefestahl, Leni Very Good in Near Fine jacket Quarto. 281 pp. Brick red cloth with gilt lettering on front and spine. Nearly 300 black and white photographs of one or more athletes from each event at the 1936 Summer Olympics in Berlin. The book is clean, square and tight throughout. It is nearly fine but for foxing on the page edges; interior is clean. Illustrated dust jacket is bright and clean with minor wear on bottom edge; in mylar sleeve. Riefenstahl was an acclaimed film maker and photographer in Germany. She was also a propagandist for Hitler. Goebbles asked her to film the 1936 Olympics to promote Aryan superiority, ignoring non-Aryan athletes. She produced the groundbreaking film "Olympia" and this photo book to accompany it. She did promote German athletes but did not follow instructions. She photographed athletes from many nations, including American Jesse Owens (p. 100). The last 33 pages, replete with photographs, tells the story of the making of the film and many of the new technical advances she used. A beautiful book of sports photography noted for its technical innovations and aesthetic quality, and a primary source of the history of the turbulant times of the mid-1930s.
Berlin: Im Deutschen Verlag, Date: 1937. 281 pp. Brick red cloth with gilt lettering on front and spine. Nearly 300 black and white photographs of one or more athletes from each event at the 1936 Summer Olympics in Berlin. The book is clean, square and tight throughout. It is nearly fine but for foxing on the page edges; interior is clean. Illustrated dust jacket is bright and clean with minor wear on bottom edge; in mylar sleeve. Riefenstahl was an acclaimed film maker and photographer in Germany. She was also a propagandist for Hitler. Goebbles asked her to film the 1936 Olympics to promote Aryan superiority, ignoring non-Aryan athletes. She produced the groundbreaking film "Olympia" and this photo book to accompany it. She did promote German athletes but did not follow instructions. She photographed athletes from many nations, including American Jesse Owens (p. 100). The last 33 pages,replete with photographs, tells the story of the making of the film and many of the new technical advances she used. A beautiful book of sports photography noted for its technical innovations and aesthetic quality, and a primary source of the history of the turbulant times of the mid-1930s.. First Edition. Hardcover. Very Good/Near Fine. Illus. by Riefestahl, Leni. Quarto. 1937. Im Deutschen Verlag [US]
[publisher: Im Deutschen Verlag, Berlin] Hardcover First Edition 281 pp. Brick red cloth with gilt lettering on front and spine. Nearly 300 black and white photographs of one or more athletes from each event at the 1936 Summer Olympics in Berlin. The book is clean, square and tight throughout. It is nearly fine but for foxing on the page edges; interior is clean. Illustrated dust jacket is bright and clean with minor wear on bottom edge; in mylar sleeve. Riefenstahl was an acclaimed film maker and photographer in Germany. She was also a propagandist for Hitler. Goebbles asked her to film the 1936 Olympics to promote Aryan superiority, ignoring non-Aryan athletes. She produced the groundbreaking film "Olympia" and this photo book to accompany it. She did promote German athletes but did not follow instructions. She photographed athletes from many nations, including American Jesse Owens (p. 100). The last 33 pages,replete with photographs, tells the story of the making of the film and many of the new technical advances she used. A beautiful book of sports photography noted for its technical innovations and aesthetic quality, and a primary source of the history of the turbulant times of the mid-1930s. Size: Quarto [Madison, NJ, U.S.A.] [Publication Year: ...
Im Deutschen Verlag, Berlin., Date: 1937. First edition. Quarto. 281 pages, almost all devoted to stills from Riefenstahl's groundbreaking documentary film of the 1936 Olympic Games. Captions in five languages. Red cloth gilt.Near fine in very good indeed dustwrapper with several nicks at the edges. 1937. Im Deutschen Verlag, Berlin. [GB]
[publisher: Im Deutschen Verlag, Berlin.] Hardcover First Edition First edition. Quarto. 281 pages, almost all devoted to stills from Riefenstahl's groundbreaking documentary film of the 1936 Olympic Games. Captions in five languages. Red cloth gilt.Near fine in very good indeed dustwrapper with several nicks at the edges. [London, United Kingdom] [Publication Year: 1937]
Berlin Im Deutschen Verlag 1937 First Edition Hardcover Riefestahl, Leni Very Good in Good jacket Quarto. 281 pp. Brick red cloth with gilt lettering on front and spine. Exquisite previous owner inscription in German using multiple color ink dated December 12, 1937. (A presentation of this book to the accountant/bookeeper of the Stuttgart Snow Shoe/Ski Club in celebrationof his 40th birthday). Nearly 300 black and white photographs of one or more athletes from each event at the 1936 Summer Olympics in Berlin. The book is clean, square and tight throughout. It is nearly fine but for foxing on the page edges; interior is clean. Illustrated dust jacket has a chipped corner and soil spots on the front and rear panels. in mylar sleeve. Riefenstahl was an acclaimed film maker and photographer in Germany. She was also a propagandist for Hitler. Goebbles asked her to film the 1936 Olympics to promote Aryan superiority, ignoring non-Aryan athletes. She produced the groundbreaking film "Olympia" and this photo book to accompany it. She did promote German athletes but did not follow instructions. She photographed athletes from many nations, including American Jesse Owens (p. 100). The last 33 pages, replete with photographs, tells the story of the making of the film and many of the new technical advances she used. A beautiful book of sports photography noted for its technical innovations and aesthetic quality, and a primary source of the history of the turbulent times of the ...
Berlin: Im Deutschen Verlag, Date: 1937. 281 pp. Brick red cloth with gilt lettering on front and spine. Exquisite previous owner inscription in German using multiple color ink dated December 12,1937. (A presentation of this book to the accountant/bookeeper of the Stuttgart Snow Shoe/Ski Club in celebrationof his 40th birthday). Nearly 300 black and white photographs of one or more athletes from each event at the 1936 Summer Olympics in Berlin. The book is clean, square and tight throughout. It is nearly fine but for foxing on the page edges; interior is clean. Illustrated dust jacket has a chipped corner and soil spots on the front and rear panels. in mylar sleeve. Riefenstahl was an acclaimed film maker and photographer in Germany. She was also a propagandist for Hitler. Goebbles asked her to film the 1936 Olympics to promote Aryan superiority, ignoring non-Aryan athletes. She produced the groundbreaking film "Olympia" and this photo book to accompany it. She did promote German athletes but did not follow instructions. She photographed athletes from many nations, including American Jesse Owens (p. 100). The last 33 pages,replete with photographs, tells the story of the making of the film and many of the new technical advances she used. A beautiful book of sports photography noted for its technical innovations and aesthetic quality, and a primary source of the history of the turbulent times of the mid-1930s.. First Edition. Hardcover. Very Good/Good. ...
[publisher: Im Deutschen Verlag, Berlin] Hardcover First Edition 281 pp. Brick red cloth with gilt lettering on front and spine. Exquisite previous owner inscription in German using multiple color ink dated December 12,1937. (A presentation of this book to the accountant/bookeeper of the Stuttgart Snow Shoe/Ski Club in celebrationof his 40th birthday). Nearly 300 black and white photographs of one or more athletes from each event at the 1936 Summer Olympics in Berlin. The book is clean, square and tight throughout. It is nearly fine but for foxing on the page edges; interior is clean. Illustrated dust jacket has a chipped corner and soil spots on the front and rear panels. in mylar sleeve. Riefenstahl was an acclaimed film maker and photographer in Germany. She was also a propagandist for Hitler. Goebbles asked her to film the 1936 Olympics to promote Aryan superiority, ignoring non-Aryan athletes. She produced the groundbreaking film "Olympia" and this photo book to accompany it. She did promote German athletes but did not follow instructions. She photographed athletes from many nations, including American Jesse Owens (p. 100). The last 33 pages,replete with photographs, tells the story of the making of the film and many of the new technical advances she used. A beautiful book of sports photography noted for its technical innovations and aesthetic quality, and a primary source of the history of the turbulent times of the mid-1930s. Size: Quarto ...
Berlin: Im Deutschen Verlag, Date: 1937. First edition. Hardcover. g to vg. Folio. 280, (4)pp. Original photo-illustrated dust jacket and orange cloth, with gold lettering on front cover and spine. Illustrated with 273 spectacular captioned photogravures, this seminal work in the history of sports begins with the pillars of the Parthenon and ends with the stacks of film reels on Leni Riefenstahl's shelves. The photographs were taken from the author's groundbreaking film "Olympia," the first documentary feature film of the Olympic Games ever made and widely noted for its technical and aesthetic achievements. Although Josef Goebbels told Riefenstahl to ignore non-Aryan athletes, she filmed and photographed (as seen in this work) competitors of all races, including African-American Jesse Owens. Includes two photos of Hitler, one as the German team enters the stadium, the other with Reichssportführer Hans von Tschammer und Osten. The last section of the book documents the preparation of the Olympic film, showing cameras on dollies, and tracks, cranes, and swivels submerged in pits and suspended from balloons. There are underwater cameras, miniature and giant cameras, cameras on towers and boats. Foreword in German, captions in German, French, English, Spanish and Italian. Dust-jacket with light wear along edges, very small chips and closed tears. Front cover of jacket with light rippling, not affecting image. Dust-jacket in overall good+, binding and interior in very good ...
Berlin: Im Deutschen Verlag, Date: 1937. First edition. Hardcover. g to vg. Folio. 280, (4)pp. Original photo-illustrated dust jacket and orange cloth, with gold lettering on front cover and spine. Illustrated with 273 spectacular captioned photogravures, this seminal work in the history of sports begins with the pillars of the Parthenon and ends with the stacks of film reels on Leni Riefenstahl's shelves. The photographs were taken from the author's groundbreaking film "Olympia," the first documentary feature film of the Olympic Games ever made and widely noted for its technical and aesthetic achievements. Although Josef Goebbels told Riefenstahl to ignore non-Aryan athletes, she filmed and photographed (as seen in this work) competitors of all races, including African-American Jesse Owens. Includes two photos of Hitler, one as the German team enters the stadium, the other with Reichssportführer Hans von Tschammer und Osten. The last section of the book documents the preparation of the Olympic film, showing cameras on dollies, and tracks, cranes, and swivels submerged in pits and suspended from balloons. There are underwater cameras, miniature and giant cameras, cameras on towers and boats. Foreword in German, captions in German, French, English, Spanish and Italian. Dust-jacket with light wear along edges, very small chips and closed tears. Front cover of jacket with light rippling, not affecting image. Dust-jacket in overall good+, binding and interior in very good ...
ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB) /Abebooks
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[publisher: Im Deutschen Verlag, Berlin] Hardcover First Edition Folio. 280, (4)pp. Original photo-illustrated dust jacket and orange cloth, with gold lettering on front cover and spine. Illustrated with 273 spectacular captioned photogravures, this seminal work in the history of sports begins with the pillars of the Parthenon and ends with the stacks of film reels on Leni Riefenstahl's shelves. The photographs were taken from the author's groundbreaking film "Olympia," the first documentary feature film of the Olympic Games ever made and widely noted for its technical and aesthetic achievements. Although Josef Goebbels told Riefenstahl to ignore non-Aryan athletes, she filmed and photographed (as seen in this work) competitors of all races, including African-American Jesse Owens. Includes two photos of Hitler, one as the German team enters the stadium, the other with Reichssportführer Hans von Tschammer und Osten. The last section of the book documents the preparation of the Olympic film, showing cameras on dollies, and tracks, cranes, and swivels submerged in pits and suspended from balloons. There are underwater cameras, miniature and giant cameras, cameras on towers and boats. Foreword in German, captions in German, French, English, Spanish and Italian. Dust-jacket with light wear along edges, very small chips and closed tears. Front cover of jacket with light rippling, not affecting image. Dust-jacket in overall good+, binding and interior ...
[publisher: Im Deutschen Verlag, Berlin] Hardcover First Edition Folio. 280, (4)pp. Original photo-illustrated dust jacket and orange cloth, with gold lettering on front cover and spine. Illustrated with 273 spectacular captioned photogravures, this seminal work in the history of sports begins with the pillars of the Parthenon and ends with the stacks of film reels on Leni Riefenstahl's shelves. The photographs were taken from the author's groundbreaking film "Olympia," the first documentary feature film of the Olympic Games ever made and widely noted for its technical and aesthetic achievements. Although Josef Goebbels told Riefenstahl to ignore non-Aryan athletes, she filmed and photographed (as seen in this work) competitors of all races, including African-American Jesse Owens. Includes two photos of Hitler, one as the German team enters the stadium, the other with Reichssportführer Hans von Tschammer und Osten. The last section of the book documents the preparation of the Olympic film, showing cameras on dollies, and tracks, cranes, and swivels submerged in pits and suspended from balloons. There are underwater cameras, miniature and giant cameras, cameras on towers and boats. Foreword in German, captions in German, French, English, Spanish and Italian. Dust-jacket with light wear along edges, very small chips and closed tears. Front cover of jacket with light rippling, not affecting image. Dust-jacket in overall good+, binding and interior ...
Berlin Im Deutschen Verlag 1937 First Edition Hardcover Fine in Near Fine+ jacket First Printing of Riefenstahl's "lavish, " controversial photobook, a "masterpiece of the propagandist's art." (Parr & Badger) Royal 8vo (309 x 234mm): 282, [2]pp, complete with 273 full-page gravure plates captioned in German, French, English, Spanish, and Italian. Publisher's burnt orange coarsely woven cloth, spine and upper cover stamped in gold, photographically illustrated white dust jacket printed in black and orange and unpriced (as issued). About Fine (bruise to upper right corner with resultant creases to tips of page corners, trivial flaking to spine gold); very minor professional restoration to jacket edge wear and gentle soiling to back panel. An excellent example, tightly bound and clean throughout with bright renditions of the plates. Without the extremely rare original glassine (almost always wanting). Auer, p. 255. Parr & Badger I, p.151. Roth (101 Books), p. 96-97. Most of the images are stills taken during the filming of Olympia (which won Best Foreign Film at the Venice Film Festival after its premiere, in 1938), augmented with 31 behind-the-scenes photos of the production, showing cameras on dollies and tracks, cranes and swivels, submerged in pits and suspended from balloons. "These are such exquisite, such transcendentally beautiful images of athletes, that one almost forgets their context. And it's all Greek temples and hardbodies [sic] until page 54, when the German ...
Berlin: Im Deutschen Verlag, Date: 1937. First Edition. Hardcover. Fine/Near Fine+. First Printing of Riefenstahl's "lavish," controversial photobook, a "masterpiece of the propagandist's art." (Parr & Badger) Royal 8vo (309 x 234mm): 282,[2]pp, complete with 273 full-page gravure plates captioned in German, French, English, Spanish, and Italian. Publisher's burnt orange coarsely woven cloth, spine and upper cover stamped in gold, photographically illustrated white dust jacket printed in black and orange and unpriced (as issued). About Fine (bruise to upper right corner with resultant creases to tips of page corners, trivial flaking to spine gold); very minor professional restoration to jacket edge wear and gentle soiling to back panel. An excellent example, tightly bound and clean throughout with bright renditions of the plates. Without the extremely rare original glassine (almost always wanting). Auer, p. 255. Parr & Badger I, p.151. Roth (101 Books), p. 96-97. Most of the images are stills taken during the filming of Olympia (which won Best Foreign Film at the Venice Film Festival after its premiere, in 1938), augmented with 31 behind-the-scenes photos of the production, showing cameras on dollies and tracks, cranes and swivels, submerged in pits and suspended from balloons. "These are such exquisite, such transcendentally beautiful images of athletes, that one almost forgets their context. And it's all Greek temples and hardbodies [sic] until page 54, when the German ...
[publisher: Im Deutschen Verlag, Berlin] Hardcover First Edition First Printing of Riefenstahl's "lavish," controversial photobook, a "masterpiece of the propagandist's art." (Parr & Badger) Royal 8vo (309 x 234mm): 282,[2]pp, complete with 273 full-page gravure plates captioned in German, French, English, Spanish, and Italian. Publisher's burnt orange coarsely woven cloth, spine and upper cover stamped in gold, photographically illustrated white dust jacket printed in black and orange and unpriced (as issued). About Fine (bruise to upper right corner with resultant creases to tips of page corners, trivial flaking to spine gold); very minor professional restoration to jacket edge wear and gentle soiling to back panel. An excellent example, tightly bound and clean throughout with bright renditions of the plates. Without the extremely rare original glassine (almost always wanting). Auer, p. 255. Parr & Badger I, p.151. Roth (101 Books), p. 96-97. Most of the images are stills taken during the filming of Olympia (which won Best Foreign Film at the Venice Film Festival after its premiere, in 1938), augmented with 31 behind-the-scenes photos of the production, showing cameras on dollies and tracks, cranes and swivels, submerged in pits and suspended from balloons. "These are such exquisite, such transcendentally beautiful images of athletes, that one almost forgets their context. And it's all Greek temples and ...
[publisher: Deutschen Verlag, Berlin] Hardcover First Edition First edition. Large 4to red cloth stamped in gilt. Preface by Riefenstahl . Her famous photographic record of the 1936 Munich Olympics. B/w photos printed on every page with captions in German, French, English, Spanish and Portuguese. A landmark work, including photos of Jesse Owens, Glenn Morris, Earle Meadows, and a large number of other American and international athletes. A fine copy in a good-plus dust jacket which has some long tears repaired on the verso and light chipping at the spine tips and corners. [Thousand Oaks, CA, U.S.A.] [Publication Year: 1936]
antiquariat peter petrej - Bibliopolium AG /Abebooks
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[publisher: Berlin, Deutscher Verlag] Hardcover 4°, 1 Bl. Vorwort u. 280 Taf., OLwd. m. Goldpräg., Etw. unfrisch, Goldpräg. tlw. abgeblättert, Vs. u. Titelei tlw. fingerfleckig, EA. «Der grösste Teil der Bilder sind Vergrösserungen aus dem Olympia-Film». Legenden dt./frz./engl./span./ital.; das Vorwort von L. Riefenstahl nur dt. 2600 gr. Schlagworte: Photographie, Sport-allgemein, Geschichte - Faschismus [Zürich, ZH, Switzerland] [Publication Year: 1937]
Berlin, Deutscher Verlag, 1937. 4°, 1 Bl. Vorwort u. 280 Taf., OLwd. m. Goldpräg., Etw. unfrisch, Goldpräg. tlw. abgeblättert, Vs. u. Titelei tlw. fingerfleckig, EA. «Der grösste Teil der Bilder sind Vergrösserungen aus dem Olympia-Film». Legenden dt./frz./engl./span./ital.; das Vorwort von L. Riefenstahl nur dt. 010 Berlin, Deutscher Verlag, 1937 [CH]
[publisher: Berlin, Deutscher Verlag] Hardcover 4°, 1 Bl. Vorwort u. 280 Taf., OLwd. m. Goldpräg., Etw. unfrisch, Goldpräg. tlw. abgeblättert, Vs. u. Titelei tlw. fingerfleckig, EA. «Der grösste Teil der Bilder sind Vergrösserungen aus dem Olympia-Film». Legenden dt./frz./engl./span./ital.; das Vorwort von L. Riefenstahl nur dt. 2600 gr. Schlagworte: Photographie, Sport-allgemein, Geschichte - Faschismus [Zürich, ZH, Switzerland] [Publication Year: 1937]
Hardcover Berlin, Im Deutschen Verlag, 1937. Large stout 4°., original cloth, gilded cover title and spine, dustjacket. With original boards slipcase. Binding designed by F.H. Ehmcke. [1]p., preface by Leni Riefenstahl, [281]pp. of monochrome plates after photographs with captions in german, french, english, spanish and italian, including pictures of the preparation of the Olympic film, pp. 251-[281]. Impressive photo-record of the Berlin 1936 Olympic games and competitors, in which the [nazi inspired] concept of aryan superiority is already clearly visible. Very good copy, WITH dustjacket and slipcase. (dustjacket a bit clumsily repaired in places, some mnor pieces of rims gone, slicase heavily restored and rubbed). [Bredevoort, Netherlands]
Berlin: Im Deutschen Verlag, Date: 1937. Second edition. Hardcover. 280pp. Quarto [31.5 cm] Orange cloth with gilt stamped title on front board and backstrip. Near fine. Illustrated with hundreds of photographs of the Berlin Summer Games. Images taken from Riefenstahl film 'Olympia.' All photographs have titles/captions in German, French, English, Spanish and Italian. 1937. Im Deutschen Verlag US
Berlin: Im Deutschen Verlag, Date: 1937. Second edition. Hardcover. 280pp. Quarto [31.5 cm] Orange cloth with gilt stamped title on front board and backstrip. Near fine. Illustrated with hundreds of photographs of the Berlin Summer Games. Images taken from Riefenstahl film 'Olympia.' All photographs have titles/captions in German, French, English, Spanish and Italian. 1937. Im Deutschen Verlag [US]
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