‎Apollinaire guillaume ‎

‎ALBUM APOLLINAIRE‎

‎LA PLEIADE . 1971 . N°10 . 524 ILLUSTRATIONS . RELIURE PEAU .‎

‎TRES BON ETAT . AVEC SA JAQUETTE , SON RHODOÏD ET SON EMBOîTAGE .‎

Bookseller reference : 2012

‎Almanach des lettres et des arts‎

‎Paris Martine, Choses à la mode 1917 In-8 Broché Edition originale‎

‎Almanach publié sous la direction littéraire de André Mary et sous la direction artistique de Raoul Dufy. Poésies et pensées d'auteurs classiques et recueil de pièces nouvelles dont des textes de Fernand Fleuret, Ambroise Vollard, Vincent Muselli, André Salmon, Guillaume Apollinaire et Max Jacob. 13 bois gravés de Rufy, dont un sur double page et 12 bandeaux illustrant chaques mois du calendrier pour 1917. Bois de Laboureur. Nombreuses illustrations de Manet, Renoir, Cézanne, Van Gogh, Gauguin, Seurat, Picasso, Derain, Braque, Léger, Metzinger, Lhote, de La Fresnaye, Laurens, Laboureur, Iribe, Boussingault ... 2 hors-texte en couleurs insérés, publicités pour les parfum Rosine. >>BIEN COMPLET du signet figurant un flacon du parfun "Nuit de Chine". 252 pp. Très bon 0‎

Bookseller reference : 003698

‎COMOEDIA - Hebdomadaire des spectacles des lettres et des arts. 1941 - 1942 - 1943. 106 numéros.‎

‎Paris Directeur-Rédacteur: René Delange 0 En feuilles‎

‎>106 numéros de ce journal paru durant l'occupation. Nous proposons : 1941. > Année complète N°1 (21 juin 1941) au n° 28 --- 1942. 29 à 49, 50, 53, 54, 56, 57, 58, 59, 60, 61, 63, 64, 65, 67, 68, 69, 71, 76, 77, 78, 79 --- 1943. 80, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 95, 96, 97, 98, 99, 100 à 107, 109, 110, 111, 113 à 118, 128, 129. Annonce de parution et articles de ou sur Tal Coat, Fautrier, Grasset, Cocteau [Le Foyer des artistes], Dullin, Poésie 43, Tino Rossi, Grenier, Matisse, Salon d'automne, Marchand, Braque, Paulhan, Raimu, Honegger, Fargue, Manoll, Follain, C. Roy, Colette, Rolland de Reneville, Sartre [ Les Mouches], Beauvoir, Dubout, Brayer, Jouhandeau, Léautaud, Les Cahiers du sud, Frénaud, Vlaminck, Pourrat, Aymé, Poulenc, Giraudoux, Duras, Bazaine, Dufy, Lhote, Guitry, Colette, Lifar, Desnos, E. Piaf, L. Albin-Guillot, Chardonne, Fresnay, Fénéon, Bonnard, Béalu, Claudel, Saint-Exupery, Hugnet, J. Viot, Barbezat, Audiberti, l'Arbalète, l'Art nègre, Laforge, Le Corbusier, Camus, Giono, M. Carné, A. Perret, Montherlant, J.L. Barrault, Salmon, Céline, Blanchot, Dunoyer de Segonzac, Queneau, Adamov, M. Laurencin, Descaves, Vialatte, G. Baty, Maillol, Valery, Michaux, Dietrich, Brancusi, Utrillo, Bourdelle, Simenon, Mondor, Argentina, Arletty, P. de Massot, Van Dongen, de Villemorin, Guilloux, R. Guerin, Drieu La Rochelle, Tagore, Picasso, L. Thomas, M. Chevalier, Pirandello, Debussy, Voyage en Allemagne des artistes français, Mac Orlan, Apollinaire, Eluard [son portrait par Picasso], L'Herbier, Vente Fénéon, Vollard, Jünger, Paraz, Les Visiteurs du soir, Rouault, R. Rolland, Rodin, A. Bay, Lacretelle, Despiau, A. Breker, Hellens, Morand,... Nouvelles inédites de Guillou, Achim von Arnim, Gaillard, Fombeurre, Bay, Toesca, Mondor, Bearn, Remizov, de Richaud, Pourrat, Audiberti, Jouhandeau, Reyes, Giono, Aymé, Pirandello, C. Roy, Arnoux, Vialatte [Le Fidèle berger], Montherlant, Cocteau, Peyré, Vildrac, Hellens, Troyat,... Illustrations d'André Hofer. Annonces d'expositions aux galeries l'Arc en ciel, Breteau, Galerie de France, Louis Carré, Drouin, Greuze, J. Loize, Rive Gauche, Jeanne Bucher, Charpentier, Drouant-Dvid,... Chroniques sur les films, spectacles, sur la mode... Les numéros ont pliés, mais le papier souple. >L'ENSEMBLE. Bon 0‎

Bookseller reference : 014903

‎De la bibliothèque Tristan Tzara.‎

‎Paris Drouot, étude Loudmer. 1989 In-4 Cartonnage, jaquette illustrée Edition originales‎

‎Catalogues de la vente de la bibliothèque de Tristan Tzara organisée à Drouot le 4 mars 1989. Descriptions de 476 oeuvres, ouvrages et manuscrits, généralement dédicacés, de Albert-Birot, Apollinaire, Aragon, Artaud, Cendrars, Arp, Bataille, Bellmer, Bousquet, Breton, Bryen, Cendrars, Char, Crevel, Dali, Desnos, Eluard, Duchamp, Ernst, Hugnet, Jarry, Jouve, Leiris, Mallarmé, Michaux, Paulhan, Picabia, Peret, Reverdy, le douanier Rousseau, Roussel, Sade, Soupault,... et ses livres. >>>>>Bien complet de la jaquette rhodoïd illustrée d'un portrait de Tzara au monocle. Joint le feuillet d'errata. Très bon 0‎

Bookseller reference : 007561

‎Guillaume Apollinaire. Souvenirs et Témoignages Inédits.‎

‎La Tète Noire.1946.Petit in-8 br.93 p.2 documents photographiques.Etat correct.Appartenance en haut de la page du faux-titre.‎

Bookseller reference : 42178

‎LA VOIX DES POETES N°69 / Août 1978‎

‎Paris : La Voix des Poètes, 1978. Broché 21x13,5cm, couverture couleur, 62 pages, poèmes de Léopold Sedar Senghor, Lucien Geeraert, Jean Rousselot, Geneviève de Louvencourt, Jean Kaufmann-Woog, Christian Langlois, André Camus, Simone Chevallier, Claude Palayer, interview d'Emmanuelle Riva (Théâtre et poésie)..., chroniques.‎

‎Revue fondée en 1959 par la poétesse Simone Chevallier et l'écrivain suisse Franz Weber, continuée après sa mort par Claudine Ducaté. Le Vieux Paris et Aloysius Bertrand / Apollinaire au pont Mirabeau / Avenue Foch / Montmartre / Le jardin des poètes / Pierre Jean-Jouve habitant du 14e / L'Hôtel de Massa / Le beau-fils du général Aupick, Aujourd'hui Paris.‎

Bookseller reference : SPN-906

‎LES TROIS ROSES. Revue d'art.Reprint en fac-similés de la collection complète. (Dernier numéro manquant: N° 11-12).‎

‎Saillans, Grande Nature, 1985, reprint de l'édition de 1918 (Grenoble), 1 les fac-similés sont sous pochette et l'ensemble sous emboitage pleine toile, titre en lettres dorées. ensemble de 6 fascicules in-8 à paginatination continue de 1 à 159, bois gravés de Ortiz de Zaraté, Gabriel Fournier, André Favory, André Chabert, André Laffitte, dessins de Gabriel Ducultit, le tout accompagné d'une plaquette de présentation et 24 fac-similés (correspondance, bois gravés, portraits, manuscrit, programmes), tiré à 500 exemplaires, celui-ci numéroté "125", les tirages des bois ont été réalisés sur Vélin d'Arches pur Chiffon ;‎

‎Lettres de Max Jacob, André Lhote, Guillaume Apollinaire, Paul Valéry. Textes de Pierre Reverdy, Max Jacob, André Breton, Paul Valéry, Louis Aragon, Guillaume Apollinaire, Philippe Soupault, Paul Eluard, Jean Lebrau, etc...‎

Bookseller reference : 15885

‎Les dessins de Guillaume Apollinaire‎

‎Buchet Chastel, coll. « Les Cahiers Déssinés » 2008 In-4 broché 28 cm sur 22. 158 pages. Bon état d’occasion.‎

‎Choix et présentation de Claude Debon et Peter Read Bon état d’occasion‎

Bookseller reference : 117312

‎Obliques n°s 4 & 5 : Don Juan. Analyse d'un mythe. Volume 1 & 2‎

‎Paris Borderie Ronse 1974 In-4 broché, couverture illutrée‎

‎Importante étude complete de 2 tomes. Riche iconographie. Textes de M. Butor, G. Perros, M. Vachey, M. Sauvage, M. Frisch, J. Rousset, R. Micha, J. Pfeiffer, O. Y Gasset, G. Flaubert, C. Reichler, C. Baudelaire, J.-C. Powys, Lord Byron, Apollinaire, G. Bataille, M. Leiris ... 160 & 160 pp. >Les 2 volumes Bon 0‎

Bookseller reference : 009400

‎Revue historique, archéologique, littéraire et pittoresque du Vivarais.‎

‎Aubenas, Lienhart, 1986 (Revue du Vivarais), reprint du tome VI, année 1898, 1 br. fort in-8 de de (2)-584-(2) pp., illustrations ;‎

‎Les votes sur la mort de Louis XVI (textes de Gamon d'Antraigues), par Albin Mazon. - Notes sur le mandement de Crussol, par R. Vallentin du Cheylard. - Sanilhac, par L. De Montravel. - Notices sur la baronnie de La Voulte, par Albin Mazon. - L'atelier monétaire de Largentière, par Albin Mazon. - Procé-verbal d'enquète en 1734, pour l'admission au canonicat, dans le noble chapitre de Vienne, de noble André Gabriel Dangerest de Moreton, par Paul d'Albigny. - Destruction de documents historiques, par Henry Vaschalde. - Un épisode de la Révolution dans l'Ardèche: Arrestation du comte de Polignac, à Joyeuse, par Paul d'Albigny. - Notice sur le chateau et la baronnie de Boulogne en Vivarais et leurs dépendances, d'aprés des documents inédits, par A. Lascombes. - Gravières, par L. De Montravel. - Notes généalogiques: Eléonore de Launay d'Antraigues, par Paul d'Albigny. - Ephémérides de la ville de Bourg-Saint-Andéol, pendant la première guerre de religion, par le marquis d'Albon. - l'Abbé Paradis, par le docteur Francus. - Feervaal: Action musicale en trois actes et un prologue de M. Vincent d'Indy. - Le Crouset (métairie de labbaye des Chambons, prés d'Aubenas, sur la route d'Ailhon), par Albin Mazon. - Jean De Bry, dans les départements de la Drome, de l'Ardèche, et de Vaucluse, par L. Pingaud. - La justice seigneuriale à Annonay, par E. Nicod. - Le cartulaire du prieuré de Saint-Sauveur-en-Rue (Loire), par Paul d'Albigny. - Monneron Ainé, député d'annonay, sa correspondance avec le maréchal de Castries, ministre de la Marine, par E. Nicod. - De quelques familles bourgeoises dans les Boutières, par Henry Lafayolles. - Notes généalogiques sur la maison de Boulieu d'Annonay. - Lablachère, par L. De Montravel. - La Garde Nationale de l'Ardèche, à la Fédération du 14 juillet 1790. - Un épisode des guerres de la Ligue en Vivarais: La surprise du fort d'Ailhon par les protestants, en 1591, par Albin Mazon. - Le prix des denrées, comestibles, vêtements et autres objets trés variés, par Paul d'Albigny. - Une oeuvre originale (auteur vivarois anonyme du XVIIIème siècle), par Albin Mazon. - Le droit de leude, des seigneurs et barons de Privas (1426-1778). - Etudes franciscaines sur la Révolution, dans le département de l'Ardèche, par R. P. Apolinaire.‎

Bookseller reference : 8106

‎Revue SIC Sons Idées Couleurs Formes - N° 14 février 1917‎

‎Paris S.I.C. Pierre Albert-Birot 1917 In-4 En feuilles‎

‎Textes de Pierre Albert-Birot, Paul Dermé, Guillaume Apollinaire. Partition de Germaine Albert-Birot. Bois gravé de Chana Orloff. 8 pp. Papier fragile, couverture séparée. > Cette revue d'avant-garde parait de janvier 1916 à décembre 1919, et compte 53 numéros répartis en 41 livraisons. Bon 0‎

Bookseller reference : 009960

‎SIC Sons Idées Couleurs Formes [Revue] - Fac-similé‎

‎Paris Editions de la Chronique des Lettres Françaises. 1973 In-4 En feuilles‎

‎Facsimile de la célèbre revue créée par Pierre Albert-Birot, publiée de janvier 1916 à décembre 1919, et qui compte 53 numéros répartis en 41 livraisons. Préface d'Arlette Albert-Birot. Textes et illustrations de Roger Allard, Guillaume Apollinaire, Louis Aragon, Giacomo Balla, André Breton, Blaise Cendrars, Henri Cliquennois, Jean Cocteau, Paul Dermée, Drieu La Rochelle, Ivan Goll, Roch Grey, Max Jacob, Henri Matisse, Francis Picabia, Pablo Picasso, Léon Pierre-Quint, Enrico Pamprolini, Pierre Reverdy, André Salmon, Gino, Severini, Philippe Soupault, Igor Stravinsky, Léopold Survage, Ossip Zadkine... In fine: Programme des Mamelles de Tirésias d'Appolinaire- revue PARIS - indexs des auteurs, noms, revues et ouvrages cités, index thématique et table. 505 pp. >>Ce volume sera réédité en 1980 par Place. Très bon 0‎

Bookseller reference : 010750

‎Stèle pour Apollinaire‎

‎Stavelot Les Amis de Guillaume Apollinaire 1960 In-4 Broché‎

‎Hommage publié par la poétesse et romancière française Jeanne-Yves Blanc [Jeanne Burgues-Brun], qui fut la marraine de guerre d'Apollinaire. 4 bois gravés hors texte d'Armand Huysmans. Tirage à 500 exemplaires. >>Armand Huysmans, architecte et peintre d'origine bruxelloise installé à Stavelot après la 2e Guerre mondiale et l'un des fondateurs, avec Camille Deleclos, de l'Association internationale des amis de Guillaume Apollinaire et du Musée Apollinaire à l'abbaye de Stavelot en Belgique. Couverture ombrée, mais exemplaire portant l'ex-libris de Jeanne-Yves Blanc et un timbre postal à effigie d'Apollinaire, émis en 1961. Bon 0‎

Bookseller reference : 014585

‎Vers et Prose Tome XXVII Octobre - décembre 1911‎

‎Paris 1911 In-8 Broché Edition originale‎

‎Dépositaire: Figuière. Directeur Paul Fort. Textes de Moréas, Verharen, Rebell, Apollinaire, Salmon, Romains ... Bon exemplaire 0‎

Bookseller reference : 004108

‎"[BALLETS RUSSES] - DE BRUNOFFF, DIAGHILEV, APOLLINAIRE, COCTEU, BAKST, etc.‎

‎Collection des plus beaux numéros de Comoedia illustré et des programmes consacrés au Ballets & Galas Russes depuis le début a Paris 1909-21. - [THE GREATEST REVOLUTION IN THE HISTORY OF THEATRE AND BALLET]‎

‎Paris, (1909-21). Folio. Silk over bevelled boards. Front board with a splendid large inset colour illustration (from ""The Firebird"" by Natalia Gontcharova). Binding sunned and with professionally restored spine. Corners a bit bumped. A bit of creasing to extremities of some leaves, as the size varies somewhat. A few loose leaves. Profusely illustrated in colour (some pochoir) and in black/white throughout. A very nice copy of this magnificent book. 4 pp., being title-page and note from the editors +1909: 2 pp. introduction + 1909 Saison Russe - Opera et Ballet: 10 pp., including a cover illustration by Bakst +1910: 3 pp. introduction + cover illustration of Comoedia Illustré no. 18 (June 15, 1910) with portrait of Catherine Gheltzer + Comoedia Illustré special issue - supplement to no. 18: 14 pp., including two cover illustrations by Bakst +1911: 2 pp. introduction + Programme Officiel des Ballets Russes. Théâtre du Châtelet. June 1911: the extra goldembellished transparent paper covers + 34 pp., including cover illustration by Bakst (Nijonsky in La Péri) and another eight illustrations by Bakst (costume designs for Narcisse and Dieu Bleu and stage design for Narcisse) + 10 pp. from the sixth season of the Ballets Russes at Chatelet, with costumes by Jean Cocteau + 10 pp. on ""Petrouchka"" and ""Schérezade"" + ""Le Carnaval"" + 1 leaf of text introducing ""Le Martyre de Saint Sébastien"": 12 pp. from Comoedia Illutré devoted to this, including a cover illustration by Bakst (showing Ida Rubinstein as St. Sebastien) +1912: 2 pp. introduction + Comoedia Illustré 7th season: 16 pp. devoted mainly to ""Dieu Bleu"" and ""Daphnis et Chloé"", including cover illustration by Bakst and a further five illustrations by Bakst (costume designs, decor and scene) + 5 pp. from Comoedia Illustré on ""Le Dieu Bleu"" + 1 p. being the illustrated cover for the June 1912 special issue of Comoedia Illusté, showing Karsavina and Bolm in Thamar (costumes by Bakst) + 8 pp. on ""Thamar"", ""Petrouchka"", and ""Scherezade"", including the 4 pp. spread on ""Scherezade"" that is laid in loose and which contains illustrations of Bakst's nine costumes + two covers mounted back-to-back from the special issue of the seventh season of the Ballets Russes, showing Bakst's illustration of Nijinsky in ""L'Après-Midi d'un Faune"" + 8 pp. on ""L'Apres Midi di Faune"" + 10 pp. from Comoedia Illustré on ""Le Carnaval"", ""Daphnis et Chloé"" + 2 pp. (""title-page"" for Ida Rubinstein in ""Hélène de Sparte"" and Salomé) + special issue on ""Hélène de Sparte"": 16 pp., including cover illustration by Bakst (of Ida Rubinsein as Helen) and a further five costume and scenic designs by Bakst + 6 pp. from Comoedia Illustré on Helen of Sparta + 4 pp. from Comoedia Illustré on Oscar Wilde's ""Salomé"" + 20 pp. including illustrations by Bakst for ""Boris Godounoff"", text on and illustrations for ""Jeux"", ""Sacre du Printemps"", ""Kowanchina"", and ""Daphnis et Chloé"" +1913: 2 pp. introduction + Eigth Season of Ballets Russes: 6 pp., including cover illustration of Schollar, Nijinsky, and Karsavina in ""Jeux"" by Valentine Gross + 1 p. (""title-page"" for Ida Rubinstein in ""La Pisanelle ou la Mort Parfumée"" with costumes by Bakst + Comoedia Illustré No. 18, June 1913: 17 pp., including cover illustration of Ida Rubinstein in ""La Pisanelle, in couture by Worth, decor by Bakst, etc. +1914: 2 pp. introduction + 28 pp. on the Ballets Russes 1914-season, including a full-page illustration of Kousnetzoff in costume by Bakst, , costume designs for ""La Légende de Joseph"" by Bakst, and a two-page costume-spread for ""Rossignol"" by Benois + 2 pp. on ""Le Rossignol"" by Maurice Ravel"" + 4 pp. from Ballets Russes on ""Le Coq d'Or"" + 2 pp. on ""Les Ballets Russes de Serge de Diaghilew"" by Calvocoressi + 1915: 1 p. introduction +1917: 1 p. introduction + the special issue of ""programme des Ballets Russes"", 1917: 26 pp., constituting THE MAY 1917 ""THÉATRE DU CHATELET"" SEPARATE PUBLICATION MAINLY DEVOTED TO JEAN COCTEAU'S GROUNDBREAKING BALLET ""PARADE"", INCLUDING APOLLINAIRE'S FAMOUS FOREWORD (COINING ""SURREALISM"") AND THE TWO FAMOUS COLOUR-ILLUSTRATIONS BY PICASSO +1919-20: 2 pp. introduction + 4 pp. of ""Les Ballets Russes a l'Opéra"", Jan-Feb. 1920 + Cover from the Comoedia Illustré special issue with costume designs for ""Tricorne"" by Picasso + the complete programme for the Ballets Russes 1919-1920: 32 pp., including drawings by Picasso, set and costume designs by Derain, and costume designs by Bakst + 1920: 2 pp. introduction + complete special issue for the ""Ballets Russes à l'Opéra"", May-June 1920: 10 pp., including cover design of costumes for ""L'Austice feminine"" and designs by Sert +1921: 2 pp. introduction + 20 pp. from Commoedia Illustré , including drawings of Strawinsky and Picasso and a 2-page spread of costume and scenic designs for ""Le Bouffon"" by Larionow. This is a stunning 380-page limited edition, compiled by the programme publishers of the Ballets Russes themselves, Maurice and Jacques de Brunoff.‎

‎Very rare limited original edition of this splendid production by the Brunoff-brothers, which constitutes a collection of the most important, most influential, and most beatiful parts of the original Ballets Russes-publications, together with explanatory forewords By V. Svetloff, written and printed for this collection. ALL THE PROGRAMMES ARE THE ORIGINAL PRINTINGS, collected and bound here in this special compilation, which presents a selection of extracts from the magazines, together with the souvenir programmes (that were published as supplements), arranged in chronological order. This work vividly documents the famous ballet company that premiered such groundbreking productions as Igor Stravinsky's Firebird, Petrushka, Rite of Spring, Parade, etc.Among the most important of all the publications present, is the magnificent May 1917 ""Théatre du Chatelet"" separate publication (mainly devoted to the ballet ""Parade""), which constitutes one of the most important publications in the history of modern art. It is here, in his presentation-article to ""Parade"" that Apollinaire coins the term ""surrealism"" and thus lays the foundation for the seminal cultural movement that Bréton came to lead. Furthermore, the ballet ""Parade"" represents a historical collaboration between several of the leading artistic minds of the early twentieth century: Erik Satie, Jean Cocteau, Pablo Picasso, Léonide Massine, and Serge Diaghilev, and is especially famous, not only for its contents and its music, but also for its magnificent costumes designed by Picasso, the drawings of which are presented in the present publication for the first time - most famously the front cover for the ""Parade""-programme, which depicts the ""Costume de Chinois du ballet ""Parade""/ aquarelle de Picasso"", an etching with original, stunning pochoir-colouring (hand-painted by Picasso himself!).This one programme epitomizes the importance and infuence of the magnificent ""Comoedia Illustré"", of which all the most important contributions are collected here, in this one stunning volume. This amazing ballet monthly was published in Paris between 1908 and 1921. The special issues are generally speaking the most important ones, as they were often devoted to the annual Paris season of Serge Diaghilev's Balletes Russes and Ida Rubinstein's Galas Russes and document the amazing endeavours of these. These groundbreaking special issues (the May 1917 being merely an example), are geerally lavishly illustrated, usually in full colour, often heightened in gold, with costume and set designs and enriched with portraits of the leading singers and dancers in the ballets. The vast amount of colour illustrations throughout this collection includes contributions to the magnificent history of the Ballets Russes by such distinguished artists as Pablo Picasso and Léon Bakst. As the groundbreaking 1917 ballet ""Parade"" - the first of the modern ballets - originally presented for the first time in the present publication, marks Picasso's entry into the public and bourgeois institutions of ballet and theatre and presents Cubism on the stage for the first time, so Bakst's splendid costume and set designs depicted over numerous issues here for the first time presents the application of art nouveau design concepts to the stage. The present compilation of original publications presents an outright revolution in the history of art, theatre, and ballet on many levels.The introductory leaves to each year are almost all written by Svetloff (= Valerian Ivchenko), who was a famous Russian critic and the first biographer of Anna Pavlova.‎

Bookseller reference : 53655

‎"Apollinaire Guillaume"‎

‎"Anecdotiques"‎

‎"" "F141 EDITION DE 1926. BROCHE."‎

Bookseller reference : "62A7E4DFD054"

‎"Apollinaire."‎

‎"Contes choisis."‎

‎"" "F4613 EDITION DE 1922. BROCHE."‎

Bookseller reference : "E196B703F829"

‎"Apollinaire, Guillaume"‎

‎"L'Oeuvre libertine du comte de Mirabeau"‎

‎"" "A4518 EDITION DE 1984. BROCHE. ATTENTION PETITES ROUSSEURS."‎

Bookseller reference : "300788997CDD"

‎"Apollinaire G. : la Table Ronde < B> Revue <B>"‎

‎"Numéro 57 - septembre 1952"‎

‎"" "F641 EDITION DE 1952. BROCHE. ATTENTION COUVERTURE ABIMEE."‎

Bookseller reference : "DB69A0FE6BCD"

‎"APOLLINAIRE, GUILLAUME - PICASSO (ILLUSTR.) - JEAN COCTEAU - LÉON BAKST - SERGE DIAGHILEV.‎

‎BALLETS RUSSES. PROGRAMME. PARIS 1917. Les Ballets Russes a Paris. Représentations Exceptionelles avec le gracieux Concours des Artistes de M. Serge de Diaghilew. - Programme des Ballets Russes. Les Ballets Russes à Paris. Saison - Mai 1917. [Guillau... - [HAND-PAINTED BY PICASSO - COINING ""SURREALISM""]‎

‎Paris, Mai 1917. Folio. Original illustrated extra wrappers (with a picture by Picasso on the front and the décor for ""Baba Iaga"" on the back)"" original illustrated wrappers for ""Théatre du Chatelet"" (drawing by André Marty on front, and advertisements on back) in grey and red"" original illustrated coloured wrappers for ""Programme des Ballets Russes"" (front wrapper illustrated by Picasso with the Chinaman-costume from ""Parade""). A bit of soiling to the extra-wrappers and small professional restorations to upper front cover and top of spine (this barely noticeable) as well as to blank margin of back wrapper. Apart from that, an excellent and very well perserved copy with only slight browning to some leaves. Apart from the described wrappers and extra-wrappers, there are, in all, 24 leaves with -mostly photographic- illustrations (four of them with original hand-colouring on top) and 6 leaves of text.With the original errata-leaf laid in loose, stating also that the illustrations ""Femmes de bonne humeaur"" and ""Parade"" have been hand-painted by Carlos Socrate, after the designs of Bakst and Picasso, and that the front wrapper for ""Parade"" (the Chinaman) has been handpainted by Picasso himself.‎

‎Scarce original printing of this seminal avantgarde-publication, the May 1917 ""Théatre du Chatelet""- publication that presents Diaghilev's ""Ballets Russes"" in Paris - here containing the entire separate publication mainly devoted to Jean Cocteau's groundbreaking ballet ""Parade"" - being one of the most important publications in the history of modern art. It is here, in his presentation-article to ""Parade"" that Apollinaire coins the term ""surrealism"" and thus lays the foundation for the seminal cultural movement that Bréton came to lead. Furthermore, the ballet ""Parade"" represents a historical collaboration between several of the leading artistic minds of the early twentieth century: Erik Satie, Jean Cocteau, Pablo Picasso, Léonide Massine, and Serge Diaghilev, and is famous, not only for its contents and its music, but also for its magnificent costumes designed by Picasso, the drawings of which are presented in the present publication for the first time - most famously the front cover for the ""Parade""-programme, which depicts the ""Costume de Chinois du ballet ""PARADE""/ Aquarelle de Picasso"", an etching with original, stunning pochoir-colouring (hand-painted by Picasso himself!).It is the 1917 ballet ""Parade"" - the first of the modern ballets - originally presented for the first time in the present publication, that marks Picasso's entry into the public and bourgeois institutions of ballet and theatre and presents Cubism on the stage for the first time. The present publication constitutes an outright revolution in the history of art, theatre, and ballet.Several variants of this spectacular publication exist, but the one we have here is as original and complete as it comes, containing the entire contents of the different variants. We not only have the extremely scarce and fragile dust-wrapper and the equally scarce illustrated coloured double-wrappers (front: ""Peinture de Picasso"""" back: Décor de Larionow pour le ballet ""BABA IAGA""""), but also the entire 1917 ""Théatre du Chatelet""-programme (in original illustrated wrappers) with the entire separate ""parade""-issue -also entitled ""Programme des Ballets Russes""- (also in original illustrated wrappers), with more than 20 leaves of photographic illustrations containing pictures of the actors and actresses, also in their spectacular avant-garde-costumes, Bakst's portrait of Leonide Massine, Picasso's portrait of Stavinski, Bakst's portrait of Picasso, Picasso and Massine in the ruins of Pompei, Picasso's drawings of a scene from ""Parade"" and of Massine, as well as several (mostly humorous) advertisements. But more importantly, we have, apart from the above-mentioned famous Chinaman by Picasso, in original pochoir-colouring, the other famous etching by Picasso ""Costume d'acrobate du ballet ""Parade""/ Aquarelle de Picasso"", also in original pochoir-colouring (bright blue), the seminal presentation-article by Apollinaire, which coins the term ""surrealism"" (see bottom of description for full translation of this groundbreaking preface), the two ""Les Femmes de Bonne Humeur""-figures by Bakst, Constanza and Battista, printed and heightened in gold (pochoir), the printed costume by Larionow, ""Les contes russes"", which is with original bright red and blue pochoir-colouring, and the ""Le Mendiant""-costume by Bakst for ""Parade"", and, of course, the texts by Bakst (on choreography and décor), Georges-Michel (Ballets Russes after the War), as well as the texts for the various ballets (listing the actors and their rôles as well as a resume of the plot). "" ""Tact in audacity consists in knowing how far we may go too far."" Jean Cocteau, poet, writer, and arts advocate, made this statement in his 1918 manifesto, The Cock and Harlequin. Cocteau, in collaboration with Erik Satie and Pablo Picasso, discovered ""how far"" to ""go too far"" in the circus-like ballet Parade-one of the most revolutionary works of the twentieth century. Parade incorporates elements of popular entertainment and uses extra-musical sounds, such as the typewriter, lottery wheel, and pistol, combining them with the art of ballet. Cocteau wrote the scenario for the one-act ballet and contracted the other artists. Satie wrote the score to the ballet, first in a piano four-hands version and then in full orchestration, while Picasso designed the curtain, set, and costumes. Later, Léonide Massine, a dancer with the Ballet Russes, was brought in as the choreographer. Serge Diaghilev's Ballet Russes premiered the ballet Parade on May 18, 1917. The program notes for the ballet were written by the poet Apollinaire. They became a manifesto of l'esprit nouveau or ""the new spirit"" which was taking hold in Paris during the early twentieth-century. Apollinaire described the ballet Parade as ""surrealistic,"" and in doing so created a term which would develop into an important artistic school."" (Tracy A. Doyle, Erik Satie's ballet PARADE, p. 1).When the French poet and army officer Guillaume Apollinaire wrote the program notes For ""Parade"", he created the manifesto of the ""l'esprit nouveau"" - ""the new spirit"". Cocteau had called the ballet ""realistic"", but Apollinaire took it an important step further and described it as ""surrealistic"", thus coining a term that would soon develop into an important artistic movement. With Picasso, Apollinaire had established the aesthetic principals of Cubism and was considered a leader in the European avant-garde. ENGLISH TRANSLATION OF APOLLINAIRE'S PROGRAMME NOTES TO ""PARADE"": ""Definitions of Parade are blossoming everywhere, like the lilac bushes of this tardy spring...It is a scenic poem transposed by the innovative musician Erik Satie into astonishingly expressive music, so clear and simple that it seems to reflect the marvelously lucid spirit of France. The cubist painter Picasso and the most daring of today's choreographers, Léonide Massine, have here consummately achieved, for the first time, that alliance between painting and dance, between the plastic and mimetic arts, that is a herald of the more comprehensive art to come. There is nothing paradoxical about this. The Ancients, in whose lives music played such an important role, were totally unaware of harmony, which constitutes the very basis of modern music. This new alliance - I say new, because until now scenery and costumes were linked only by factitious bonds - has given rise, in Parade, to a kind of surrealism, which I consider to be the point of departure for a whole series of Manifestations of the New Spirit that is making itself felt today and that will certainly appeal to our best minds. We may expect it to bring about profound changes in our arts and manners through universal joyfulness, for it is only natural, after all, that they keep pace with scientific and industrial progress. Having broken with the choreographic tradition cherished by those who used to be known, in Russia, under the strange name 'balletomanes', Massine has been careful not to yield to the temptation of pantomime. He has produced something totally new-a marvelously appealing kind of dance, so true, so lyrical, so human, and so joyful that it would even be capable (if it were worth the trouble) of illuminating the terrible black sun of Dürer's Melancholy. Jean Cocteau has called this a realistic ballet. Picasso's cubist costumes and scenery bear witness to the realism of his art. This realism - or this cubism, if you will - is the influence that has most stirred the arts over the past ten years. The costumes and scenery in Parade show clearly that its chief aim has been to draw the greatest possible amount of aesthetic emotion from objects. Attempts have often been made to return painting to its barest elements. In most of the Dutch painters, in Chardin, in the impressionists, one finds hardly anything but painting. Picasso goes further than any of them. This is clearly evident in Parade, a work in which one's initial astonishment is soon replaced by admiration. Here the aim is, above all, to express reality. However, the motif is not reproduced but represented-more precisely, it is not represented but rather suggested by means of an analytic synthesis that embraces all the visible elements of an object and, if possible, something else as well: an integral schematization that aims to reconcile contradictions by deliberately renouncing any attempt to render the immediate appearance of an object. Massine has Adapted himself astonishingly well to the discipline of Picasso's art. He has identified himself with it, and his art has become enriched with delightful inventions, such as the realistic steps of the horse in Parade, Formed by two dancers, one of whom does the steps of the forelegs and the other those of the hind legs. The fantastic constructions representing the gigantic and surprising features of The Managers, far from presenting an obstacle to Massine's imagination, have, one might say, served to give it a liberating impetus. All in all, Parade will change the ideas of a great many spectators. They will be surprised, that is certain" but in a most agreeable way, and charmed as well Parade will reveal to them all the gracefulness of the Modern movements, a gracefulness they never suspected. A magnificent vaudeville Chinaman will make their imaginations soar" the American Girl cranking up her imaginary car will express the magic of their daily lives, whose wordless rites are celebrated with exquisite and astonishing agility by the acrobatin blue and white tights.""‎

Bookseller reference : 60103

‎"APOLLINAIRE, Guillaume;"‎

‎Le Poète assassiné.‎

‎Paris, Bibliothèque des Curieux, 1916 In-12, broché sous couvertures illustrées par Cappiello.‎

‎Edition originale. Pas de grands papiers. Couverture illustrée en couleurs par Cappiello, portrait-frontispice d'Apollinaire par Rouveyre. Le Poète assassiné fut publié en octobre 1916. Ce second recueil de contes, projeté à l'automne de 1913, avait été remis à l'éditeur en juillet 1914. Mais la guerre ainsi que la blessure d'Apollinaire en retardèrent la publication. Sa convalescence lui permit tout de même d'y ajouter quelques pages intitulées Cas du brigadier masqué, c'est-à-dire le poète ressuscité. Très bel exemplaire broché en parfait état de préservation. Petites rousseurs aux premiers feuillets.‎

Bookseller reference : CLL-688

‎"APOLLINAIRE, Guillaume;"‎

‎Les Mamelles de Tirésias. Drame surréaliste en deux actes et un prologue.‎

‎Paris, Editions Sic, 1918 In-8, broché, non rogné, couverture illustrée.‎

‎Edition originale. Elle est illustrée de 7 compositions hors texte de Serge Férat qui est également l'auteur des costumes de la pièce. C'est dans ce drame surréaliste que le mot fut employé pour la première fois (si l'on met à part la notice qu'Apollinaire avait rédigé en tête du programme de Parade où le terme est orthographié en deux mots (sur-réalisme). C'est sept ans plus tard qu'André Breton lui donnera son sens actuel. Il avouera dans son Manifeste que c'est pour rendre hommage à Apollinaire qu'il avait précisément choisit ce mot. Selon Apollinaire, Tirésias serait une œuvre de jeunesse. Si cela est vrai, elle a été considérablement remaniée pour sa première représentation au théâtre Maubel, rue de l'Armée d'Orient, le 24 juin 1917. La salle fut houleuse et les critiques, en général, sévères. Bel exemplaire broché tel que paru.‎

Bookseller reference : CLL-335

‎"Charles Orléans à Apollinaire - Fouquet à Picasso"‎

‎"Poésies et Dessins"‎

‎"" "F6637 SANS DATE. RELIE."‎

Bookseller reference : "4DE4F12B02E7"

‎"Guillaume Apollinaire (en pré-originale) Gaston Picard Roger Allard Henri-Martin Barzun Nicolas Beauduin Marc Brésil Paul Brulat jean Clary Manuel Devaldès Fernand Divoire Féret Fernand Fleuret Paul Fort J. Francis-Boeuf Gonzague-Frick Ernest Gaubert H.-E. Gounelle Rémy de Gourmont Henri Guilbeaux Jacques Hébertot Gustave Kahn S.-C. Lecomte Paul Lombard et Marcel Millet V.-E. Michelet Olivier Hourcade Carlos Larronde et Dorsennus Annie de Pène Georges Périn Georges Polti Ra"‎

‎"Au Poète Paul-Napoléon Roinard"‎

‎"Paris. 14 5 cm x 23 cm. 1913. Broché. 48 pages. Paris L'Heure Qui Sonne janvier 1913 numéro exceptionnel. Broché 14 5 cm x 23 cm 48 pages. Textes et poèmes de Guillaume Apollinaire (en pré-originale) Gaston Picard Roger Allard Henri-Martin Barzun Nicolas Beauduin Marc Brésil Paul Brulat jean Clary Manuel Devaldès Fernand Divoire Féret Fernand Fleuret Paul Fort J. Francis-Boeuf Gonzague-Frick Ernest Gaubert H.-E. Gounelle Rémy de Gourmont Henri Guilbeaux Jacques Hébertot Gustave Kahn S.-C. Lecomte Paul Lombard et Marcel Millet V.-E. Michelet Olivier Hourcade Carlos Larronde et Dorsennus Annie de Pène Georges Périn Georges Polti Rachilde Henri de Régnier Maxime Revon Jean Richepin Jean Royère Han Ryner Paul Pourot Henri Strentz G.-L. Tautain Emile Verhaeren S. Voirol ; portrait de l'artiste en frontispice. Dos restauré bon état intérieur" "Etat correct"‎

Bookseller reference : 100074128

‎"Guillaume Apollinaire"‎

‎"Contes Choisis"‎

‎"" "T3134 EDITION DE 1922. BROCHE."‎

Bookseller reference : "F5CA436612C7"