‎Picasso‎

‎Picasso. Ceramiche - Incisioni - Arazzi. Testi a cura di Vittorio Sgarbi‎

‎In-4°, pp. 205, (3), copertina editoriale illustrata (piccolisiima, trascurabile menda nella parte superiore della cerniera posteriore). Con numerose illustrazioni in bianco e nero e a colori nel testo, alcune delle quali a piena pagina. Sommario: Premessa; Pablo Ruiz Picasso, 25.10.1881 - 8.4.1973; La vita; Ceramiche; Incisioni; Acqueforti; Acquetinte; Litografie; Affiches; Cronologia; Bibliografia.‎

‎Picasso. Druckgraphik - Gemälde - Handzeichnungen - Plastik.‎

‎Bremen, Schünemann 1961. 1961. 57 S. mit sehr vielen s/w Abbildungen, Orig.-Karton.‎

‎Erste Ausgabe.- Katalog zur Ausstellung in der Kunsthalle Bremen vom 23. Juni bis 6. August 1961.‎

Bookseller reference : 92936

‎Picasso. Eaux-Fortes - Lithographies 1905 -1947. Exposées dans la Galerie Aout-September 1955.‎

‎Berne, Gutekunst & Klipstein 1955. 1955. 16 S. mit 10 s/w Abbildungen, illustrierter Orig.-Karton.‎

‎Erste Ausgabe.- Gutes Exemplar.‎

Bookseller reference : 67391

‎Picasso. Gouaches, lavis et dessins 1966 - 1972‎

‎Paris Galerie Berggruen 1981 In-12 oblong Broché, couverture illustrée‎

‎Catalogue édité à l'occasion du centième anniversaire de la naissance de Picasso. Texte de Pierre Daix "Un dessin pour tout dire". 30 oeuvres décrites et reproduites, dont 12 en couleurs. Parfait état 0‎

Bookseller reference : 003210

‎Picasso. Grand Palais, 11 octobre 1979 - 7 janvier 1980.‎

‎In 8°, br. edit. ill., pp. 325,(3), con num. ill. n.t. a colori e in b/n, firma all'occhietto, tracce d'usura alla br..‎

‎Picasso. In Zusammenarbeit mit Edward Quinn. Texte von Francis Ponge u. Pierre Descargues. (Aus dem Französischen übertragen von Peter Hahlbrock).‎

‎Frankfurt, Propyläen, (1975). 275 S. Mit zahlr. ein- u. mehrfarbigen, oft ganz- oder doppelseitigen Tiefdruckfotos. 31 cm. OLn. illustr. SU mit Ausschnitt vorn u. illustr. Vorsätzen.‎

‎[Picasso de Draeger, dt.]. - Zeigt Arbeiten Picassos, den alten Picasso bei der Arbeit und im Privatleben, aufgenommen vom irischen Fotografen Edward Quinn (1920-1997), der seit Be-ginn der 1950er Jahre eng mit Picasso befreundet war. An der Konzeption des Bandes war Picasso noch beteiligt . Der goldfarbene Umschlag zeigt u.a. Picasso Signatur und ein Frauenprofil aus e. s. Gemälde. Es ragt in dern Ausschnitt hinein, durch den man Picassos Augenpartie aus dem Porträt, das vorn auf den Einbanddeckel gedruckt ist, sehen kann. Umschlag mit geringen Gebrauchsspuren. Gutes, sauberes Exemplar‎

Bookseller reference : 69373

‎Picasso. Le Dejeuner sur l'Herbe 1960 - 1961‎

‎Picasso. Le Dejeuner sur l'Herbe 1960 - 1961. 1962. Galerie Louise Leiris - 47 Rue de Monceau. 6 Juin - 13 Juillet 1962. Paper. 66 x 51cms.‎

Bookseller reference : 122291

‎Picasso. Letzte graphische Blätter 1970-1972. Picasso-Graphik aus der Sammlung Ludwig, Aachen. Ausstellung im Staatlichen Museum Moritzburg, Halle vom 29. Juni bis 7. September 1980.‎

‎o.J. 8° ( 20 cm). Mit zahlr. Abb. 30 Blatt. Illustr. Obroschiert. Umschlag etwas licht- und staubrandig.‎

Bookseller reference : 26251AB

‎PICASSO. L’OPERA LINOLEOGRAFICA. Firenze - Palazzo Strozzi: 5-28 marzo 1982.‎

‎In-8, brossura, pp. 60, con oltre 103 illustrazioni a colori e in bianco e nero nel testo. Catalogo della mostra di Firenze, organizzata dall’Azienda Autonoma di Turismo, Istituto Francese Unione Fiorentina e Biennale Internazionale della Grafica d’Arte di Firenze. Ben conservato.‎

‎Picasso. Oeuvres reçues en paiement des droits de succession. Esposizione a Grand Palais ott. 1979 - gen. 1980.‎

‎In-8° gr. carrè pp. 325 con molte ill. n.t. anche a piena pag. e alcune a colori. Bross. edit. ill.‎

‎PICASSO. Peintures 1955-1956, Galerie Louise Leiris, Paris, 1957, in-12 carré, broché, catalogue de l'exposition de peintures de Pablo Picasso, couverture en LITHOGRAPHIE ORIGINALE de PICASSO, légèrement jaunie, sinon très bon état‎

Bookseller reference : WWL-714

‎Picasso. Peintures de 1911 a 1955‎

‎Picasso. Peintures de 1911 a 1955. Exhibition: Paris, Galerie Europe, 1960. 14 pages, with 8 black and white illustrations. Paperback. 18 x 13.5cms. Text in French. Text in French‎

‎Picasso; The Philadelphia Museum Of Art Picasso: a Loan Exhibition of His Paintings, Drawings, Sculpture, Ceramics, Prints, and Illustrated Books‎

‎1958 Philadelphia Museum, 1958in8, broché, couverture illustrée‎

Bookseller reference : 14579

‎Pressespiegel (Auswahl). Ausstellung "Picasso et les femmes". Kunstsammlungen Chemnitz 22. Oktober 2002 - 19. Januar 2003.‎

‎Ohne Ort u. Jahr (2003). 2003. 4° Ca. 350 Bll. Orig.-Karton.‎

‎Gutes Exemplar.‎

Bookseller reference : 57534

‎Regards Sur Paris. Avec 33 lithographies originales de Chagall, Van Dongen, Braque, Picasso, Dunoyer de Segonzac, Brianchon, Beaudain, Heriot, Carzou, Masson, Villon‎

‎Editions André Sauret, Paris, 1962-1963. Tirage limité à 180 exemplaires, dont cet exemplaire est l'un des 150, signés par les artistes et auteurs. Portfolio collectif avec les contributions d'artistes et d'auteurs à la vie parisienne. Complet de 33 lithographies originales de : Chagall, Van Dongen, Braque, Picasso, Dunoyer de Segonzac, Brianchon, Beaudain, Heriot, Carzou, Masson, Villon ; et textes de : Arnoux, Bauer, Bazin, Billy, Dorgeles, Giono, Heriot, Mac Orlan, Salacrou, Queneau. Tous les exemplaires sont signés par les auteurs et les artistes. En feuilles et complet tel qu'émis et conservé dans la boîte originale.‎

Bookseller reference : VLR-2

‎Salon de Mars. Latinoamerica. Espana. Salon de Mars, 20 au 26 Mars 1990, Stand: A 71, Champ des Mars, Place Joffre - Paris.‎

‎New York / Milano., Quintana Fine Art U.S.A. / Punto e Linea s.r.l.., 1990. 24 x 17 cm. 59 S., 2 Blatt. OKarton., 61086BB Erste Auflage. Sehr gutes Exemplar.‎

‎Durchgehend mit farbigen Abbildungen versehen. Gezeigt werden u. a. Arbeiten von Fernando Botero, Joan Miro, Pablo Picasso und Antoni Tapies.‎

Bookseller reference : 61086BB

‎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

‎Special Picasso. Numero monografico di Arts-Loisirs. N. 60, du 16 au 22 novembre 1966‎

‎28 cm, brossura illustrata a colori; pp. 86, alcune illustrazioni e tavole in nero, 2 a colori‎

‎The collection of René Gaffé‎

‎New York Christie's 2001 In-4 Cartonnage, jaquette illustrée Edition originale‎

‎Catalogue de la vente publique de la collection de René Gaffé organisée le 6 novembre 2001, proposant 25 oeuvres de Roger de la Fresnaye, Jean Arp, Pablo Picasso, Jean Metzinger, Georges Braque, Fernand Léger, Max Ernst, Ossip Zadkine, Joan Miro, René Magritte, Félix Labisse, Lynn Chadwick, Pierre-Auguste Renoir et Raoul Dufy. Nombreuses reproductions et riche iconographie; repères bio-bibliographiques. Très bon exemplaire 0‎

Bookseller reference : 006893

‎UN REGARD SUR LE MONDE. Numéro 0, janvier 1978 - UN REGARD MODERNE. L'Actualité du mois en image. Du numéro 1, mars 1978 au numéro 5, juillet 1978. [Revue].‎

‎Paris Libération - Bazooka production 1975 En feuilles‎

‎COLLECTION COMPLETE de ce supplément au quotidien Libération: 6 fascicules en feuilles, format tabloïd, couvertures illustrées. Illustrations couleurs et textes du groupe Bazooka formé Christian Chapiron (Kiki Picasso), Jean-Louis Dupré (Loulou Picasso), Olivia Clavel (Electric Clito), Philippe Renault (Lulu Larsen), Bernard Vidal1 (Bananar), Philippe Bailly, Ti(5)dur et Jean Rouzaud. >>>>>Les membres de Bazooka se rencontrent en 1974, à l'Ecole des Beaux-arts, dans un de ces ateliers sans professeur né de mai 68. Adoptant différents pseudonymes, ils s'engagent dans ce qu'ils nomment une « résistance graphique» choisissant la bande dessinée comme moyen d'expression. Ils créent ensemble l'esthétique Bazooko, mêlant dessins, photos, découpages avec une technique très libre, ne s'interdisant rien et surtout pas la provocation, un de leur mot d'ordre. Délaissant les galeries, ils pensent « .que le support idéal pour la création graphique et artistique sont les médias ». Après avoir sorti deux journaux éphémères à Rouen, Bazooka et Loukoum breton, ils commencent à donner des dessins pour Actuel, et se feront remarquer en publiant entre 1976 et 1978 les sept numéros de leur Bulletin périodique. En 1977, Serge July leur demande pour Libération des illustrations pour combler les blancs des maquettes pas encore calibrées, à une heure de l'impression. Ces croquis ou détournement de photos de presse, graphiquement agressifs, font vite scandale, notamment leur dessin le 4 août illustrant la mort d'un manifestant écologiste. Après cette première collaboration houleuse entre les jeunes artistes contestataires et la rédaction, Bazooka attaché à commenter l'actualité décide de fonder un mensuel dont le numéro d'essai porte le titre d'"Un Regard sur le monde" avant de devenir "Un Regard moderne". Alain Bizos décide Serge July, qui voit peut-être l'opportunité de les écarter du quotidien, à publier la revue en supplément mensuel de Libération. Mais après cinq numéros et encore quelques scandales, dont la publication de dessins pédopornographiques, la revue cesse faute de financement, restant résolument une des plus emblématiques publications de la contre-culture en France. Très bon 0‎

Bookseller reference : 013823

‎Von Marées bis Picasso. Meisterwerke aus dem Von der Heydt-Museum Wuppertal.‎

‎München: Villa Stuck 1987. 254 Seiten. Mit zahlreichen Illustrationen. 4° (25-35 cm). Illustrierte Orig.-Broschur. [Softcover / Paperback].‎

‎Einband minimal angestaubt und Besitzeintrag auf Vortitel, ansonsten sehr gut erhaltenes Exemplar. ISBN: 9783923244041‎

Bookseller reference : 7089030

‎Wie man Wünsche beim Schwanz packt. LEDER ! - Ein Drama. Übersetzt von Paul CELAN‎

‎Berlin Volk & Welt, 1985. 1. Aufl. mit Zeichn. von Picasso. ill.OLdr., 109 S., 16°‎

‎* Schöne ledergebundene Lizenzausgabe für die DDR. ** sehr gut erhalten ANY QUESTIONS ?? Please don't hesitate to ask for details !!‎

Bookseller reference : 519

‎XXIIe Salon de mai‎

‎Paris Musée d'Art Moderne 1966 In-4 agrafé, couverture illustrée Edition originale‎

‎Catalogue du Salon de mai, organisé du 2 au 22 mai. Couverture illustrée par Alechinsky. Préface de Gaston Diehl. Liste des oeuvres exposées, avec les adresse des artistes. Reproductions d'oeuvres de Severini, Giacometti, Jorn, Lam, Bram Van Velde, Oelze, Tapies, Arman, Fiorini, Friedlaender, Reinhoud, Rebeyrolle, Atila, Poliakoff, Lee, Pinto, Malaval, Lindstrom, Stahly, Calder, Picasso, Ting, Bontecou, Segui, Ravel, Agam, Tinguely, Ipousteguy, Weiss, Kudo, Tisserand, Telemaque. Nombreuses publicités pour toutes les galeries parisiennes. 56 pp. Bon exemplaire 0‎

Bookseller reference : 011277

‎"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

‎"etc. P. Valéry H. Mondor V. Muselli A. Dhôtel R.M. Rilke M. Blanchot J. Follain - Ills de H. Erni M. Laurencin M. Chagall P. Picasso"‎

‎"Saisons N° 2 Printemps 1946 Almanach des lettres et des arts"‎

‎"1946. Paris Éditions du Pavois Saisons N° 2 Printemps 1946 Almanach des lettres et des arts - Broché 19 5 cm x 26 5 cm 186 pages - Textes de P. Valéry H. Mondor V. Muselli A. Dhôtel R.M. Rilke M. Blanchot J. Follain - Ills de H. Erni M. Laurencin M. Chagall P. Picasso etc. - Non coupé - Edition originale un des 260 ex numérotés sur chiffon de Rives (n° 75) Dessins contrecollés hors-texte - Bon état"‎

Bookseller reference : 10203