Charles SpencerAntiquariat.de
4.441 resultados
1973ref. 023806Rizzoli, New York 1973. Broschur Tadellos
1925ref. 61736Wolfenbüttel, Julius Zwißler, Inh. Georg Kallmeyer, 1925. 16 S. Mit Noten. (= Beihefte zum "Musikanten", [Reihe 1: Vokalwerke] Nr. 5). OBrosch. mit VDeckel-Illustr.
1995ref. 3099BWeinheim, Quadriga Verlag, 1995. 4°. 294 Seiten mit zahlreichen Abbildungen. Orig.-Pappband mit illustr. Orig.-Umschlag
1920ref. 1307AMünchen, Delphin, 1920. 2. verbesserte Auflage. 8°. 125 S. HLeinen mit aufgezogenem illustr. Orig.-Pappdeckel. 2
1931ref. 2332BZürich, Leipzig, Orell Füssli, 1931. 8°. 14 S. (Text) und 56 S. mit Illustrationen (die 57ste Abb. befindet sich am Deckel) sowie 8 S. mit illustr. Vlgs.-Anz. Orig.-HLeinen mit illustr. Deckel und Front- und RTitel. (= Schaubücher 18).
1919ref. 1306AHamburg, Freideutscher Jugendverlag Adolf Saal, 1919. 8°. 52 S. Illustr. Orig.-Broschur.
1975ref. 585BParis, R. Laffont, 1975. 8°. 155 S. Orig.-Pappband mit RTitel und illustr. OU. 1
1925ref. 2483BBerlin, Volksverband der Bücherfreunde, 1925. 266 S. und zahlr. Tafeln mit Illustrationen im Kupfertiefdruck. Orig.-HLeder mit goldgepr. RTitel.
ref. 16476Paris, s. n., s. d. 4°. Avec nombreuses photos n/b et 1 frontispiece. 34 f. non numerote. Broche. - Mit überaus zahlreichen s/w Fotografien. Orig.-Brosch. Reliure poussiereuse et abimee. 1 cachet de nome sur la page de titre, page de titre ecornee. - Einband angestaubt und bestoßen. 1 Namensstempel auf der Titelseite, diese eselsohrig.
1952ref. 016879Art et Industrie, Paris 1952. Broschiert Ordentlich
1928ref. 45453ABHamburg, Verlag der Buch-Ein- und Verkaufsgenossenschaft Hammerbrook 1928. Zweite, verbesserte Auflage. Qu.-8°. 40 S. Original-Karton. Etwas angebstaubt, Name am Titel. Teils etwas gestaucht. 2
1933ref. 37379ABDresden, Eckstein-Halpaus (Zigaretten) [1933]. Qu.-4°. 4 Bl., 54 S. OKt. mit mont. Photo-Tafel und geprägtem Titel an Rücken und Deckel. Umschlag berieben und etwas braunfleckig; Kanten etwas bestoßen, teils mit winzigen Einrissen; wenig gebräunt; Ecken teils mit Knickspur.
1983ref. 16562BBDortmund, Harenberg, 1983. 18 cm. 184 S., zahlr. Ill. (z.T. farb.). kart. Einband mit geringen gebrauchssp., ansonsten sehr guter Zustand. Die bibliophilen Taschenbücher ; Nr. 388.
1987ref. 20563ABBln, Edition Hentrich 1987. 4°. 287 S., 2 Bll. OPpBd mit OU. Rücken unten gestaucht und etwas aufgeplatzt; Name am Vorsatz. Schutzumschlag stärker beschädigt. 1
1986ref. 7878Aurora-Kunstverlag Leningrad, 1986. 246 S., OLeinen, OU, 4°. Zustand: gut. Aus dem Russischen übertragen von Gennadi Kagan
1936ref. 39447ABAmsterdam, Veen [und] Wien, Leo 1936. Gr.-8°. 23 S., 16 Tafeln. OKt. Umschlag minimal fleckig.
1938ref. 18327ABBln, de Gruyter 1938. Gr.8°. VIII, 184 S., 2 Bll. OLwd mit OU. - Schutzumschlag gebräunt und mit kl. Einrissen. (=Deutsches Volktum. Band 3).
1954ref. 15464ABBln, Henschel 1954. Gr.8°. 183 S. Illustr. OLwd mit OU.
1924ref. 39586Paris: Éditions des Quatre Chemins 1924. 2 volumes. Quarto. Original publisher's heavy ivory wrappers with illustration in color by Braque to uppers. In publisher's slipcase with dark ivory title label printed in dark brown to upper. Vol. I: 1f. recto half-title verso blank1f. recto title verso blank 1f. recto "Jean Cocteau" verso blank 3ff. text 1f. portrait of Cocteau 1f. recto "Louis Laloy" verso blank 7ff. text 1f. recto facsimile of music by Auric verso blank 1f. recto "Georges Braque" verso blank 23 hand-colored set and costume designs iv text including colophon 1f blank The hand-colored designs by Braque: La Naïde; Esquisse du décor; Décor manquette; Éraste; La Montagne; Lysandre; Orphise; L'Élegante; Joueuse de volant; Joueuse de volant dos; Première bavarde; Deuxième bavarde; Deuxième bavarde dos; Joueur de boules; Joueur de cartes; Le Tuteur; Premier valet; Deuxième valet; Policier; Premier masque; Premier masque dos; Deuxième masque; and Deuxième masque dos. Vol. II: 1f. recto half-title verso blank 1f. recto blank verso reproduction of photograph of Braque by Man Ray 1f. recto title "Réalisation Scénique" verso blank 1f. contents 1f. recto "Argument" verso blank 1f. recto part title verso blank 22 full-page photographic illustrations of dancers L. Krassovska; Nicolas Zverew; Antoine Wilzak; La Nijinska 2; Lubov Tchernicheva 3; Antoine Doline; N. Devalois 2; Ludmila Cholar L. Choliar et A. Wilzak; Alice Nikitin; L. Chollar A. Nikitina and A. Wilzak; Thadée Slavinsky 2; Th. Slavinsky E. Lapitsky et C. Tcherkas; Léon Woizikovsky; J. Jazvinsky et M. Pavlow; M. Federow; and S. Lifar in role portraits. All plates with tissue guards. With an autograph inscription in black ink from Boris Kochno 1904-1990 dated June 1934 to George Hoyningen- Huene to upper glassine cover of Vol. I and with a subsequent presentation inscription dated Los Angeles June 1954 in blue ink from Hoyningen-Huene to Oreste Pucciani to half title in Vol. I; Hoyningen-Huene's bookplate below inscription. With printed note to final leaf of Vol. I: "Publié sous la direction de M. Boris Kochno." Wrappers slightly worn and soiled; slipcase worn and taped at edges. Minor internal wear; a few signatures split or partially split; some tissue guards worn creased and foxed; several plates with minor marginal staining. First Edition. Limited to 500 copies this no. 347 of only 385 copies on Vélin d'Arches with limitation statements at conclusion of each volume. Magriel p. 187. Niles & Leslie I p. 75. Derra de Moroda 1503. Les Facheux a ballet in one act with music by Georges Auric; choreography by Bronislava Nijinska; scenario by Boris Kochno after Moliere's comedy-ballet; and curtain scenery and costumes by Georges Braque was first performed by Diaghilev's Ballets Russes in Monte Carlo on 19 January 1924 with principal dancers Lubov Tchernicheva Anatole Vilzak and Anton Dolin. "By the time Auric found himself a member of Les Six Auric Durey Honegger Milhaud Poulenc and Tailleferre the style of his music - brilliant and often acidly aggressive - had become well established and works such as the Huit poèmes de Jean Cocteau 1919 or the foxtrot Adieu New York! 1919 show how he can be considered along with Poulenc the group's most typical representative. On hearing his 1921 incidental music for Molière's comédie-ballet Les fâcheux Diaghilev asked him to transform it into a ballet. First performed in Monte Carlo . it shows a facility for mood creation and a virtuosity in the manipulation of highly varied material that presages his film music. Other successful ballets followed: Les matelots 1924 and La pastorale 1925 for Diaghilev Les enchantements de la fée d'Alcine 1928 for Ida Rubinstein ." Jeremy Drake in Grove Music Online. Kochno "was a Russian-born writer and ballet librettist who collaborated with ballet impresario Serge Diaghilev during the last years of the Ballets Russes then became a major influence on post-World War II French ballet. Kochno met Diaghilev in 1921 and immediately became his secretary. His first libretto for Diaghilev was the text of Igor Stravinsky's chamber opera Mavra 1922; he followed it with scenarios for such ballets as Les Fâcheux 1924 Les Matelots 1925 Ode 1928 and Le Fils prodigue The Prodigal Son 1929. After Diaghilev's death in 1929 Kochno continued advising on ballets. He collaborated on Cotillon and Jeux d'enfants 1932 for the new Ballet Russe de Monte Carlo then with choreographer George Balanchine founded the short-lived Les Ballets in 1933. He returned to the Ballet Russe advising the company's management until 1937. With his longtime friend Christian Bérard a painter and choreographer Roland Petit he collaborated on the ballet Les Forains 1945 which led to the founding of Les Ballets des Champs-Elysées and the renaissance of French ballet; he remained with that company until 1951. He was the author of the books Le Ballet 1954 and Diaghilev et les Ballets Russes 1970." Britannica Online "Hoyningen-Huene 1900-1968 is acknowledged as an iconic pioneer in the genre of fashion photography. His elegant pared-down style has had a dramatic impact on photographers around the world and his work continues to have relevance today as an artist who created some of the most striking photographic portraits and compositions of the twentieth century." Artist's website "Oreste Francesco Pucciani 1916 - 1999 was a pioneer teacher of Jean-Paul Sartre's philosophy at UCLA. He was the last partner of Rudi Gernreich fashion designer and at the latter's death established the ACLU Rudi Gernreich-Oreste Pucciani Endowment Fund to support the fight for LGBT rights." Wikipedia An interesting association copy. Éditions des Quatre Chemins unknown
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1911ref. 190134Paris & New York: various publishers 1911-39. Eight scarce souvenir programmes and exhibition publications documenting the Ballets Russes from 1911 to the 1939 Serge Lifar retrospective. Richly illustrated throughout they trace the company's artistic development from its early Paris seasons to the American tour of 1916 and its later productions featuring designs by Bakst Pruna Benois Picasso Braque Matisse Derain de Chirico Laurencin Gris and others together with Ida Rubinstein Nijinsky and the principal Ballets Russes repertoire. As Sjeng Scheijen observed of Diaghilev he "would never allow quality to suffer" Diaghilev: A Life 2009 p. 405. Souvenir programme: Théâtre Sarah-Bernhardt Mai-Juin 1911. Grande Saison Russe: Opéras et Ballets. Paris: Publications Willy Fischer 1911. Square quarto 32 pp. original pictorial wrappers by Jean Portalez. An attractive programme for a rival "Saison Russe" inspired by the success of Diaghilev's first Paris seasons. One copy traced on Library Hub New York Public Library. Comdia Illustré Numéro spécial. Les Russes au Châtelet. Paris: Comdia Illustré 1911. Quarto original pictorial wrappers with Bakst's design for Narcisse. Special issue devoted to Le Martyre de saint Sébastien with Bakst's scenery and costumes for Ida Rubinstein. Comdia Illustré Théâtre du Châtelet. Hélène de Sparte. Salomé. Paris: Comdia Illustré 1912. Quarto richly produced in colour and metallic inks. Dedicated to Hélène de Sparte and Wilde's Salomé with numerous illustrations after Bakst. One copy traced on Library Hub BnF. Comdia Illustré Grande Saison de Paris. Programme officiel des Ballets Russes. Paris: Comdia Illustré 1912. Quarto colour Bakst cover showing Nijinsky in L'Après-midi d'un Faune. Celebrates the seventh Ballets Russes season illustrating Petrushka The Firebird Le Spectre de la Rose Daphnis et Chloé and others. One copy traced on Library Hub BnF. Souvenir Serge de Diaghileff's Ballet Russe: With Originals by Leon Bakst and Others. New York: Metropolitan Ballet Company 1916. Quarto cord-tied wrappers with Robert Montenegro's striking cover of Nijinsky in Schéhérazade. An uncommon variant of the official programme for the first and only American tour lavishly illustrated with Bakst's costume designs. Souvenir Serge de Diaghileff's Ballet Russe. New York: Metropolitan Ballet Company 1916. Quarto cord-tied embossed wrappers. A substantially different issue for the American tour covering the full repertoire from Les Sylphides and Schéhérazade to L'Après-midi d'un Faune and Daphnis et Chloé. Souvenir programme: Ballets Russes de M. Serge de Diaghilew. Paris: Les Publications Willy Fischer 1925. Quarto pictorial wrappers by Pedro Pruna. Art Deco programme for productions including Les Biches Les Matelots Pulcinella La Boutique fantasque and Train Bleu retaining the publisher's advertising slip and an inserted performance programme. Only a handful of copies traced on Library Hub. Ballets Russes de Diaghilew 1909 à 1929. Exposition organisée par Serge Lifar. Paris: Jacques de Brunhoff 1939. Quarto printed wrappers with Bakst design. Catalogue of the landmark retrospective surveying the company's productions through illustrations of costume and stage designs by the leading artists associated with the Ballets Russes. 8 works quarto. Original variously illustrated wrappers cord-tied or wire stitched as issued. Illustrated throughout in colour and monochrome. Overall condition is very good to excellent. Most retain their original wrappers several preserve their fragile translucent or glassine outer wrappers and only minor handling wear occasional light creasing small edge nicks or isolated faults are noted. unknown
1619ref. 170555c. 1916-1920s. A collection of photographs of Ballets Russes dancers including images of the principal dancer and choreographer Adolph Bolm his daughter Kyra Alanova the prima ballerina Tamara Karsavina and a single photo of Nijinsky as Albrecht in Giselle. Fifteen were taken by Emil Otto Hoppé 1878-1972 one of the most sought-after photographers of the 1920s and 1930s. He photographed the Ballets Russes from 1911 to 1923; these images are predominantly from their only American tours in 1916 and 1917. Karsavina appears in five and Bolm in twelve including two images of them together in costume for Le Pavillon d'Armide one of them together in Thamar and two in L'Oiseau de Feu. Adolph Bolm 1884-1951 was a pioneer of ballet in the United States. From 1909 to 1916 he was a principal dancer and choreographer for the Ballets Russes. During their American tour Bolm injured himself while dancing Thamar. He stayed in the USA and quickly established himself as a coveted choreographer. There were no American ballet companies and dancers performed with opera companies until Bolm established Chicago Allied Arts the first repertory ballet company in the USA. He later founded the San Francisco Opera Ballet and was one of five choreographers involved in the 1940 founding season for New York's Ballet Theatre. Tamara Karsavina 1885-1978 was a principal artist of the Imperial Russian Ballet before joining Diaghilev's Ballets Russes. She is perhaps most famous for creating the title role in Mikhail Fokine's L'Oiseau de Feu. Seventeen photographs are unattributed. One showing Bolm and Karsavina in Scheherazade is from the same Ballets Russes season. Another shows Bolm as the Golden Slave in Scheherazade post-1929 while a third shows Bolm as Amoun in Cleopatra undated but perhaps 1910. A further three are portraits of Bolm's daughter the ballerina Kyra Alanova two as the princess in A Kiss in Xanadu and one in unidentified costume. She danced with the Ballets Russes between 1918 and 1924 but these photos are likely later: one is dated in pencil "London 1925" on the verso and another has the ink stamp of Vaughan & Freeman on the verso London photographers who were active from 1928. The remaining 11 photographs are all dress rehearsals from an unidentified ballet with an "oriental" theme which does not appear to be any of the six ballets of that kind that the Ballets Russes debuted in Paris. Pencil annotations on the verso of nine images suggest "Adolf Bolm Kyra Deakin Alanova" and two images are annotated in a different hand with Alanova's name weight height hair and eye colour and New York address. These are likely from ballets choreographed by Bolm once he had parted with the Ballets Russes and established himself as one of the most important figures in American ballet. Together 32 photographic prints of varying mediums including carbon and silver gelatin from approx. 170 x 122 mm to 260 x 203 mm the photograph of Kyra Alanova as the princess in A Kiss in Xanadu mounted on card 260 x 198 mm. Edges rubbed occasional chips a few photographs overexposed or lightly silvered at edges remnants of adhesive to verso of two photographs two short closed tears to Adolph Bolm in Le Pavillon d'Armide one with tape repair to verso. A well-preserved collection. Andrew Foster "A Directory of Diaghilev Dancers" Dance Research: The Journal of the Society for Dance Research vol. 37 no. 2 2019 pp. 181-205. unknown
