LOBEL-RICHE (Alméry) et Anne OSMONTLivre Rare Book
4.215 Ergebnisse
1915Best.-Nr. 1519Paris, Imprimé pour Charles Meunier, 1915. In-folio (37,5 x 27,8 cm), reliure maroquin bordeaux, listel d'encadrement à froid, dos à quatre nerfs titré or, encadrement intérieur orné de listels à froid se croisant aux angles avec jeu de petits carrés dorés, doublure bord à bord de même maroquin, gardes de moire aubergine, tranches dorées sur témoins, couverture, étui (Gruel). TRÈS RARE ÉDITION TIRÉE À 30 EXEMPLAIRES SEULEMENT, illustrée de compositions dans le texte et de 10 EAUX-FORTES DE LOBEL-RICHE EN 5 ÉTATS ET À PLEINE PAGE. Un des 25 exemplaires sur vélin teinté (n° 19) contenant 5 états des gravures hors texte sur papier vélin, papier japon et parchemin, une suite de 11 petites remarques d'artistes gravées à l'eau-forte. Cet exemplaire est enrichi de 8 épreuves d'essais de ces vignettes en états signés, 30 épreuves d'essais et d'artiste toutes signées et annotées des 10 hors-texte, et 15 DESSINS ORIGINAUX de l'artiste au crayon ou en sanguine sur vélin ou calque, généralement très aboutis et signés. EXEMPLAIRE DE MAURICE CHEVALIER portant cet envoi de Lobel-Riche : "Un jour, j'ai compris pourquoi Maurice Chevalier était un artiste et un poète : il avait le secret des grands coeurs qui s'imposent. Et c'est avec plaisir que je lui dédie cet ouvrage en mémoire de notre commun sentiment [...]. PARFAITE ET SOBRE RELIURE ART-DÉCO EN MAROQUIN DOUBLÉ DE GRUEL.
1862Best.-Nr. 71549Michel Lévy frères | Paris 1862 | 12.50 x 19 cm | relié
1859Best.-Nr. 68513A. Bourdilliat & Cie | Paris 1859 | 11.50 x 18 cm | reliure de l'éditeur
1912Best.-Nr. 89381Sans nom d'éditeur | Sans lieu d'édition 1912 | 20.9 x 28.5 cm | Agrafé
1862- Michel Lévy Frères, Paris 1862, 12,5x19cm, relié. - Édition originale. Reliure en demi chagrin, dos à cinq nerfs orné de fleurons dorés, date en queue, plats de papier marbré à motifs il-de-chat, premier plat de couverture conservé. Rare et précieux envoi autographe signé du compositeur?: «?à mon ami Seligmann - Hector Berlioz.?» Hippolyte-Prosper Seligmann (1817-1882), violoncelliste et compositeur, fut un membre actif de la Société philharmonique qu'avait créée Berlioz en 1849. Provenance : bibliothèque R. & B. L. avec son ex-libris encollé au dos de la première garde. [ENGLISH DESCRIPTION ON DEMAND]
1859- A. Bourdilliat & Cie, Paris 1859, 11,5x18cm, reliure de l'éditeur. - Les Grotesques de la musique [The Musical Madhouse] A. Bourdilliat & Cie | Paris 1859 | 11.5 x 18 cm | publisher's original binding First edition. Publisher's green cloth, blindruled frame to boards, yellow endpapers and pastedowns, pastedowns soiled, edges spotted. A little light foxing. A rare and handsome autograph inscription signed by Hector Berlioz in pencil to title: «à mon ami Théodore Ritter, souvenirs affectueux.» Théodore Ritter, son of the composer Eugène Prévost, was Berlioz's student, producing a piano arrangement of L'Enfance du Christ. Inscriptions by Berlioz are rare and highly sought-after. [FRENCH VERSION FOLLOWS] Édition originale. Reliure de l'éditeur en pleine toile verte, dos lisse orné de caissons à froid, encadrement de filets à froid sur les plats, gardes et contreplats de papier jaune, contreplats salis, tranches mouchetées. Quelques petites rousseurs. Rare et précieux envoi autographe signé d'Hector Berlioz au crayon de papier sur la page de titre?: «?à mon ami Théodore Ritter, souvenirs affectueux.?» Théodore Ritter, fils du compositeur Eugène Prévost, fut l'élève de Berlioz pour lequel il réalisa une version pour piano de L'Enfance du Christ.
1619Best.-Nr. 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
1911Best.-Nr. 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
1969- 1969, 16,8x21,6cm, carnet en spirales. - Handwritten personal diary for the year 1969 1969 | 16.8 x 21.6 cm | spiral-bound notebook Personal diary handwritten by Maurice Béjart, written in a 1969 diary celebrating the centenary of the birth of Mahatma Gandhi. 52 handwritten leaves, written in red and blue pen in a spiral-bound notebook. This diary features amongst Béjart's very rare, privately owned manuscripts, the choreographer's archives being shared between his house in Brussels, the Béjart foundation in Lausanne and the Théâtre Royal de la Monnaie. The choreographer Maurice Béjart's diary written during the year 1969. An extremely rare collection of thoughts, questions and introspections from the point of view of Hinduism and Buddhist wisdom, which Béjart adopts following his first trip to India in 1967. The diary is an emblematic testimony of the indo-hippie era of the 1960s, spiritual and artistic renaissance that inspired numerous ballets of the choreographer (Messe pour le temps présent, Bhakti, Les Vainqueurs). A selection from this diary was published by Maurice Béjart in the second volume of his memoirs (La Vie de Qui ? Flammarion, 1996). During the year 1969, Béjart wrote daily notes in a diary published in memory of Mahatma Gandhi. Fascinated by Hindu mysticism since his trip to India in 1967, he filled in this spiritual journal with numerous mantras and prayers ("Krishna guide my chariot, the light is at the end of the path. OM"; "Buddha is everywhere"; "Let God enter, but how to open the door") and he calls upon the Hindu deities as well as the Bodhisattvas Mañju?r? et T?r? - soothing figures of the Buddhist pantheon. Béjart's "Indian period" was particularly rich in choreographic masterpieces, the progress of which can be followed in his diary (Baudelaire at the beginning of the year, the first performance of the Vainqueurs in Brussels and the Quatre fils Aymon in Avignon, as well as the filming and screening of his Indian ballet Bhakti). At the crossroads of New Age and the hippie movement, Béjart's "conversion" is symptomatic of an era that refuses progress and has a thirst for spirituality: "Calcutta is not India, but our western face. It is not religion or traditional thinking that is to blame, but capitalism. India, a rich country before colonisation." The Beatle's visit to the guru Maharishi's ?shram and Ravi Shankar's concert at Woodstock in 1969 marks the beginning of a real western passion for Indian music and culture, which was decisive in Béjart's ballets at the time. In Béjart's eyes, India presents itself as a place where art and ancestral traditions have not suffered the perversions of positivity. In his creations he seeks to express the spirit of a culture that intimately links the body and the spirit, and in which dance plays a major cosmic and spiritual role. Included in his ballets were Indian dance systems and Vedic songs that were discovered thanks to Alain Daniélou - in 1968 he opened the Messe pour temps présent with a long vînâ solo that lasted fifteen minutes: "Béjart is in his Hindu quarter-hour. And over there, Hindu quarter hours, can last for hours..." commented Jean Vilar, director of the Avignon festival. A wave of Indian fashion also passes through the costumes of the Ballet du XXe siècle company: large silk trousers, tunics, jewellery and oriental eyes. In the diary, Béjart states that there is "no truth without yoga," an art discovered from an Indian master that can be found in many of his ballets in the form of dance exercises on the barre. He also decides to make Bhakti "an act of Faith" by filming himself the ballet choreographer, and during the summer he prepares the Vainqueurs, an unusual meeting between Wagner and traditional Indian ragas. Beyond the prolific artist, we also discover the choreographer's troubled personality in the diary, in the grips of doubt and melancholy: "vague state of physical weightlessness and moral emptiness. Lethargy or laziness. Weakness.
1930Best.-Nr. 125381930 1 Mine de plomb signée du monogramme de l'artiste en bas à droite, 1930, 32 x 45 cm, encadrée.
1938Best.-Nr. 193831938 22 aquarelles pour le spectacle-opérette de Mogador, sur papier cartonné beige, 21 signées en bas à droite, 4 datées (1938), rehauts d'or et de blanc, mine de plomb, feuilles de 32 x 25 environ, dessins de 30 x 15 cm. environ.
1870Best.-Nr. 87776novembre 1870 | 33.20 x 24.50 cm | un bifeuillet
1920- 1920-1922, oeuvres : 23x30cm ; cadres : 38,4x48,6cm, trois feuilles sous cadres. - Three original gouaches around dance by Loïs Hutton. 1. Original gouache with dancers May 16th 1920 | work: 23 x 30 cm frame: 38,4 x 48,6 cm | framed leaf This early composition, one of the rare ones still preserved, attests to her modernism and total symbiosis with her choreography. The dominant curves of the bodies in this Gouache with dancers, dated "May 16th 1920" evokes the androgynous silhouettes of Matisse's round dance (La Danse, 1910), as does the choice of vibrant blue and dark ochre tints. A Cubist aesthetic appears in the movement of the dancers with their unrelenting symmetrical balance - while the boldly contoured kaleidoscopic designs betray the influence of Vorticism, whose members during the same period assiduously frequented the underground club of Loïs' lover, Margaret Morris. This work from the London era will find its fulfilment the following year in the choreographies created in France where the Margaret Morris School settle in the summer. The photographs of these sensational performances from Dinard to Cap d'Antibes show very similar compositions, notably one of the scenes of Hutton's ballet, entitled Étincelles, created in 1922 to music by Maurice Ravel. 2. Signed original gouache "Background design, 1922" 1922 | work: 26,5 x 36 cm frame: 40 x 50 cm one framed leaf One of the only original preserved stage decor sketches by Loïs Hutton, also one of the first of her career. This abstract composition reflects the artist's incredible versatility. She flourished both as a principal dancer at her lover's school, the Margaret Morris School as well as a choreographer, set and costume designer. These painted sets on large fabrics served as the backdrop to the school's dance troupe productions and solo dances by Loïs who had previously painted a design on canvas based on a sketch by her mentor the Fauvist painter John Duncan Fergusson. Trying her hand here at a radically new and ambitious style, her design joinsthe angular movements of her dances and is inspired by the teachings of Cézanne: "Everything in nature is modelled on the sphere, the cone and the cylinder" (letter to Emile Bernard). This vital attention paid to volumes goes hand in hand with a fragmentation of motives close to Edward Wadsworth's Vorticism. Hutton visited at that time Wadsworth and the group of Vorticists in Morris' Chelsea underground club, a laboratory of modern dance where the set in its large-format version may have been displayed in December 1921 or the following year as suggested by the two dates on the lower part of the composition and on the back. 3. Signed original gouache "Composition - Ground design of dance, fool's dance" may 22 1919 | work: 20 x 25,5 cm; frame: 30 x 40 cm | one leaf One of Loïs Hutton's rare abstract works, a horizontal and graphic exploration (entitled "Ground design") of her Fool's Dance choreography. A hypnotic solo dance that she performed for the first time in January 1920 to music by Edvard Grieg. In this interesting and innovative vision of dance, Loïs Hutton lays down the products of the force of her choreographic movements on paper: a ballet of lines and curves filled with vivid colours. This fluid and dynamic composition is marked out by a square with asserted outlines, acting as both a physical support for the painting and a material surface for the scene where its movements unfold - an essential space of creation to be compared with the "original plan" theorised several years later by Kandinsky in Point et ligne sur plan (1926). Presented at the Margaret Morris Club in Chelsea where her very first creations were born, Fool's Dance will be performed again at the Château des Deux Rives in Dinard in July of the same year. It earned Hutton one of her first mentions as a performer and choreographer in the French press, in the newspaper Comoedia on 20 July 1920, and marks the beginning of her notoriety in France.
1887Best.-Nr. 88480s. n. | s. l. [1887 ?] | 20 x 32 cm | 1 portrait-frontispice, 1 titre à l'encre, 83 p. manuscrites, qq. feuillets vierges
1887Best.-Nr. 88480No Location: s. n. 1887. Fine. s. n. No Location 1887 20 x 32 cm 1 portrait-frontispice 1 titre à l'encre 83 p. manuscrites qq. feuillets vierges Exceptional illuminated manuscript of 35 poems by Stéphane Mallarmé probably copied by Joris-Karl Huysmans on watermarked Hollande laid paper after pre-first editions of the poems published in journals. Most of the poems are preceded by a separate title-page noting the source from which it is taken. The manuscript includes a fine charcoal portrait of Mallarmé as a frontispiece by Charles Tichon after a photographic portrait by Van Bosch. The portrait was published in the Mallarmé issue of Empreintes Bruxelles LÉcran du Monde n° 10-11. Another version was published in 1889 Caprice Revue 2e année n° 60. two floral compositions in gouache and watercolor illustrating the poems Les Fleurs and Apparition as well the calligraphed author's name as a title-page. Although unsigned the illutrations are attributed to Louise or Marie Danse. Bradel binding contemporary cream silk boards with floral motif two embroidered green silk markers with floral motif gilt semis patternerd flyleaves and pastedowns slightly faded red edges. Dampstains on the lower part of the lower board rubbed corners a few silk threads loosened on the spine rubbed boards. Outstanding manuscript of 35 poems by Stéphane Mallarmé written shortly before the first collected edition of his poetry of which only 47 copies were ever printed Poésies photolithographed Revue indépendante 1887. This carefully calligraphed collection is attributed to the hand of writer Joris-Karl Huysmans a great admirer of the poet who is said to have given the manuscripts to his friend Jules Destrée. This scribal manuscript which includes some of Mallarmés most celebrated pieces such as Hérodiade L'Après-midi d'un faune Le tombeau d'Edgar Poe Prose pour des Esseintes Le vierge le vivace et le bel aujourd'hui appeared for the first time in the posthumous sale of the Belgian politician and writer Jules Destrée in 1936 at the Galerie Leopold in Brussels. A pencil note on the title page of the collection reads: According to Mr. Simonson expert at the Destrée sale this manuscript was sent by J.K. Huysmans to Jul. Destrée who wanted to read Mallarmé's poems which remained unpublished at the time. Verified through Huysmans' correspondence sold on the same day as this manuscript. As evidenced in their letters Destrée did seek out the help of his friend Huysmans to obtain Mallarmé poems as his work was not readily accessible being for the most part published in journals L'Artiste Les Lettres et les Arts La République des lettres etc. and in the collections of Le Parnasse contemporain. In a letter to Destrée Huysmans wrote You ask me where Mallarmé's poems can be found. They are untraceable but they are in this envelope. Published in 1876 in La République des Lettres they were copied at least the best ones by Le Chat Noir in 1886. I bought two issues which allows me to send them to you. You will see that they are superb written in clear incisive and very strange language. 30 November 1887. It is possible that the poems in this envelope mentioned by Huysmans are the ones Destrée later had bound in this manuscript collection. Huysmans may have copied for Destrée the poems from the journals he only had one copy of and sent him his extra copy of Le Chat Noir from 1886 which included the prose poems Plaintes d'automne Frisson d'hiver I et II and Le Phénomène futur. The writing style of the poems in the collection is indeed very similar to Huysmans' own handwriting his manuscript of his poem collection Le Drageoir à épices displays the same rounded curling style. However Huysmans' handwriting varies considerably depending on the circumstances: novel manuscripts letters first drafts etc. The excessively neat calligraphy of the poems contrasts with the hasty tall and cramped handwriting of sever s. n. hardcover
