Danse et ballets

Danse et ballets — marelibri

1922réf. 004588Paris: M. De Brunoff 1922. Folio green silk over thick beveled boards with large inset color illustration from Natalia Goncharova's design for "Firebird". Endpapers color- stenciled with names of the dances dancers composers and choreographers and in the center that of the impresario Serge Diaghilev. Silk faded; a little edge wear to bottom of front board. An exceptionally nice copy of this magnificent book. A compilation of the most important special issues of the theatrical periodical "Comoedia Illustré" and souvenir programs for the 1909-1921 seasons of the Ballets Russes compiled by the program publishers themselves Maurice and Jacques de Brunoff Explanatory forewords by the critic Valerian Svetlov. Lavishly illustrated with photographs and black and white and splendid color plates some heightened with gilt and silver of the dancers costumes and stage decor. Work by Léon Bakst Valentine Hugo André Derain Alexandre Benois Mikhail Larionov. Natalia Goncharova José Sert Henri Matisse and Pablo Picasso. Dancers include Vaslav Nijinsky Tamara Karsavina Michael and Vera Fokine and Ida Rubenstein. Léon Bakst's brilliantly exotic and vivid designs for costumes and stage design revolutionized theater and fashion in the first quarter of the 20th century drawing on Neo-Russian Orientalist and ancient Greek motifs. The May 1917 issue is devoted primarily to the ballet "Parade". In his introduction "Parade et l'Esprit Nouveau" Guillaume Apollinaire coins the term "surrealism" laying the foundation for this movement. "Parade" is a collaboration among Erik Satie Jean Cocteau Pablo Picasso Léonide Massine and Serge Diaghilev. Picasso's costumes are depicted in two pochoir-colored plates: "Costume de Chinois" and "Costume d'Acrobate". A copy is in the collection of the Metropolitan Museum of Art rebound without the original cover plaque by Goncharova and another copy is featured in the 2019 exhibition "Hymn to Apollo/The Ancient World and the Ballets Russes" at the NYU Institute for the Study of the Ancient World. Illustrated Boards. Near Fine. Folio. M. De Brunoff Hardcover books

BALLETS RUSSES. Auric Georges et al.ABAA

Les Facheux. Georges Braque Jean Cocteau Louis Laloy Georges Auric Theatre Serge de Diaghilew

1924réf. 36302Paris: Éditions des Quatre Chemins 1924. Two volumes. Quarto. Original publisher's heavy ivory wrappers with illustration in color by Braque to uppers. Vol. I: 1f. recto half-title verso blank 1f. 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-coloured set and costume 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 reproductions of photographs 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 gards. Wrappers very slightly worn and soiled. Minor internal wear; a few signatures partially split; some tissue guards worn and creased. First Edition limited to 500 copies this no. 15 of only 40 copies on Hollande van Gelder with limitation statements at the 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. Examples of Les Facheux on Hollande van Gelder with particularly strong color to the plates are quite rare with no copies recorded in ABPC as having coming to auction since at least 1977. Éditions des Quatre Chemins unknown books

J & J Lubrano Music Antiquarians LLC · États-Unis1 375,00 $US≈ 1 226,04 €

Ballets Russes Bolm Adolph. 1884a1951 Bakst Leon. 1866a1924 Hoppe Emil Otto. 1878a1972ABAA

Adolf Bolm in Thamar Monsieur Adolph Bolm Thamar - Original Photograph

réf. 18581Used; Like New/Used; Like New. Striking original vintage sepia toned gelatin photograph of the important dancer ca. 1912. Stamped "ADOLPH BOLM / 'THAMAR' / SERGE de DIAGHILEFF'S BALLET RUSSE" on the verso in violet ink. Right edge trimmed irregularly small loss to upper left corner light spotting else in fine condition. 5.2 x 8 inches 13.2 x 20.3 cm An early associate of Anna Pavlova Adolphe Bolm later was a major figure in Diaghilev's Ballet Russes. An injury sustained during this US tour lead him to leave the company and remain in the US where he went on to organize "Ballet Intime" and collaborate with the New York Metropolitan Opera. He is shown in the present image in the 1912 Ballets Russes production of "Thamar" in a costume by Leon Bakst. In the ballet with music by Balakirev and choreography by Michel Fokine the subject of the life of Thamar Queen of Georgia from 1184 to 1213 was transformed in the spirit of nineteenth-century Romanticism becoming a symbol of nationalist pride in the face of growing Russian cultural dominance in the Caucasus. Russian poet Mikhail Lermontov fictionalized Thamar's history within his interpretation of a Georgian legend of a malevolent seductress in his 1841 poem Tamara and it was this version along with Balakirev's symphonic poem Tamara that inspired Bakst and Fokine for the Ballets Russes production. Bakst's looming set dramatized Thamar's isolated court in her castle in the treacherous Terek River and provided a stark background for his sumptuous and richly detailed costumes for the queen her courtiers guards and suitors. The men's costumes are based on the traditional Caucasian cherkeska Circassian coat or kaftan with beshmet underdress. German born photographer E. O. Hoppé moved to London in 1902 at the age of 24 to work for the Deutsche Bank. He was elected member of the Royal Photographic Society in 1903 and became one of the most important portrait and documentary photographers of his time. E. O. Hoppé spent most of his life in England or travelling the rest of the world on assignments. The present photograph was published as a gravure in Hoppé's 1913 Fine Art Society London volume "Studies from the Russian Ballet" the photographer's first major publication. At a time when ballet was highly popular he photographed most of the leading members of Serge Diaghilev's Russian Ballet in London and the present image of Bolm is one of his most celebrated images. unknown books

Schubertiade · États-Unis3 000,00 $US≈ 2 674,99 €

Ballets Russes Diaghilev Sergey Pavlovich. 18721929 Pergolesi Giovanni Battista. 17101736 Wassenaer Count Unico Wilhelm van.ABAA

Six Concertinos Attributed to Pergolesi AUTOGRAPH MANUSCRIPT PREPARED FOR AND INSCRIBED BY DIAGHILEV

réf. 18294Used; Like New/Used; Like New. Bound collection of 6 concertinos for 4 violins viola cello and basso continuo in score copied from a manuscript at the Conservatoire de Paris as prepared for and subsequently inscribed by Sergei Diaghilev. Long attributed to Italian Baroque composer Pergolesi these pieces are a famous case of reattribution within the canon of classical music having been identified in recent decades as the work of the Dutch composer and statesman Count Unico Wilhelm van Wassenaer. Half a century before this musicological consensus had been established Diaghilev wrote his opinion in an inscription on the cover of the present manuscript translated as follows from the French: "In my opinion only the sixth last concertino was composed by Pergolesi. The others are of different authors who have nothing in common with him. I believe the autograph score does not exist and that the copy at the Conservatoire de Paris is the sole known copy that belongs to <lacuna>. These works are found in no library in Italy. It is especially strange that they are not to be found in Naples. The quality of the music of these three concertini is very unequal and one recognizes Pergolesi solely in the last part of the last concertino which was composed wholly by him the Adagio movement recalling his serenades etc. S. Diaghilev 1918." "À mon avis il n'y a que le 6me dernier Concertino qui est composé par Pergolesi. Les autres sont de différents auteurs qui n'ont rien de commun avec lui. Je crois que le partition autographe n'existe pas et que l'exemplaire du Conservatoire de Paris est la copie de l'unique exemplaire connu qui appartient à <lacuna>. Dans aucune Bibliothèque d'Italie ces oeuvres ne se trouvent pas. Il est étrange surtout qu'on ne les trouve pas à Naples. La qualité de musique de ces concertini est très inégale et l'on reconnait Pergolesi seulement dans la dernière partie du dernier concertino qui fait être tout entier composé par lui mouvement d'Adagio rappelant ses serenades etc. S. Diaghilev. 1918." 24 pages bound in a single gathering 10 1/2 × 13 3/4 inches 27 × 35 cm closed. Each page ruled neatly in 16 staves. Notation neatly penned in the hand of the copyist L. Mathieu who has stamped lower right corner of cover: "'Copie musicale et littéraire' L. Mathieu 30 rue Legendre Paris." Diaghilev himself has further inscribed at the base of the page "Copiés d'après le manuscrit se trouvant au Conservatoire de Musique de Paris / 1917. SergeiDIaghilev" Purple ownership stamp in lower right corner of cover of Serge Lifar obtained at the sale of his library. Outer sheets cover and last page of music ever so slightly darker than openings else very fine throughout. Diaghilev the great impresario of the Ballets Russes is best known for his prescient assemblage of extraordinarily promising composers artists choreographers and dancers. Perhaps Diaghilev's most famous musical innovation was his suggestion to Stravinsky that he set some themes by Giovanni Pergolesi or at least some music as here that was then believed to be by Pergolesi. The result was Pulcinella making Diaghilev at least partly responsible for the transition from Igor Stravinsky's Russian period to his Neoclassical period and the subsequent broader 1920s fascination with neo-classicism. The present manuscript offers a glimpse into Diaghilev's central own role in evaluating projects for his ensemble since his inscriptions of 1917 and 1918 two/three years before the Ballets Russes production of Pulcinella so clearly demonstrate his interest in Pergolesi and the commedia dell'arte. unknown books

Schubertiade · États-Unis25 000,00 $US≈ 22 291,58 €

BALLETS RUSSESBiblio.com

Collection of eight souvenir programmes.

1911réf. 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

Peter Harrington · Royaume-Uni7 500,00 £GB≈ 8 925,59 €

BALLETS RUSSESBiblio.com

Collection of photographs.

1619réf. 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

Peter Harrington · Royaume-Uni7 250,00 £GB≈ 8 628,07 €

Stephane MALLARME - Joris-Karl HUYSMANS - Marie DANSEBiblio.com

Manuscript poems of Stéphane Mallarmé

1887réf. 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

Rare Books Le Feu Follet - Edition-Originale.com · France28 750,00 €

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