5 431 résultats
1992réf. RO30171003EDITIONS PLUME. 1992. In-Folio. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 206 pages augmentées de nombreuses illustrations en couleurs et en noir et blanc dans et hors texte - jaquette en bon état. Avec Jaquette. . . Classification Dewey : 793.3-Danse
1992réf. R300324249Plume. 1992. In-Folio. Relié. Etat d'usage, Couv. convenable, Dos satisfaisant, Intérieur acceptable. 206 pages - nombreuses photos et illustrations en noir et blanc et en couleurs dans et hors texte. Jaquette légèrement passée et déchirée en coiffes.. Avec Jaquette. . . Classification Dewey : 793.3-Danse
1993réf. MVOLSAT1Paris Le Castor Astral 1993 In-8 broché (21.5x14 cm), couverture illustrée par un dessin de Jean Oberlé, bibiographie, 173 pp. Avec des lettres et des textes inédits d'Erik Satie, Jean Cocteau, Valentine Hugo et Guillaume Apollinaire.
1992réf. 11009Plume 1992 Grand in-4 cartonné, sous jaquette illustrée, 206 pp, chronologie, bibliographie, index. Nombreuses illustrations en couleurs et en noir. Jaquette un peu jaunie, néanmoins intérieur frais, bon état.
1977Grande libro fotografo sulla danza con allegato piccolo dizionario dei termini specifici.
1923réf. 21979Paris, Le Théâtre et Comoedia Illustré, numéro spécial, n°18, juin 1923. Broché, 27,5 cm x 35 cm,104 pages (non paginées), illustrations et photographies in et hors-texte. Textes de Robert de Flers, Constantin Stanislawski, Pierre Scize, Sarah Bernhardt, Edmond Rostand, Dussane, Henri Danjou, Maurice Rostand, Louise Abbéma, René Fauchois, John Grand-Carteret, Jules Bertaut, René Clair,… , publicités. Bon état
1981Oscar F. Ghedina Saper filmare. , Hoepli 1981, Buone condizioni: copertina con lievi segni di usura ai margini, tagli bruniti, pagine ingiallite ma di buona fruibilità Buono (Good) . 186 882031097X
Antonio Massarini, Teatro dei Burattini N. 3 - Sandrone Re dei Mamalucchi commedia brillante in 4 atti dialogata dal Rag. Antonio Massarini Tip. Cartoleria Sociale, Portomaggiore 1935, cm 26,5x18,5, pp. 36, brossura ed. Condizioni di conservazione Buone condizioni con tracce d'uso, lieve traccia di piega longitudinale, alla brossura alcune piccole leggere bruniture. Margine superiore delle pp. 21-24 con un paio di piccole mancanze e un taglietto di alcuni cm, interni peraltro ben conservati. Raro. SC03.D17945 N
1978Mai - Juin 1978. N°1. Nombreuses photos. Très bon état
"Anonimo, San Francesco di Sales in Tonone Azion Sacra per la sua festa nell'anno 1817 Irreperibilità, dei dati tipografici, 1817, cm 17x10,5, pp. 43, mancanza della brossura. Condizioni di conservazione Esemplare in buono stato con leggere tracce d'uso, mancanza della brossura ma esemplare compatto per presenza delle cuciture e di parte del dorso (vedi foto). Interni buoni con poche minime trascurabili bruniture. Interessante dramma sull'azione di San Francesco di Sales in Tonone. Immediatamente sotto l'elenco degli "Interlocutori" (i personaggi) si legge quanto segue: "L'azione si rappresenta in un Atrio della Piazza di Tonone, donde in lontananza si vede la Chiesa di S. Ippolito". SC03.D9823 N "
1943réf. 126111943 1 San Francisco, War Memorial House, 1943, in-12, br., ill.
réf. 103433Tokyo, Shinya-Soshosha, 1982-1983, 2 volumes 218x155mm, 52+60p., demi-toile grise à coins, vignettes photographiques fixées en couverture, jaquettes imprimées sur calque.Edition originale et premier tirage, complet en deux volumes.(103433)
1907Num?ro complet.
réf. 6050in 12 cartonné d’éditeur imprimé,étiquette de titre,en long,au dos et sur le premier plat, en vert.78 pages,15 illustrations,la plupart pleine page de Audrey Beardsley texte en allemand insel verlag zu leipsig sans date
Autore/Curatore: Franz Toussaint Editore: édition d'Art Anno: 1922 Formato: 11x16 cm - Copertina Morbida Pagine: 173 Lingua: Francese Condizioni: Discrete, come da foto, con segni del tempo e di utilizzo. Scritta su pagina bianca. Pieghe e strappetti ai margini. Lievi ossidazioni.
réf. 13982940Paris: UNESCO, 2009 in-4, 351 pages, riche illustration en couleurs. Cartonnage illustré d'éd., jaquette, marques minimes, très bon état.
1923réf. 224011923 Paris, M. & J. de Brunoff, 1923, in-4, couverture cartonnée reliée par un cordon.
1967Benedetto Pergoli Saggio di canti popolari romagnoli Forni Editore Bologna, 1967 Pagine 230 Brossura Ristampa anastatica dell’edizione di Forlì del 1894 Buonissime condizioni
1831Volume in 8°, brossura editoriale, titolo al piatto stampato entro cornice silografica, occhiello, pagine da 219 a 342, bianca finale, 4 tav. f.t. più volte ripiegate con figure a passo di danza, 1 tav. f.t. a doppia pagina con partitura musicale. Si tratta di un’opera rarissima propedeutica alla danza, la più completa sull’argomento, almeno fino alla metà dell’ottocento. Comprende quattro volumi dati alle stampe nell’arco di due anni, di cui purtroppo presentiamo solo l’ultimo che contiene la parte più evolutiva dell’opera nella quale vengono spiegati e descritti diverse decine di passi “saltati e battuti” e di “capriole” (es.: Dei mezzi contrattempi; Dei Brisé; Dei flinc e flanc; Del passo del Zeffiro; Dell’Ortenzia; ecc.) ognuno con ogni possibile variante, ed alcune annotazioni dell’autore riguardo l’etimologia, la provenienza del passo e tutto ciò che può risultare utile al neofita. Al termine un’Appendice di 50 pp., con esercizi pratici da eseguirsi sulle note musicali appositamente stampate. Veramente interessante e piacevole, arricchito dalle tavole incise. Edizione originale, stampata su bella carta greve, ancora intonso ed in barbe.
2000réf. dz759Editions Dana, Editions Théo Broché 2000 In-8 (26 x 21,5 cm), format à l'italienne, broché, non paginé, photographies en noir et blanc ; quelques légères traces sur les plats, intérieur frais, bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
1988réf. R260194753EDITIONS REVUE EPS. 1988. In-4. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 55 pages augmentées de nombreuses illustrations en couleur et noir et blanc dans et hors texte -. . . . Classification Dewey : 793.3-Danse
PARIS, Max Eschig - In-4 - Cartonnage éditeur -47 pages représentant avec dessins la chorégraphie de cette opérette - Bel exemplaire
réf. 22379PARIS, Max Eschig - In-4 - Cartonnage éditeur -47 pages représentant avec dessins la chorégraphie de cette opérette - Bel exemplaire
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.
réf. 3707Paris, Édition des Musées Nationaux, 1956, 68 pp. 21 X 27 cm, br. Ouv. ill. 31 pl. n.b. h.t. Couv. ill. coul. Catal. réalisé par Mme Gabrielle Vienne. Préface de Jean Cassou Conservateur en Chef du Musée National d'Art Moderne.
