Salvador DaliBiblio.com
706 résultats
2016réf. 1874052342Taschen 2016. Hardcover. Good. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More Spend Less.Binding and pages are intact. All pages are free from any notations. Light scuffing and bumping visible to boards. This could have light cosmetic flaws but remains in good condition. Dust jacket condition is Good. Secure packaging for safe delivery.Dust jacket quality is not guaranteed. Taschen hardcover
2016réf. 1872580179Taschen 2016. Hardcover. Good. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More Spend Less.Dust jacket in good condition. Shelf and handling wear to cover and binding with general signs of previous use. Binding and pages are intact. All pages are free from any markings. Light scuffing and bumping visible to boards. Secure packaging for safe delivery.Dust jacket quality is not guaranteed. Taschen hardcover
réf. 1559685988The Dial Press. Hardcover. Good. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More Spend Less.Dust jacket missing. Shelf and handling wear to cover and binding with general signs of previous use. Unmarked. Secure packaging for safe delivery.Dust jacket quality is not guaranteed. The Dial Press hardcover
1950réf. 019723Garden City: Doubleday & Company 1950. FIRST EDITION first printing. Full pink cloth with dark grey lettering on the spine slightly soiled and sucffed. Full color frontispiece illustration by Dali and other plates throughout. No previous owner's names not exlibrary. Overall in GOOD condition. First Edition. Full Cloth. Good/No Jacket. 8vo - over 7¾" - 9¾" tall. Hardcover. Doubleday & Company Hardcover
1971réf. 78120New York:: The Viking Press 1971. publisher's cloth in dust jacket. A fine copy in a fine dust jacket. Folio. Illustrated throughout in color and black and white. Preface by Salvador Dali. Additional postage will be applicable; international postage prohibitive. The Viking Press, hardcover
2006réf. 281413Singapore: Opera Gallery 2006. hardcover. fine. Dali. Many fine illustrations. Oblong 4to 253 pages pictorial red and grey cloth. Singapore: Opera Gallery 2006. Singapore: Opera Gallery 2006. First Edition. Fine. Published to commemorate the unveiling of a series of Dali sculptures as the highlight of the Masterpieces Exhibition 2006. The book also includes full page plates of Duffy Miro De Vlaminck Chagall Fini Kisling Leger and others. Opera Gallery unknown
réf. 51-6816Paris: Flammarion 1994. 12mo. 13 x 18cm. Boards in d-j. Fine.The relationship between Dali and Halsman:. The collaboration between Dalí and Halsman began in 1941. They met while working on Labyrinth a project performed by the Ballets Russes at New York’s Metropolitan Opera House in 1941 for which Halsman photographed the costumes designed by Dalí. They continued to work closely together on joint commissions mainly related to ballet but also generated their own projects such as Dali’s Midsummer Night’s Mare Dali Atomicus Dali Sculpture with Light and In Voluptate Mors in which models are arranged in the shape of a skull. In 1960 Halsman documented the making of Dalí’s film Chaos and Creation.Philippe Halsman explains the concept of the jointly produced book Dali’s Mustache as follows: “In 1954 the growth of Dali’s mustache miraculously increased. When the painter returned to New York I was amazed: the points of his mustache were higher than his eyebrows. I saw my duty and started to photograph the play and interplay of his mustache. I needed Dalí’s consent and I approached the great surrealist cautiously: ‘Books have been written about you and about other painters. But there is no book about a part of their personality as for instance Rembrandt’s nose or Picasso’s foot. What a tribute to your genius Dalí! A book to appear – dedicated not to the whole but only to a small part of you!”.Text below by Mary PanzerCurator of PhotographsNational Portrait Gallery Smithsonian Institution.Philippe Halsman 1906-1979 was born in Riga Latvia. He studied engineering in Dresden before moving to Paris where he set up his photographic studio in 1932. Halsman's bold spontaneous style won him many admirers. His portraits of actors and authors appeared on book jackets and in magazines; he worked with fashion especially hat designs and filled commissions for private clients. By 1936 Halsman was known as one of the best portrait photographers in France.From the 1940s through the 1970s Philippe Halsman's sparkling portraits of celebrities intellectuals and politicians appeared on the covers and pages of the big picture magazines including Look Esquire the Saturday Evening Post Paris Match and especially Life. His work also appeared in advertisements and publicity for clients like Elizabeth Arden cosmetics NBC Simon & Schuster and Ford. Photographers amateur as well as professional admired Halsman's stunning images. In 1958 a poll conducted by Popular Photography named Halsman one of the "World's Ten Greatest Photographers" along with Irving Penn Richard Avedon Ansel Adams Henri Cartier-Bresson Alfred Eisenstaedt Ernst Haas Yousuf Karsh Gjon Mili and Eugene Smith. Altogether Halsman's images form a vivid picture of prosperous American society in the middle years of the twentieth century. "Philippe Halsman: A Retrospective" is the first historical survey of his work.Halsman's career came to a dramatic halt in the summer of 1940 when Hitler's troops invaded Paris. Albert EinsteinHis wife daughter sister and brother-in-law who all held French passports immigrated to America but as a Latvian citizen Philippe Halsman could not obtain a visa. For several long months he waited in Marseilles along with many others who were forced to escape fascist Europe. Finally through the intervention of Albert Einstein who had met Halsman's sister in the 1920s Halsman obtained permission to enter the United States and he arrived in New York in November 1940 with little more than his camera.Halsman's big break came when he met Connie Ford a striking young model who agreed to pose in exchange for prints for her portfolio.Constance Ford When publicists at Elizabeth Arden saw Halsman's photograph of Ford against an American flag they used the image to launch a national campaign for "Victory Red" lipstick. A year later in the fall of 1942 Life asked Halsman to shoot a story on new hat design. To Halsman's delight his portrait of the model smiling through a feathery brim landed on the cover. One hundred more covers followed before the magazine ceased weekly publication in 1972.When Halsman began working for Life the magazine was only six years old and photojournalism was still a new field. Before the existence of Life and its competitors Americans learned about the world from newspapers radio and newsreels. But the new picture magazines published pages filled with bright dramatic photographs bringing Americans vivid information that no other media could match. Frank SinatraIn the spirit of a variety show or a world's fair magazines combined stories about international politics everyday life news events celebrities exotic scenery and humor to prove that "so much of the world so judiciously selected had never been seen before in one place." Today to understand the significance of those great magazines we need only look at the many forms of mass media that have come to replace them. Now we find photographs on television and billboards; in special publications devoted to news people fashion or sports; in newspapers; in museums and galleries; and on the Internet. And ironically the more places there are to see photographs the harder it is to attract viewers. But in 1942 when Philippe Halsman's portrait simply appeared on the cover of Life and immediately reached a large united audience.Surrealism:.In Paris Halsman studied the work of other artists and photographers especially the surrealists from whom he learned to make images that surprised his viewers. By including homely and ultimately disturbing details he gave his subjects memorable tension. Through subtle lighting sharp focus and close cropping he turned formal fashion shots into serious investigations of character. When Halsman posed NBC comedians against bare white paper eliminating all defining context their isolation made them look both frail and funny.Salvidor Dali Most important of all from the surrealists' exploration of the erotic unconscious Halsman learned how to combine glamour sex and wholesome energy in one portrait. This unusual ability made him Life's favorite photographer for sensual stars like Marilyn Monroe and Brigitte Bardot. Halsman's sympathy for surrealism also led to his long productive friendship with Salvador Dali. Halsman met Dali on assignment in 1941 and over the next three decades they became partners on many projects including a series of playful tableaux that had all the disturbing irrationality of dreams or a painting by Dali. Their most notable production was "Dali Atomicus" in which the artist his canvas furniture cats and water all appear suspended in air.Psychological Portraiture:.Over the course of his career Halsman enjoyed comparing his work to that of a good psychologist who regards his subjects with special insight. With his courtly manners and European accent Halsman also fit the popular stereotype at a time when Americans regarded psychology with fascinated skepticism. In fact Halsman was proud of his ability to reveal the character of his sitters. As he explained "It can't be done by pushing the person into position or arranging his head at a certain angle. It must be accomplished by provoking the victim amusing him with jokes lulling him with silence or asking impertinent questions which his best friend would be afraid to voice.".Marilyn MonroeIn the spring of 1952 Halsman put his signature technique to work when Life sent him to Hollywood to photograph Marilyn Monroe. Halsman asked Monroe to stand in a corner and placed his camera directly in front of her. Later he recalled that she looked "as if she had been pushed into the corner cornered with no way to escape." Then Halsman his assistant and Life's reporter staged a "fiery" competition for Monroe's attention. "Surrounded by three admiring men she smiled flirted giggled and wriggled with delight. During the hour I kept her cornered she enjoyed herself royally and I . . . took between 40 and 50 pictures.".In this widely familiar portrait Monroe wears a white evening gown and stands with her back against two walls one dark the other light her eyes half closed and her dark lipsticked mouth partly open. Yet Halsman deftly avoided any explicit representation of the true subject of the picture. Using the euphemistic language of the time Halsman's assistant admired the photographer's ability to make "suggestive" pictures of beautiful women which still showed "good taste" emphasizing "expression" rather than "physical assets." And then the assistant added "Halsman is very adept at provoking the expression he wants.".Jumpology:.In 1950 NBC asked Halsman to photograph many of its popular comedians. Milton Berle Ed Wynn Sid Caesar Groucho Marx Bob Hope Red Skelton and many others came to Halsman's studio where they performed while he captured their antics on film. A single session could generate two or three hundred pictures. When Halsman compared these comic images to more traditional portraits he found that comedians often jumped and always stayed in character. Desperation and good humor finally drove him to ask others to jump for his camera when the Ford Motor Company commissioned him to make an official family photograph in honor of the company's fiftieth anniversary. WindsorsHalsman spent a long tiring session with nine edgy adults and eleven restless children. Afterward Halsman's irrepressible humor inspired him to ask matriarch Mrs. Edsel Ford "May I take a picture of you jumping'" The astonished Mrs. Ford replied "You want me to jump with my high heels" Next her daughter-in-law Mrs. Henry Ford II requested a turn. The "jump" pictures had surprising charm and over the next six years Halsman asked many clients to jump for him. Van Cliburn Edward R. Murrow and Herbert Hoover declined Halsman's invitation but most people realized they had nothing to lose. Some gained considerably like the suddenly buoyant and likable Vice President Richard Nixon who jumped for Halsman in the White House. Halsman claimed the jumps revealed character that was otherwise hidden. "When you ask a person to jump his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears.".Halsman also pursued this project to discover something about himself. "I assure you that often before approaching the person my heart would beat and I would have to fight down all my inhibitions in order to address this request to my subject. At every time when the subject agreed to jump it was for me like a kind of victory." How did Halsman persuade so many to abandon their composure for his camera Somehow he managed to convince each one that the risk was all his own.Like many who escaped Hitler's Europe Philippe Halsman rarely discussed the past. He rightly insisted that his most important work took place in America and in many ways his adopted country became his subject. One typical review noted his patriotic flair praising Halsman's "unsanctimonious and immensely intense portrayal of American bounce." From a historian's perspective it seems clear that Halsman invented a glowing image of the nation as he saw it using light persuasion nerve imagination psychology and experience. This place and these faces are his creation.Halsman's perpetual quest for hidden truth also recalls his personal history as an artist and a refugee. Halsman knew that the effort to establish one's identity had significance far beyond the needs of the celebrity marketplace. "This fascination with the human face has never left me. . . . Every face I see seems to hide and sometimes fleetingly to reveal the mystery of another human being. . . . Capturing this revelation became the goal and passion of my life.". Paris: Flammarion, 1994. hardcover
1981réf. KFZZQ100827Iwanami Bookstore 1981. Soft Cover. Fine. KFZZQ100827 Iwanami Bookstore paperback
1974réf. P-23562New York: William Morrow 1974. Hardcover. Fine/First Edition. Octavo. With the '1' in a number line. Dali's only published novel which he illustrated in his Surrealist style. A clean unmarked and unclipped copy in a Mylar jacket cover. William Morrow hardcover
1974réf. P-28081New York: William Morrow 1974. Hardcover. Fine/First Edition. Octavo. With the '1' in a number line. Dali's only published novel which he illustrated in his Surrealist style. A clean unmarked and unclipped copy in a Mylar jacket cover. William Morrow hardcover
2017réf. 31Large hardback still sealed in cellophane which has one tiny split. Taschen hardcover
2012réf. TH254697Millon Paris 2012. 1st Edition. SOFTCOVER. Thick heavy 4to. in colour printed stiff card covers 176pp 200 lots all or most illustrated in colour and some b/w detailed notes for each lot in French with brief English summary estimates sheet loosely inserted __CONDITION : An extremely well preserved AS NEW unread and unmarked copy. __NOTE Due to size and/or weight posting to some destinations outside the UK will cost more than the shipping price shown. If so orders made by card will only be completed after you have approved any extra cost. . __We always ship in PROTECTIVE CARD PARCELS Millon, Paris paperback
1970réf. 096584New York United States of America: Harry N. Abrams Inc. Very Good/Good. 1970. First Edition. Cloth. 8vo - over 7¾" - 9¾" Tall Octavo 0810900718 Hardback Hardback Dali by Dali Illustrated throughout by fantasic art pictures by Salvador Dali illus including 80 plates in full color and 23 in toned gravure; 242pp. Good with slight shelfwear though text clean and tight. Inscription on title page. Worn and slightly torn dust jacket. Please look at the photos for a good illustration of the condition. First edition.somewear shelfwear to top edge of D/j . Harry N. Abrams, Inc. hardcover
réf. 23413761like new. unknown
2007réf. 1-0870707302Museum of Modern Art 2007. Hardcover. New. hardback edition. 237 pages. 11.75x10.00x1.00 inches. Museum of Modern Art hardcover
2017réf. __3836570297Taschen Deutschland Gmbh 2017. Hardcover. New. 296 pages. German language. 12.28x8.66x1.38 inches. Taschen Deutschland Gmbh+ hardcover
réf. 64441853Stanford University Press . Papeback. New. pp. 368 Stanford University Press unknown
réf. 841031763X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 50509London Vision 1973. 450pp. 4to. Original boards in dustwrapper. Colour and black and white illustrations; previous owner's name. a very good copy. . Fourth edition - new and revised. London, Vision, 1973. hardcover
1965réf. ALIarDAL14Garden City NY: Doubleday & Company Inc. 1965. 1965. 8vo. pp. 10 double-sided plates. index. cloth. dw. extremities chipped lettering on spine faded. First Edition of the English Translation. Freitag 2009. Lucas p. 137. F. Hardcover. Garden City, NY: Doubleday & Company, Inc. 1965. Hardcover
1993réf. 004308Richmond USA: Roger Reus 1993. Book. Fine. Soft cover. 1st Edition. First Edition's First Print's. Original illustrated wrappers. These are the true first edition's published in an entire run of just three which are 'The Stylus 1' Jan 1993 'The Stylus 2' June 1994 and 'The Stylus 3 ' 1997. With contributions by Joyce Fante Charles Bukowski Marvin Malone and critical articles on John Fante Henry Miller Arthur Machen Charles Bukowsi F. Scott Fitzgerald Salvador Dali Gabriel Neruda etc. Very uncommon as a full set. Roger Reus, Paperback
1954réf. 11686Roma: I.P.S. 1954. Discreto esemplare da studio lievi aloni e fioriture sul fascicolo e sul foglio volante legatura un po’ allentata sguardia bianca anteriore con striscia larga un paio di centimetri mancante sul margine esterno. Spillato in brossura cm 23x20 pp16 2 18 di tavole in nero. Raro catalogo della prima mostra retrospettiva di Dalì in italia curata da Theo Rossi di Montelera e allestita a Roma nel maggio 1954 quindi portata a Venezia luglio e Milano ottobre; il testo introduttivo è del Marchese de Lozoya Juan Contreras Lopez de Ayala direttore dell’Accademia di Spagna di Roma e commissario del padiglione spagnolo alla Biennale veneziana. Il fascicolo ha qualche lieve alone di fioritura e la prima sguardia bianca è più stretta di un paio di centimetri rispetto alle altre pagine presumibilmente tagliata una firma; è presente tuttavia il raro foglio ripiegato col discorso di Dalì «ATTENZIONE! L’arte moderna invecchia vertiginosamente…» anche questo con lievi fioriture. I.P.S. unknown
réf. 2743403411.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 23413761-nnew. unknown
2003réf. I-277-809Cercle d'Art 2003. Hardcover. Very Good. Former library book. Ammareal gives back up to 15% of this item's net price to charity organizations. Cercle d'Art hardcover
