Ades, Dawn (editor)MareMagnum
1 992 résultats
2000No marks or inscriptions. A lovely clean very tight copy with bright unmarked boards and no bumping to corners. Dust jacket not price clipped or marked or torn with a little indenting and surface rubbing from storage. 195pp. The book examines Dali's use of various pictorial techniques, photography, and holograms to further his exploration of visual perception and the ways that optical illusion affects our sense of reality. Includes discussion between the editor and a number of other authorities in the field. Very well illustrated. The book is also the catalogue for an exhibition in 2000 in Edinburgh and a number of American galleries.
2000réf. 16716Cumberland Rhode Island U.S.A.: Yale Univ Pr. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless -- with a bonus offer--; 016716 . 2000. 0300081774 . Yale Univ Pr hardcover
réf. 5054Dali's Mustache Salvador Dali & Philippe Halsman Signed "Dali" with Original Drawing of an ant expanding across inside cover to first end paper. Full title "Dali's Mustache: A Photographic Interview by Salvador Dali and Philippe Halsman" New York Simon and Schuster 1954. Halsman 1906-79. Dali ends the Preface about his view of his mustache "Some day perhaps one will discover a truth almost as strange as this mustache - namely that Salvador Dali was possibly also a painter." Halsman captioned photographs of Dali throughout interspersed with bold face questions some obvious "What is beauty" some comical "Dali What makes You Tick" Condition: Cover shows wear and chipping to boards and spine break to spine following two second page of preface with all pages in tact. unknown books
1954réf. 25008New York: Simon and Schuster 1954. Pictorial boards. Very Good. A solid tight copy of the 1954 1st edition of this playful collaboration between artist and photographer. Crisp and VG in its wonderful pictorial boards with very light rubbing and soiling along the panels and a small neat ink inscription at the front free endpaper. 12mo rich gravure photographs throughout. Lacking its original dustjacket. Simon and Schuster unknown books
1994réf. 82226Paris:: Flammarion. Fine in Fine dust jacket. 1994. Hardcover. 2080304666 . Black and white photographs throughout. Eighth printing thus. Fine in a fine dust jacket. . Flammarion, hardcover books
réf. ORD-2793Une interview photographique. Paris. Arthaud. 1985. In-8 (138 x 178mm) cartonnage bradel de l'éditeur illustrée d'un portrait surréaliste de DALI, 128 pages, 30 photos hors texte par Philippe HARTMAN. Bel exemplaire.
1985réf. 13402Arthaud, 1985. In-12, cartonnage photographique. En belle condition.
1994réf. 28853Editions Flammarion 1994. In-12 cartonnage éditeur de 128 pages au format 18 x 14 cm. Surréaliste couverture photo de Salvador Dali. Dos carré. Plat et intérieur frais. Complet de la jaquette qui reprend la photo de couverture. Tirage sur couché. Délirante Interview photographique de Philippe Halsman. Préface de Salvador Dali. Deuxième édition en version anglaise en superbe état général.
réf. 201409600Grenoble, Arthaud, 1985 ; in-12, 128 pp., cartonnage de l'éditeur. Très bon état - une interview photographique.
réf. B608Arthaud Cartonné, parfait état
1982réf. WB16623Paris: Arthaud 1982. Hardcover. Very Good. Publisher's pictorial cloth. pp. 128. Photographs throughout. The 1982 reissue of this clever book. Inscribed by Halsman's wife Ivonne to whom the book was dedicated Arthaud hardcover books
réf. lc_81010Flammarion (1 janvier 1994)
réf. 5054Dali's Mustache Salvador Dali & Philippe Halsman Signed "Dali" with Original Drawing of an ant expanding across inside cover to first end paper. Full title "Dali's Mustache: A Photographic Interview by Salvador Dali and Philippe Halsman" New York Simon and Schuster 1954. Halsman 1906-79. Dali ends the Preface about his view of his mustache "Some day perhaps one will discover a truth almost as strange as this mustache - namely that Salvador Dali was possibly also a painter." Halsman captioned photographs of Dali throughout interspersed with bold face questions some obvious "What is beauty" some comical "Dali What makes You Tick" Condition: Cover shows wear and chipping to boards and spine break to spine following two second page of preface with all pages in tact. unknown
1996réf. Q-2080135600Flammarion 1996-01-15. Hardcover. New. New. In shrink wrap. Looks like an interesting title! Flammarion hardcover
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
1982réf. WB16623Paris: Arthaud 1982. Hardcover. Very Good. Publisher's pictorial cloth. pp. 128. Photographs throughout. The 1982 reissue of this clever book. Inscribed by Halsman's wife Ivonne to whom the book was dedicated Arthaud hardcover
1954réf. 25008New York: Simon and Schuster 1954. Pictorial boards. Very Good. A solid tight copy of the 1954 1st edition of this playful collaboration between artist and photographer. Crisp and VG in its wonderful pictorial boards with very light rubbing and soiling along the panels and a small neat ink inscription at the front free endpaper. 12mo rich gravure photographs throughout. Lacking its original dustjacket. Simon and Schuster unknown
1954réf. 1514Small Hardback pictorial cover 1954 First Edition some edge wear Simon & Schuster hardcover
1967In 8, pp. (38) + (2b) con ritratto fotogr. di Dali' all'antip., 4 riproduzioni di xilogr. orig. di Dali' a colori, e otto riproduzioni di opere di Dali', Meissonnier, Moreau, Detaille et Bouguereau n.t. Br. ed. ill. Conservato all'interno il cartoncino d'invito di Paul Ricard. Testo in francese. Ottimo stato di conservazione.
1958In 4, pp. 96 con molte tavv. in b/n e a colori applicate su carta. Cartonatura editoriale con foto in b/n e illustrazione al piatto anteriore entrambe raffiguranti Dali'. Bell'album monografico dedicato all'artista con una panoramica sulla sua produzione suddivisa in dipinti, disegni, e acquarelli.
1973In-16, tela editoriale, sovracoperta, pp. VI,156, con numerose illustrazioni in bianco e nero e a colori nel testo. In buono stato (good copy).
1978STRAPPI IN SVC. ILL. a col e b/n
1970réf. 32256ABBln., Propyläen 1970. 8°. VIII/156 S. 2 Bll. m. zahlreichen Abbildungen zumeist farbig und zum Teil doppelseitig, OLeinen, Schutzumschlag, gut erhalten.
réf. UEI-1183Réfectoire des Jacobins. Novembre 1983 - Janvier 1984. Format : 30/22. Pages : 190. Couverture souple défraîchie, intérieur bon état
1982réf. 62504inconnu 1982 In-4 relié. Très bon état d’occasion.
