2 274 résultats
2009réf. 835094RMN. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in French. 200 pages; 257 illustrations. -- with a bonus offer-- . 2009. 2711856283 . RMN paperback
réf. 55417Waanders Publishers. New. FREE UPGRADE to Courier/Priority Shipping Upon Request – – IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in Dutch and English. 144 pages; 110 colour photographs -- with a bonus offer-- . 9040090815 . Waanders Publishers unknown
1990réf. 71035Philipp Von Zabern. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- with a bonus offer-- . 1990. Philipp Von Zabern paperback
1999réf. 32878New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED - 22 works catalogued and illustrated by artists including J. Pascin R. De la Fresnaye J. Gris & others -- with a bonus offer--; T-Groseur; Seurat to Chagall - A Selection of European Master Drawings - 1884 - 1930 22 works catalogued and illustrated by artists including J. Pascin R. de la Fresnaye J. Gris & Others Grosvenor Gallery london - 6/2 - 6/25/1999 . 1999. paperback
2015réf. 122960Skira. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened – with a bonus offer-- . 2015. 885722843 . Skira paperback
1998réf. 68842G. Hatje. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in German. 288 pp. With 165 ills. 112 col. . 31 x 24 cm. -- with a bonus offer-- . 1998. G. Hatje hardcover
1941réf. 261189New York 1941. Half-length frontal portrait of the artist. Gelatin silver print. 1 vols. approximately 10 x 7-7/8 inches. Docketed on verso "Mark Chagall XXI-V-II July 4 1941. Half-length frontal portrait of the artist. Gelatin silver print. 1 vols. approximately 10 x 7-7/8 inches. unknown
1941réf. 222109New York 1941. Reproduced in PORTRAITS: the Photography of Carl Van Vechten 1978 edited by Saul Mauriber. Half-length portrait of the artist glancing to the side. Gelatin silver print. 1 vols. 24.5 x 17.2 cm. approximately 9-5/8 x 6-3/4 inches. Matted. Reproduced in PORTRAITS: the Photography of Carl Van Vechten 1978 edited by Saul Mauriber. Half-length portrait of the artist glancing to the side. Gelatin silver print. 1 vols. 24.5 x 17.2 cm. approximately 9-5/8 x 6-3/4 inches. Provenance: The estate of Saul Mauriber Van Vechten's assistant and executor of Van Vechten's photography estate and the compiler of PORTRAITS: THE PHOTOGRAPHY OF CARL VAN VECHTEN 1978 unknown
1941réf. 261189New York 1941. Half-length frontal portrait of the artist. Gelatin silver print. 1 vols. approximately 10 x 7-7/8 inches. Docketed on verso "Mark Chagall XXI-V-II July 4 1941. Half-length frontal portrait of the artist. Gelatin silver print. 1 vols. approximately 10 x 7-7/8 inches. unknown books
1941réf. 222109New York 1941. Reproduced in PORTRAITS: the Photography of Carl Van Vechten 1978 edited by Saul Mauriber. Half-length portrait of the artist glancing to the side. Gelatin silver print. 1 vols. 24.5 x 17.2 cm. approximately 9-5/8 x 6-3/4 inches. Matted. Reproduced in PORTRAITS: the Photography of Carl Van Vechten 1978 edited by Saul Mauriber. Half-length portrait of the artist glancing to the side. Gelatin silver print. 1 vols. 24.5 x 17.2 cm. approximately 9-5/8 x 6-3/4 inches. Provenance: The estate of Saul Mauriber Van Vechten's assistant and executor of Van Vechten's photography estate and the compiler of PORTRAITS: THE PHOTOGRAPHY OF CARL VAN VECHTEN 1978 unknown books
1937réf. 140947814Berlin: Verlag fur Kultur- und Wirtschaftswerbung 1937. Near Fine. 32 pp. Bound in publisher's side-stapled pictorial wraps. Illustrated with black and white art reproduction photos. Text in German. With laid-in "Der Ewige Jude" The Wandering Jew exhibition postcard postmarked Bremen 1939. Near Fine with light edge wear and age toning; postcard evenly toned contemporary German stamps on the verso with 1939 postmark. In the aftermath of the confiscation of nearly 20000 art works from German museums Adolph Hitler's Ministry of Propaganda organized an exhibition of modern art in order to decry its racially impure deleterious character and supposed backing by Jewish interests in the Weimar era. The exposition was hosted at the Institute of Archaeology in the Hofgarten on July 19 1937 in Munich and later traveled throughout Germany. Organized by the Ministry of Propaganda leader Joseph Goebbels the show was designed to reinforce in the German public mind that subversive decadent or avant-garde art work would not be tolerated in the Third Reich. Attended by over two million visitors the show displayed over 650 confiscated paintings sculptures and prints by 112 artists primarily German including Georg Grosz Ernst Ludwig Kirchner Paul Klee Georg Kolbe Otto Dix Wassily Kandinsky Marc Chagall and many other now-acclaimed modern artists. Targeted artists were the subject of merciless ridicule and denounced with most works displayed unframed and obscured by painted slogans. Attended most famously by Museum of Non-Objective Painting predecessor to the Solomon R. Guggenheim Museum director Hilla R who supported affected artists like Vasily Kandinsky Rudolf Bauer and others by exhibiting their work in the United States. Many works were destroyed lost or re-homed overseas after the fall of the Third Reich. Laid-in is an antisemitic postcard for the third part of a series of Schandausstellungen or condemnation exhibitions "Der Ewige Jude" The Wandering Jew. The show opened on November 8 1937 to January 31 1938 in Berlin under Joseph Goebbels' direction. The exhibition traveled for the next year and a half attracting over 700000 visitors and concluding in March 1939 in Magdeburg. Verlag fur Kultur- und Wirtschaftswerbung unknown
1937réf. 140947814Berlin: Verlag fur Kultur- und Wirtschaftswerbung 1937. Near Fine. 32 pp. Bound in publisher's side-stapled pictorial wraps. Illustrated with black and white art reproduction photos. Text in German. With laid-in "Der Ewige Jude" The Wandering Jew exhibition postcard postmarked Bremen 1939. Near Fine with light edge wear and age toning; postcard evenly toned contemporary German stamps on the verso with 1939 postmark. In the aftermath of the confiscation of nearly 20000 art works from German museums Adolph Hitler's Ministry of Propaganda organized an exhibition of modern art in order to decry its racially impure deleterious character and supposed backing by Jewish interests in the Weimar era. The exposition was hosted at the Institute of Archaeology in the Hofgarten on July 19 1937 in Munich and later traveled throughout Germany. Organized by the Ministry of Propaganda leader Joseph Goebbels the show was designed to reinforce in the German public mind that subversive decadent or avant-garde art work would not be tolerated in the Third Reich. Attended by over two million visitors the show displayed over 650 confiscated paintings sculptures and prints by 112 artists primarily German including Georg Grosz Ernst Ludwig Kirchner Paul Klee Georg Kolbe Otto Dix Wassily Kandinsky Marc Chagall and many other now-acclaimed modern artists. Targeted artists were the subject of merciless ridicule and denounced with most works displayed unframed and obscured by painted slogans. Attended most famously by Museum of Non-Objective Painting predecessor to the Solomon R. Guggenheim Museum director Hilla R who supported affected artists like Vasily Kandinsky Rudolf Bauer and others by exhibiting their work in the United States. Many works were destroyed lost or re-homed overseas after the fall of the Third Reich. Laid-in is an antisemitic postcard for the third part of a series of Schandausstellungen or condemnation exhibitions "Der Ewige Jude" The Wandering Jew. The show opened on November 8 1937 to January 31 1938 in Berlin under Joseph Goebbels' direction. The exhibition traveled for the next year and a half attracting over 700000 visitors and concluding in March 1939 in Magdeburg. Verlag fur Kultur- und Wirtschaftswerbung unknown books
réf. 2286194H. Fair. unknown
1962réf. 4235New York: George Braziller 1962. First edition. Folio original red cloth. With two original color lithographs specially prepared by Chagall for this edition. Fine in a fine dust jacket. Contains the rarely seen original slipcase also present is the original blue ribbon. The rear panel of the acetate shows some wear. Jerusalem Windows illustrates and chronicles the creation of twelve stained glass windows one for each of the twelve tribes of Israel designed by Chagall for the Hadassah-Hebrew University Medical Center Synagogue in Jerusalem. George Braziller hardcover
réf. 51-0431Paris Musée des Arts Décoratifs 1961. Large 8vo. 247 x 182mm. Wraps in dust-jacket with an original lithograph by Chagall. Mourlot no. 358. Cramer Chagall Illus. Books no. 47.One of 300 signed and numbered impressions on the colophon. Paris, Musée des Arts Décoratifs, 1961. paperback
réf. 51-5822Paris: 1962-1963. Folio. 39.5 x 30cm. Two Signature pages from "Regards sur Paris" presented by L'Académie Goncourt. Paris: André Sauret Editeur. Paris: 1962-1963 unknown
1920réf. 165270Paris: Au Sans Pareil 1920. 1 of 9 copies on Japon Imperial paper Copy No. IV. Softcover. VG or better glassine jacket with minor chipping few tiny tears no significant loss microscopic at best. Printed oversize wraps with glassine jacket. Half-title. Title-page with woodcut vignette and 4 woodcut illustrations by Marc Chagall. 48 pp. Among Marc Chagall's earliest book illustrations preceded only by appearances in 1914 and 1918. With Andre Breton Soupault was one of the founders of the Surrealist movement: "Soupault's earliest verse collection 'Aquarium' 1917 was published with the help of Guillaume Apollinaire who introduced Soupault to André Breton. In 1919 Soupault Breton and Louis Aragon cofounded the review 'Littérature'. Originally drawn to the anti-rationalism of the Dada movement Soupault soon rejected its nihilism and he and Breton experimented with other revolutionary techniques. One result of their experimentation was the "automatic writing" of the jointly authored 'Les Champs magnétiques' 1920; 'The Magnetic Fields' known as the first major Surrealist work. Soupault soon abandoned automatic writing to produce carefully crafted verses such as those in 'Westwego' 1922 and 'Georgia' 1926. As the Surrealist movement became increasingly dogmatic and political Soupault grew dissatisfied with it and eventually broke with it and Breton" Encyclopedia Britannica online. Exceptionally rare one of 9 such copies. Au Sans Pareil paperback
1920réf. 165270Paris: Au Sans Pareil 1920. 1 of 9 copies on Japon Imperial paper Copy No. IV. Softcover. VG or better glassine jacket with minor chipping few tiny tears no significant loss microscopic at best. Printed oversize wraps with glassine jacket. Half-title. Title-page with woodcut vignette and 4 woodcut illustrations by Marc Chagall. 48 pp. Among Marc Chagall's earliest book illustrations preceded only by appearances in 1914 and 1918. With Andre Breton Soupault was one of the founders of the Surrealist movement: "Soupault's earliest verse collection 'Aquarium' 1917 was published with the help of Guillaume Apollinaire who introduced Soupault to André Breton. In 1919 Soupault Breton and Louis Aragon cofounded the review 'Littérature'. Originally drawn to the anti-rationalism of the Dada movement Soupault soon rejected its nihilism and he and Breton experimented with other revolutionary techniques. One result of their experimentation was the "automatic writing" of the jointly authored 'Les Champs magnétiques' 1920; 'The Magnetic Fields' known as the first major Surrealist work. Soupault soon abandoned automatic writing to produce carefully crafted verses such as those in 'Westwego' 1922 and 'Georgia' 1926. As the Surrealist movement became increasingly dogmatic and political Soupault grew dissatisfied with it and eventually broke with it and Breton" Encyclopedia Britannica online. Exceptionally rare one of 9 such copies. Au Sans Pareil paperback books
1974réf. CHAGALLM013871�ditions Andr� Sauret Monte-Carlo. 1974. First edition. The fourth volume in the catalogue raisonn� of Chagall's lithographs. There were a further two volumes. Folio. 180 pages almost all of which are devoted to reproductions. The frontispiece and the dustwrapper are original colour lithographs printed by Mourlot in Paris.Signed boldly in red crayon by the artist on the title-page.Small bump to tail of spine. Fine in fine dustwrapper. �ditions Andr� Sauret, Monte-Carlo. unknown
réf. 055710Paris Librairie Stock, Delamain et Boutelleau 1931 in 12 (18,5x13) 1 volume broché, frontispice hors-texte en noir et blanc, 253 pages [1], avec 32 dessins de jeunesse par l'auteur, couverture légèrement passée. Traduction de Bella Chagall. Collection ''Ateliers'',3. Première édition tirée à 1683 exemplaires numérotés, celui-ci un des exemplaires de service de presse marqués SP. Joseph Delteil, Villar-en-Val (Aude) - Tuilerie de Massane (Grabels) 1978, écrivain et poète français. Précieux exemplaire enrichi d'un envoi autographe signé de Marc Chagall à Joseph Delteil, avec un coeur dessiné (Signed and inscribed in French by Marc Chagall to Joseph Delteil). Bon exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
1962réf. 30485S.l., André Sauret, (1962). Un vol. au format in-4 (333 x 252 mm) de 210 pp. Reliure d'édition de pleine percaline satinée gris-perle, sous jaquette illustrée et rhodoïd.
1962réf. 304851962. S.l. Andr Sauret 1962. Un vol. au format in-4 333 x 252 mm de 210 pp. Reliure d'dition de pleine percaline satine gris-perle sous jaquette illustre et rhodod. Exemplaire revÂtu au premier feuillet de la signature autographe au feutre de Marc Chagall ; dat 1966. Outre une abondante iconographie en noir et couleurs l'ouvrage est complet de ses deux lithographies originales de Marc Chagall ; tires par Mourlot. ''S'agissant d'illuminer une synagogue de Sion et ses douze verriÂres Chagall vit soudain resplendir sous les feux translucides les douze Tribus conjugues d'Isral la couronne de gemmes chante par le Psalmiste qu'il lÂverait son tour en offrande la reine d'Orient. Saisi par le seuil de l'ge par cet blouissement imprieux il s'absorba deux annes sans relche jusqu' la russite absolue jusqu'au miracle final''. Angles et coupes de la jaquette lgÂrement limes. Claires rousseurs sur les tranches. Du reste belle condition. b42961 unknown
1963réf. 2471ABMonte Carlo, Sauret, 1963. 32,5 : 25 cm. 208 Seiten mit 11 (7 farbigen) Original-Lithographien von Marc Chagall und 376 teils farbigen Abbildungen. Original-Leinenband mit Original-Farblithographie von Chagall als Schutzumschlag, Schuber. (Band 2).
1960réf. 1497Éditions de la Passerelle, Paris 1960. 1 volume grand in-folio (440 X 350 cm), en feuilles sous couverture illustrée rempliée, chemise et étui peints décorés de l'éditeur. Édition originale illustrée de 3 EAUX-FORTES dorées pour la couverture et 16 GRAVURES ET AQUATINTES ORIGINALES EN COULEURS EN HORS-TEXTE D'ANDRÉ MASSON. Tirage : 160 exemplaires numérotés et nominatifs. Celui-ci tiré sur grand vélin d'Arches. Tous les exemplaires sont signés au colophon par l'auteur, l'artiste et l'éditeur. Les gravures ont été tirées chez Lacourière.
réf. 1086231970. Signed. CHAGALL Marc. Autograph letter signed. Zurich September 9 1970. Single sheet of Dolder Grand Hotel airmail-weight stationery measuring 6 by 8-1/4 inches; pp. 2 with original matching hand-addressed envelope. $2200.Extraordinary 1970 autograph signed letter written entirely in Yiddish from Marc Chagall to acclaimed Yiddish writer and Jewish activist S.L. Shneiderman thanking him for sending a book on Ilya Ehrenburg; expressing his hopes that they will see each other in the near future; and explaining that he is in Zurich for an event related to having made the stained glass windows for the Fraumunster Church.The letter written on a sheet of Dolder Grand Hotel airmail stationary entirely in Chagall's hand and dated ""9/Sept 1970"" and accompanied by a hand-addressed matching envelope reads in full translated: ""Dear friend Schneiderman A thousand years have gone by and I remember youÑand your Yiddish writing styleÑbut we seldom see each other. Thank you for your book about poor Ehrenburg and also the attached article about me not a public/published one. I will read your book. You can imagine that since that terrible epoch for us Jews we can never forget. I hope that someday I will see you. I send regards to you and to all the good Jews in America. With love Marc Chagall. P.S. I am here for the opening/conference since I made Biblical vitrages stained glass windows for the Fraumunster Church in Zurich."" This letter was written just before friction began to emerge between Shneiderman and Chagall. While Chagall had grown into an acclaimed artist in Europe much of that fame was dependent on working with non-Jewish entities such as churches and even on drawing depictions of events in the New Testament. Increasingly the Christian world began to embrace Chagall and to interpret his work as having ecumenical or even Messianic undertones. Chagall continued in his artistic endeavors and failed to respond to some of the religious-based commentary. Shneiderman felt that this was intolerable publicly criticizing Chagall's failure to meet with Jewish representatives in the community he worked in and his new alignment with Christian and secular authorities. While their relationship did not completely sour and they continued to correspond their relationship grew strained. At the time this letter was penned Shneiderman had just completely a book on Ilya Ehrenburg a famous Soviet-Jewish writer and cultural figure. Highly regarded as a translator journalist poet novelist and travel writer Ehrenburg is probably best known for his Black Book a powerful work detailing the genocide of Soviet Jews by the Nazis during the Holocaust. His book The Thaw on liberalization after Stalin also had a powerful influence and gave a name to an era. Sadly Ehrenburg's reputation was quickly destroyed by antisemites and conspiracy theorists after the war who seized upon an article he wrote called ""Kill!""Ñpublished while the Soviets were losing the war and the Germans were deep inside Soviet territoryÑin which Ehrenburg entreated soldiers to kill at least one German a day. Postwar he has often been blamed for the sacking of Germany by Russian troops though he condemned their actions. He died horribly of prostate and bladder cancer still a committed communist. The recipient of this letter was the famous Yiddish writer and journalist Samuel ""S.L."" Shneiderman. Continuing his distinguished early career as a war journalist Shneiderman is best known today for raising awareness about the plight of the Warsaw Ghetto after his arrival in the United States in 1940 and for his dedication to preserving the history of the Jews in Poland throughout his life. His works on the Holocaust and the terrible fate of the Jews remain the best known of his works. Shneiderman and his wife Eileen were also avid collectors of Yiddish-language books and their collection is now housed at the University of Maryland.Slight soiling to envelope letter fine. unknown
