IL - Chagall - Bourniquel, CamilleBiblio.com
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réf. 10035AB1972. Paris Mourlot 1972. 31 : 225 cm. 100 pages 1 leaf with 10 original colour lithographs by Marc Chagall. Original wrappers in original cloth-portfolio and original cloth-slipcase. One of only 205 numbered copies on velin d'Arches. Imprint signed by Chagall and the author in pencil. Very rare and in perfect condition. - A true collector's gem this rare limited edition of La Féerie et le Royaume is a stunning example of fine bookmaking and artistic mastery. Printed on vélin d'Arches this edition was strictly limited to 205 numbered copies all of which are hand-signed by both the author and the legendary artist Marc Chagall. This particular copy is No. 118 making it a valuable and unique piece for any collector of rare books or Chagall's artwork. The book was produced with the highest standards of craftsmanship and its exclusivity is further enhanced by the fact that only a handful of copies were made available outside of private reserves. - Marc Chagall one of the most celebrated artists of the 20th century brought his unmistakable dreamlike vision to this edition making it not just a literary treasure but also a work of art. His signature on this copy adds immense value making it a highly desirable item for collectors of Chagall's work bibliophiles and lovers of fine art books. - A perfect acquisition for rare book collectors art enthusiasts and investors this edition of La Féerie et le Royaume is a true masterpiece that will only grow in value over time. - Cramer Les Livres illustrés 88; Mourlot 668 - 677; Monod 1799. hardcover
Die schönste moderne Ausgabe von Shakespeares Komödie "The Tempest" mit 50 Orig.-Lithographien von Marc Chagall. Eines von 250 numerierten Exemplaren, im Druckvermerk von Chagall signiert. Tadellos in der Erhaltung. - Mourlot 846-895.
réf. 182344Geneva: Gerald Cramer 1979. With 30 original etchings Signed limited issue number 74 of 160 copies signed by the artist on the limitation notice. Quarto. Housed in original slipcase. 30 original etchings with aquatint by Chagall in black on ochre ground. Original full vellum binding and slipcase printed on arches vellum paper. Spine and front board lettered in gilt. A little foxing and dust-soiling to slipcase and boards front board slightly toned: a near-fine copy. Cramer Books 108. hardcover
réf. 83094Harcourt Brace and Co. . As New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - TWO 2 VOLUMES published 1956 and 1960. Text in English. One volume entitled "ILLUSTRATIONS" with text by Jean Wahl an appreciation by Meyer Schapiro 28 lithographs including 16 in color and 105 heliogravure plates. Another volume entitled "DRAWINGS" with text by Gaston Bachelard 96 reproductions in b/w & 24 color lithographs. Folio. -- with a bonus offer-- . N.D. Harcourt, Brace and Co. hardcover
réf. 182357Paris: Fernand Mourlot 1972. From Chagall's estate signed by artist and author First edition number 15 of 205 copies on vélin d'Arches signed by the artist and author. A novelist poet and art critic Bourniquel had been literary director of Esprit since 1957 and had won the Prix Médicis in 1970 for Sélinonte ou La Chambre impériale. Closely connected with the painters of his generation he here offers a series of reflections on Chagall's work accompanied by ten original colour lithographs. The book belongs to the later phase of Chagall's nearly sixty-year engagement with the illustrated book a medium in which the relationship between text and image offered him a continuing field for experiment. The text was printed at the Imprimerie Nationale and the lithographs on Mourlot's presses in Paris; the work was completed on 20 March 1972. This copy was retained in Chagall's estate until its sale at Sotheby's in 2025. Quarto. With 10 full-page colour lithographs on velin d'Arches paper. Loose as issued in white wrappers front cover lettered in black. Original cream cloth chemise and matching slipcase lettering to spine in gilt. Occasional offsetting from plates couple of marks to slipcase: a near-fine copy. Cramer 88; Mourlot 668-77. hardcover
1964réf. 191164Paris: Mourlot 1964. One of 12 prints from the Twelve Maquettes of Stained Glass Windows for Jerusalem created for the synagogue at the Hadassah-Hebrew Medical Centre in Jerusalem. Printed by Charles Sorlier Paris. There was also an edition of 75 numbered in Roman numerals. Edition of 150 in Arabic numerals. Original lithograph in colours on watermarked Arches wove paper right edge deckled. Signed in pencil lower right by Chagall numbered lower left. Image size: 62 x 46.3 cm. Sheet size: 74.3 x 52.5 cm. Framed size: 87 x 67.5 cm. Presented in a handmade white gold leaf frame with acrylic glazing. Excellent condition. Sorlier/Mourlot CS13 unknown
1964réf. 191163Paris: Mourlot 1964. One of 12 prints from the Twelve Maquettes of Stained Glass Windows for Jerusalem created for the synagogue at the Hadassah-Hebrew Medical Centre in Jerusalem. Printed by Charles Sorlier Paris. There was also an edition of 75 numbered in Roman numerals. Hors commerce impression aside from the edition of 150 numbered in Arabic numerals. Original lithograph in colours on watermarked Arches wove paper right edge deckled. Signed in pencil lower right by the artist inscribed 'H.C' lower left dedicated lower middle "Pour le Dr Nathan en bon souvenir Marc Chagall". Image size: 62 x 46.3 cm. Sheet size: 74.3 x 52.5 cm. Framed size: 87 x 67.5 cm. Presented in a handmade white gold leaf frame with acrylic glazing. Excellent condition. Sorlier/Mourlot CS19 unknown
1966réf. 1567-BParis, Tériade Éditeur, 1966. In-plano (750 x 550 mm) en feuilles. Feuillet de titre, table des planches. LA SUITE COMPLÈTE DES 13 LITHOGRAPHIES ORIGINALES EN COULEURS ET NOIR DE JOAN MIRÓ POUR UBU ROI + LA SUITE COMPLÈTE DES 13 LITHOGRAPHIES EN NOIR retravaillées par l'artiste . (feuilles: 750 x 550 mm environ, sujets: 630 x 410 mm environ), chaque épreuve titrée au crayon au verso de la feuille. Tirage: 75 exemplaires sur grand vélin d'Arches, celle-ci hors-commerce non signée (Mourlot 392-430 ; Cramer 108) Chaque composition en noir a été intensément retravaillée par Miró qui y a ajouté estompes et ombres, épaissi les traits de certains sujets. La vision grotesque et surréaliste de l'artiste, impliqué corps et âme dans ce cycle sur Franco et contre tous les fascismes, y apparait encore avec plus de force et d' évidence. Très rare. Excellent état de conservation.
1977réf. 182062Paris: Maeght Editeur 1977. With one of 25 signed etchings First edition number 17 of 25 copies signed by Chagall and Malraux on the limitation page and with an additional impression of the frontispiece on Japon Impérial paper all sides deckled signed and numbered by Chagall. The full edition was 225 copies 200 of which were numbered and 20 marked hors commerce both without the additional signed print. Malraux winner of the Nobel Prize in Literature provided the text based on a previously unpublished manuscript from 1939 about his experiences in the Spanish Civil War. Chagall executed the etchings with the plates destroyed after printing. Folio. With 16 full-page etchings with aquatint by Chagall 2 double page. Sheet size: 44 x 33 cm. Text in French. Original Rives wove paper wrappers lettering to front cover in black pages printed on Rives wove paper with deckled edges and publisher's watermark. Housed in publisher's beige cloth clamshell box lettering to spine gilt. All in fine condition. Cramer Chagall Illus. Books 103. hardcover
réf. 124437Geneva G. Cramer 1966. . First edition one of 1350 copies artist's presentation copy inscribed with a double-page drawing; 4to; double-page drawing on half-title and facing page inscribed on facing page and signed by Chagall and Vava at foot of half-title 51 tipped-in colour plates illustrations many full colour; publisher's cloth dustjacket; a fine copy in the dustjacket with a few internal tape repairs. Inscribed by Chagall with a double-page drawing A fine presentation copy embellished with a large portrait of the artist painting his self-portrait with his wife Vava. The double-page drawing depicts Chagall painting his self-portrait in red and blue crayon with his wife Vava looking on and the couple again sketched lightly beneath a tree in charcoal and pencil on the facing page. Inscribed by the artist to his close friends Irmgard and Alfred Newman: 'Pour Irmgard et Alfred amicalement 1967 Marc Chagall' and signed by Vava in pencil. Geneva, G. Cramer, 1966. hardcover
1942réf. 48674New York.: Pierre Matisse. 1942. Original publisher's pale yellow printed wrappers with folding flap titles to front cover in green later green board slipcase. 8vo. 230 x 154 mm. Title to front cover verso and interior of folding flap with text 'Europe' by James Thrall Soby page also to interior of wrapper with 'Catalogue' with artist title and date of each work leaf of white paper with the text 'America' by Nicola Calas recto verso with blank leaf with notes here with numerous signatures see below following fold-out spread with monochrome reproduction photograph by George Platt Lynes of the participating artists see also below recto and verso also with the text 'America' concluding on the inner rear wrapper. PROVENANCE: Margaret and Alfred Barr; acquired from Barr's estate by Thomas Walther; private collection Berlin. Margaret and Alfred Barr's presentation copy of the catalogue for the exhibition they had done so much to enable signed by all of the participating artists and by the gallerist Pierre Matisse.Pierre Matisse's presentation is in black ink to the foot of the blank 'Notes' leaf bearing the signatures of the participating artists: 'THIS IS A SPECIALLY SIGNED COPY FOR MARGARET AND ALFRED BARR / Pierre Matisse / NEW YORK MARCH 3d 1942'.The copy is signed in various colour inks by all of the participants: Marc Chagall blue ink Pavel Tchelitchew turquoise Ossip Zadkine red Eugene Berman purple Yves Tanguy umber Fernad Léger red Max Ernst blue André Masson red André Breton turquoise Amedée Ozenfant blue Kurt Seligmann umber Piet Mondrian blue / black Roberto Matta Echaurren sepia and Jacques Lipchitz green.It is significant that Margaret Scholari Barr known as Marga is listed first in the presentation by Pierre Matisse as from 1940 she had taken charge of the ongoing operations to help artists and writers fleeing Europe. Each individual required 'a visa from the State Department an affidavit of financial support an affidavit of moral sponsorship vouching that he or she was in imminent danger and would not be inimical to U.S. interests biographical sketches and letters of reference proving identities and the above and at least $400 for ocean passage'. In conjunction with Curt Valentin himself a beneficiary of the Barrs' help Kay Sage she married Yves Tanguy another beneficiary in 1940 Kay Boyle and the Emergency Rescue Committee. Although no exact list of all of those who benefited from the help of the Barrs and the ERC remains extant the majority of those who exhibited in 'Artists in Exile' did and the present catalogue represents a remarkable testament to their work their efforts and their humanity.The exhibition - perhaps an unlikely one given the range of participants and their differing outlooks temperaments and sympathies - was held at Pierre Matisse 41 East 57th Street New York from 3rd - 28th March 1942; each of the artists contributed one work undertaken after their arrival in the US those by Masson and Lipchitz were courtesy of the Buchholz Gallery.'Pierre Matisse did not run after publicity but there were times when publicity ran after him. That is what happened in March 1942 when the Pierre Matisse Gallery in New York opened a show called 'Artists in Exile'. The title came fraught with pathos. So did the timing . The word 'exile' had sharp teeth . As he wrote to his father . 'I stayed in town to hang the exiles' show today instead of tomorrow. I took this precaution because all the exhibitors are right here in town. You know what they are like. They'd insist on giving me advice and making sure that their own painting had a very goood place . They number fourteen in all and I got them together for a group photograph. As most of them didn't speak to one another when they were in France I was afraid there would be trouble when they were all thrown together . '. Pierre Matisse quoted by John Russell.'In no sense were they a band of brothers. But they did all agree to huddle together before the camera . Given the variety of age instinct outlook nationality and relative achievement that was in question the show was necessarily the equivalent of alphabet soup. It was not likely that the fourteen artists in question would ever again be in the same room at the same time. Not only were they a tight fit in the space available but solidarity was minimal. And yet for an uneasy quarter of an hour along with other unlikely conjunctions André Masson sat next to Piet Mondrian and Marc Chagall sat between Max Ernst and Fernand Léger. There was zero eye contact. Unsmiling they sat stiff and still and stared straight ahead.' James Russell.' . as the situation became increasingly desperate across the Atlantic i.e. in Europe in the 1930s European artists scholars and arts workers began reaching out to MoMA for help. Working in concert with the Emergency Rescue Commitee ERC a group of New York-based activists MoMA staff including director Alfred H. Barr Jr. and his wife art historian Margaret Scholari Barr who led the initiative at the Museum helped their peers in Europe secure the papers and funds necessary to immigrate to the US . Scholari Barr made 'rescue' operations her full-time occupation in these years . Artists including André Breton Marc Chagall Max Ernst and Piet Mondrian were able to relocate here through the aid of the Barrs and the ERC.' MoMA catalogue.'Sometimes doing more than the government was willing to do MoMA was the final hope for many. The Barrs took advantage of their contacts and MoMA’s reputation to turn the museum into a literal protector and defender of modern art.' Christina Eliopoulos.see Christina Eliopoulos' 'In Search of MoMA’s “Lost” History: Uncovering Efforts to Rescue Artists and Their Patrons' MoMA 2016; see John Russell's 'Matisse: Father and Son' New York 1999 pp. 201 - 203. Pierre Matisse. unknown
réf. EXE-638Genève, Gérald Cramer Éditeur, 1984. In-folio en feuilles, couverture beige à rabats, étui de l'édition. Édition originale. Portefeuille comprenant six gravures sur Linoléum de Marc Chagall, toutes numérotées et signées. Tirage à 50 exemplaires sur grand vélin de Rives, celui-ci le numéro 14 sur 40. Ce rare portefeuille débute avec un poème de Marc Chagall s'intitulant "Pour Vava", faisant référence à sa femme, Valentina Brodsky. Ce poème, comme les légendes des six gravures, proviennent du recueil "Poèmes" édité chez Gérald Cramer en 1975. Ces gravures sur linoléum, gravées entre 1981 et 1983 à Saint-Paul-de-Vence sont les suivantes: I, il y à là-bas aux aguets une croix; II, Comme un barbare je colore ta face; III, Ton Visage dans les fleurs fraîches; IV, La nuit, il vole un ange dans le ciel; V, Ton odeur dans ma main s'est endormie; VI, Faut-il peindre la terre, le ciel, mon coeur. Cramer 118.
1948réf. 1780Paris, Éditions de l’étoile filante, 1948, in-plano, sous emboitage titré avec attache métallique dorée (de l'éditeur). - LA SUITE COMPLÈTE DES 58 GRAVURES DU MISERERE, L'œuvre gravée capitale de Georges Rouault. - 4 planches supplémentaires en "hélios primitives", rayées, figurent dans cet exemplaire. Elles sont titrées et monogrammées à la plume par l'artiste, et certaines sont totalement inédites. Les 58 planches en aquatinte et héliogravure de cet suite monumentale ont été gravées par Georges Rouault de 1922 à 1927 et tirées à l'époque à l’initiative d’Ambroise Vollard et conservées par lui jusqu’à sa mort. Tirage : 450 exemplaires numérotés sur vélin filigrané "Ambroise Vollard". Exemplaire de Roger Passeron dont le tirage de chaque épreuve est parfait et celles-ci conservées à l'état de neuf. Provenance d'une collection exceptionnelle. Photographies sur demande personnalisée. ——— THE COMPLETE SUITE OF THE 58 ENGRAVINGS OF MISERERE, Georges Rouault's capital engraved work. - with 4 additional plates in "primitive helios", scratched, appear in this copy. They are titled and monogrammed in pen by the artist, and some are completely unpublished. The 58 aquatint and heliogravure plates of this monumental suite were engraved by Georges Rouault from 1922 to 1927 and printed at the time on the initiative of Ambroise Vollard and kept by him until his death. Edition: 450 numbered copies on "Ambroise Vollard" watermarked vellum. Copy of Roger Passeron whose printing of each proof is perfect and these preserved in new condition. From an exceptional collection. Photographs on personalized request. The artist's engraved masterpiece. Rouault engraves as he paints, with his soul, his faith, without hindsight. The copy, from a great provenance, is in perfect condition and enriched with 4 hand-signed plates, some unique, each signed in ink by the artist.
1948réf. 48701Paris.: Tériade Editeur. 1948. Loose as issued in original publisher's printed wrappers with titles in black to front covers board chemises with labels to spines and matching slipcase. 2 vols. Folio. 388 x 286 mm. Half-title and title for each vol. half-title of vol. I with justification verso and Gogol's text illustrated with 96 original etched plates and 22 etched initials by Marc Chagall 'Table' engraved 'Table' on 11 leaves recto only for the placement of the engravings and final leaf with achevé d'imprimer and colophon. A rare presentation copy of Marc Chagall's masterful illustrations for Gogol's 'Dead Souls'.From the edition limited to 370 numbered copies signed by Chagall.Chagall's presentation is in black ink to the half-title: 'Pour Alla et Dicky / Goldschmidt / en bon souvenir / et merci - - / Marc Chagall underlined / Bruxelles / 1957.'Chagall's presentation is to Bénédict Leopold Goldschmidt 1905 - 1972 known always as 'Dicky' and his wife Alla 1917 - 1989 née Safieva. The Goldschmidts inherited a considerable collection of fin-de-siècle and modern art works from Dicky's parents both scions of banking families including paintings by Chagall James Ensor Ferdinand Khnopf and many others; Dicky and Alla expanded the collection considerably which was donated en bloc to the Musée Royaux des Beaux-Arts de Belgique in 1990 after Alla's death.The 96 prints for Gogol's masterpiece were executed between 1927 and 1930 for Vollard but Tériade was the first to publish them and not until after World War II.Cramer 17. Tériade Editeur. unknown
1967réf. 3152Paris, Tériade Éditeur, 1967. Un volume in-folio (450 x 345 mm) en feuilles sous couverture imprimée rempliée, chemise titrée or et étui de l'éditeur recouverts de toile écrue. - 38 LITHOGRAPHIES ORIGINALES DE MARC CHAGALL : 15 EN COULEURS DONT 3 À DOUBLE PAGE (450 x 687 mm) ET 18 EN NOIR. Toutes les lithographies sont en hors-texte et ont été tirées sur les presses de Fernand Mourlot. Tirage : 250 exemplaires + 20 exemplaires HC. Celui-ci est un exemplaire de collaborateur, il n'est donc ni numéroté ni signé. - Note historique et bibliophilique : Le sujet du cirque est l’un des thèmes les plus importants dans l’œuvre de Marc Chagall. Cette fascination remonte à l'enfance, quand il vit à Vitebsk une petite troupe itinérante exécuter quelques acrobaties maladroites devant un public indifférent : cette triste performance était-elle le destin de toute vie d’artiste ? C’est Ambroise Vollard, lui-même très amateur de cirque, qui incita Chagall à développer ce thème, mais c’est Tériade, qui après la mort de Vollard, le convainquit de travailler à un livre illustré de lithographies. Accompagné de textes de l’artiste, CIRQUE est certainement la meilleure réalisation lithographique de Chagall avec Daphnis & Chloé paru en 1961 chez le même éditeur, "sans aucun doute le plus personnel de tous ses livres, le plus exceptionnel aussi par l'intensité du trait et des couleurs, mais aussi par l'harmonie qu'il crée entre texte et peinture, enfin par le caractère même et la qualité de l'écriture" (Hommage à Tériade, Grand Palais, 1973). - ENGLISH DESCRIPTION: MARC CHAGALL (1887-1985) : CIRQUE, Tériade Editeur, Paris, 1967 (book/ portfolio). The complete set of 38 lithographs (23 lithographs in colors and 15 lithographs in black), on Arches paper, all hors-texte, title page, text in French and justification. This copy on Arches paper, from a collaborateur, it is not numbered and not signed, of the 270. The colors fresh, the full sheets, loose (as issued), in mint condition, within original paper wrapper, beige cloth-covered boards with title stamped in gilt on spine and matching slipcase 17 3/4 x 13 1/2 in. (450 x 345 mm.) References: Mourlot 490-527; Cramer books 68.
