2334 resultados
ref. 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
1920ref. 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
1920ref. 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
1974ref. 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
1962ref. 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
1962ref. 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.
ref. 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 )
1963ref. 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).
1960ref. 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.
ref. 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
ref. 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 books
1938ref. 1203161938. First Edition. TRIADE Efstratios ELEFTHERIADES Efstratios. Verve. Volume 1 Numbers 2-4 Spring 1939 to January-March 1939. Paris: Imprimerie des Beaux-Arts 1937-1939. Thick folio contemporary red cloth. $2200.First American editions of the second third and fourth issues of Verve published in Paris from 1938-39 featuring cover art by Braque Bonnard and Rouault original lithographs by Mir Chagall Matisse Derain Kandinsky and Klee along with numerous hliogravure photographs including Bill Brandt and Brassa first appearances of select writings by Hemingway and Joyce and articles by Lorca Sartre Gide Bataille Malraux and Valry. Assembled in a single folio volume with the three original lithographic front covers bound in.""Fifty years ago in Paris the magazine to look for was Verve which first came out in December 1937 and kept going in one form or another till 1960. That first cover by Henri Matisse sang out from the other side of the street in a way that made us run across the road to look at it more closely. And when we turned its pages Verve had a bosomy full-fleshed slightly slithery quality that this former subscriber would know in his sleep"" John Russell. Art critic Efstratios Eleftheriades under the nom de plume ""Triade"" founded Verve with the financial assistance of David Smart publisher of Esquire. ""The magazine a quarterly review of arts and letters was lavish in design and challenging in content. Teriade's view of the world of art and literature was personal bold and compelling"" Rick Gagliano. Once called ""the most beautiful magazine in the world"" Verve contained original lithographs by the most famous artists of the dayÑ Matisse Picasso Braque Lger Mir ChagallÑ many of which appearing here for the first time. The premiere issue of Verve in addition to its original cover by Matisse features original lithographs by Mir and Lger photographs by Man Ray and Brassa articles by Matisse Gide Dos Passos and Garcia Lorca previously unpublished letters and drawings by Czanne and the first printed illustration of Picasso's Guernica. The second issue with its original lithographic front cover by Braque includes original lithographs by Kandinsky and Masson photographs by Bill Brandt and Brassa and the first publication of Hemingway's The Heat and the Cold together with his piece on the filming of The Spanish Earth that was later included in the book The Spanish Earth 1938 as well as the first appearance of James Joyce's Phoenix Park Nocturne. Number 3 with an original front cover by Bonnard offers original lithographs by Chagall Mir Rattner and Klee together with articles by such leading French writers as Valry Malraux Claudel and Bataille. The culminating issue in this exceptional collection features an original lithographic front cover by Rouault an original double-page lithograph of Matisse's The Dance photographs by Brandt and Brassa and articles by Michaux Garcia Lorca and Sartre. First American edition published same year as the French with text translated into English by Robert Sage. Hanneman C278. Slocum C93. See also Slocum C70 C90. Owner signature. Plates and text fine minor wear to cloth binding. An excellent copy. hardcover
1938ref. 1203161938. First Edition. TRIADE Efstratios ELEFTHERIADES Efstratios. Verve. Volume 1 Numbers 2-4 Spring 1939 to January-March 1939. Paris: Imprimerie des Beaux-Arts 1937-1939. Thick folio contemporary red cloth. $2200.First American editions of the second third and fourth issues of Verve published in Paris from 1938-39 featuring cover art by Braque Bonnard and Rouault original lithographs by Mir Chagall Matisse Derain Kandinsky and Klee along with numerous hliogravure photographs including Bill Brandt and Brassa first appearances of select writings by Hemingway and Joyce and articles by Lorca Sartre Gide Bataille Malraux and Valry. Assembled in a single folio volume with the three original lithographic front covers bound in.""Fifty years ago in Paris the magazine to look for was Verve which first came out in December 1937 and kept going in one form or another till 1960. That first cover by Henri Matisse sang out from the other side of the street in a way that made us run across the road to look at it more closely. And when we turned its pages Verve had a bosomy full-fleshed slightly slithery quality that this former subscriber would know in his sleep"" John Russell. Art critic Efstratios Eleftheriades under the nom de plume ""Triade"" founded Verve with the financial assistance of David Smart publisher of Esquire. ""The magazine a quarterly review of arts and letters was lavish in design and challenging in content. Teriade's view of the world of art and literature was personal bold and compelling"" Rick Gagliano. Once called ""the most beautiful magazine in the world"" Verve contained original lithographs by the most famous artists of the dayÑ Matisse Picasso Braque Lger Mir ChagallÑ many of which appearing here for the first time. The premiere issue of Verve in addition to its original cover by Matisse features original lithographs by Mir and Lger photographs by Man Ray and Brassa articles by Matisse Gide Dos Passos and Garcia Lorca previously unpublished letters and drawings by Czanne and the first printed illustration of Picasso's Guernica. The second issue with its original lithographic front cover by Braque includes original lithographs by Kandinsky and Masson photographs by Bill Brandt and Brassa and the first publication of Hemingway's The Heat and the Cold together with his piece on the filming of The Spanish Earth that was later included in the book The Spanish Earth 1938 as well as the first appearance of James Joyce's Phoenix Park Nocturne. Number 3 with an original front cover by Bonnard offers original lithographs by Chagall Mir Rattner and Klee together with articles by such leading French writers as Valry Malraux Claudel and Bataille. The culminating issue in this exceptional collection features an original lithographic front cover by Rouault an original double-page lithograph of Matisse's The Dance photographs by Brandt and Brassa and articles by Michaux Garcia Lorca and Sartre. First American edition published same year as the French with text translated into English by Robert Sage. Hanneman C278. Slocum C93. See also Slocum C70 C90. Owner signature. Plates and text fine minor wear to cloth binding. An excellent copy. hardcover books
1956ref. 789-2Éditions de la revue Verve, Paris 1956. 1 volume in-folio (362 x 272 mm) relié sous cartonnage entièrement illustré en couleur. 16 LITHOGRAPHIES ORIGINALES EN COULEURS ET 12 EN NOIR par Marc Chagall. La couverture et la page de titre sont également des lithographies originales. 105 reproductions en noir des gravures de l'édition publiée par Tériade. Texte en français. BEL EXEMPLAIRE, cartonnage beau, un accroc en bas du dos bien restauré, sans manque, condition intérieure excellente, sans défaut. Marc Chagall : THE BIBLE (1956). French text edition. 16 ORIGINAL LITHOGRAPHS IN COLOR + 12 IN BLACK. A complete copy in beautiful condition condition.
1926ref. 141411Paris: Au Sans Pareil 1926. Softcover. Fine. Limited Edition. 955pp. Octavo. Bound in the original wrappers with a stiff blue wrap around jacket with dark blue lettering on the front and spine. One of 60 limited copies printed on Vergé de Hollande-- numbered 56 to 115-- with an extra suite of the 5 etchings by Marc Chagall in the latter portion of the book; this copy is #110. Deckling to all text block edges. Illustrated with five full page etchings by Chagall throughout the text with duplicate copies of the plates bound at the end; all the etchings have the original tissue guards. The blue jacket has faded quite a bit and is more of a buff colour and has some water stains on the back panel and to the spine in spots. Some transfer from the inner folds of the jacket is apparent on the ffep although it is quite faint. Internally clean and an attractive copy overall. Limited to a printing of 960 copies in total with 60 of those on Vergé de Hollande of which this copy is one. In 1923 Marc Chagall moved to Paris and received several commissions for visual narratives including this story by Marcel Arland. The text is comprised of a short story told in reverse beginning with the death of a young girl's illegitimate baby and ending with the first night she and her lover spend together. The girl is vilified by her neighbors and Chagall's first image shows her being taken away by the police as a crowd yells and shames her. Another plate shows the girl giving birth alone in her backyard among the chickens and empty crates. Due to the popularity of Chagall's prints many copies of this book were split apart and the etchings were sold individually. This is a complete and clean copy. 1926 Au Sans Pareil paperback
ref. 51-5817Paris: Tériade Editeur 1967. . Folio. 33.5 x 42.5 cm. Edition of 250; with the signed limitation page and title page. Cream cloth board chemise in matching slipcase.Text volume with ca. 125 pages. Ideal for someone who owns one or more of the lithographs for presentation. Cramer no. 68. Paris: Tériade Editeur, 1967. hardcover
ref. 51-5816Paris: Tériade Editeur 1961. . Folio. 32.3 x 42cm. Edition of 250 this one without the limitation page. Two volumes in cream board chemises in matching slipcase.Text volume with 78 pages. Plate volume with paper wraps only.Ideal for someone who owns one or more of the lithographs for presentation. Cramer no. 46 Paris: Tériade Editeur, 1961. paperback
1956ref. 198870New York: Harcourt Brace - Verve 1956. First edition. Hardcover. The first American edition of this beautifully printed book which was published as a double issue of Verve. Text by Jean Wahl and an appreciation by Meyer Schapiro. Includes 28 lithographs with 16 in color along with 105 black and white heliogravures. A very good copy in paper covered boards with loss to the top of the spine some splitting and wear to the spine edges and some creasing to the front free endpaper. No dust jacket. Lithographs in very near fine condition. Harcourt, Brace - Verve unknown
1956ref. 273685New York: Harcourt Brace 1956. First. hardcover. good. Chagall Marc. Beautifully illustrated with 28 original lithographs 16 of which are in color the 12 b/w lithographs are printed on rear of color plates; and 105 additional b/w heliogravures of Chagall's etchings throughout. Text by Jean Wahl & Meyer Shapiro. Small folio original pictorial boards quite damaged and lacking spine; lithographs are clean but for a discoloration on blank rear of frontispiece. New York: Harcourt Brace and Company 1956. First American edition. American printing of this incredible book which first appeared as a double issue of Verve Vol VII Nos. 33-34. A less than good only copy but all the desirable lithographs are present and in excellent condition. Harcourt Brace unknown
1956ref. 198870New York: Harcourt Brace - Verve 1956. First edition. Hardcover. The first American edition of this beautifully printed book which was published as a double issue of Verve. Text by Jean Wahl and an appreciation by Meyer Schapiro. Includes 28 lithographs with 16 in color along with 105 black and white heliogravures. A very good copy in paper covered boards with loss to the top of the spine some splitting and wear to the spine edges and some creasing to the front free endpaper. No dust jacket. Lithographs in very near fine condition. Harcourt, Brace - Verve unknown books
1956ref. 273685New York: Harcourt Brace 1956. First. hardcover. good. Chagall Marc. Beautifully illustrated with 28 original lithographs 16 of which are in color the 12 b/w lithographs are printed on rear of color plates; and 105 additional b/w heliogravures of Chagall's etchings throughout. Text by Jean Wahl & Meyer Shapiro. Small folio original pictorial boards quite damaged and lacking spine; lithographs are clean but for a discoloration on blank rear of frontispiece. New York: Harcourt Brace and Company 1956. First American edition. American printing of this incredible book which first appeared as a double issue of Verve Vol VII Nos. 33-34. A less than good only copy but all the desirable lithographs are present and in excellent condition. Harcourt Brace unknown books
1953ref. 3267Paris, Pierre Lecuire éditeur, 1953. Un volume in-8 (25,2 x 16,5 cm) en feuilles, 108 p., couverture rempliée illustrée d'une lithographie. - Édition originale du premier livre de Pierre Lecuire, né de la collaboration du poète avec Nicolas de STAËL (1914-1955) qui composa pour l’occasion : - UNE GRANDE LITHOGRAPHIE EN COULEURS SUR UN FEUILLET REMPLIÉ SERVANT DE COUVERTURE. - DEUX BURINS ORIGINAUX À PLEINE PAGE, l'un introduisant la lecture de l'ouvrage et l'autre le refermant. - L'exemplaire est enrichi et personnalisé par une belle lettre de Lecuire et un envoi autographe signé au justificatif à Raymond Schawb. - Note historique et bibliographique : à sa parution l'ouvrage constituait le texte le plus important qui ait été écrit sur la peinture de Nicolas de Staël. - Tirage à 210 exemplaires signés par l’auteur à la justification, celui-ci faisant partie des 190 sur vélin d’Arches (n°139, dédicacé). - ENGLISH (Short description): In-8 (25.2 x 16.5 cm.), in loose sheets as published, printed wrappers with an original colour lithograph and two original burins by Nicolas de Staël. No.129, one of 190 copies on Vélin d'Arches from a total edition of 200, here with an ink autograph dedication and an autograph letter by the author. Mint condition, perfect, very scarce condition.
19266 pp. bianche + 95 di testo numerate+ 8 bianche con 5 tavole illustrate con acqueforti originali di Chagall Tiratura di 960 es., di cui 20 (n. 1 -20) su vergé de cuve, con doppia suite delle incisioni, 35 (n. 21-55) su carta Japon con doppia suite; 60 (56 -115)su vergé d'Hollande con una suite; 80 (116-195)su vergé d'Hollande; 765 su Lafuma de Voiron (196-960). Il nostro è l'esemplare n. 722. Il testo di questo interessante racconto è stato stampato dal maestro stampatore R. Coulouma, d'Argenteuil, sotto la direzione di H. Barthélemy; mentre le incisioni di Chagall sono state stampate da L. Fort a Parigi. Le 5 acqueforti sono protette da velina. Testo in francese.
ref. 304971972. Paris Fernand Mourlot / Muses de France 1972. Un vol. au format in-4 328 x 257 mm de 199 pp. Reliure d'dition de pleine toile gris-perle sous jaquette illustre et rhodod. Edition originale. Exemplaire revÂtu par deux fois - aux faux-titre puis au titre - d'une signature autographe de Marc Chagall ; lequel a ajout cette mention manuscrite : ''Pour / A. Alain Carrier / Marc Chagall / 1973''. Ouvrage complet de sa lithographie originale en couleurs ; tire par les soins de Mourlot FrÂres. ''S'il est caractristique de l'art de Chagall le Message biblique y prend une importance spciale parce qu'il en est une part plus pure plus rigoureusement sincÂre et partant plus mouvante''. Bandeau parution conserv. Angles de la jaquette lgÂrement lims. Quelques rousseurs sur la tranche suprieure. Du reste trÂs belle condition. b42961 unknown
1972ref. 30497Paris, Fernand Mourlot / Musées de France, (1972). Un vol. au format in-4 (328 x 257 mm) de 199 pp. Reliure d'édition de pleine toile gris-perle, sous jaquette illustrée et rhodoïd.
