2334 risultati
rif. 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
1942rif. 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
rif. 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.
1948rif. 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.
rif. 112541Paris Tériade 1948. . Limited edition one of 50 copies on vélin d'arches filigrané number 27 from a total edition of 368; 2 vols folio 38 x 28 cm; illustrated with 96 etchings hors-texte and 11 etched vignettes en-texte on Japon nacré; signed in ink by the artist on justification page; all loose as issued in publisher's printed cream coloured wrappers with cream coloured chemises chemises a little worn and stained; iv 160 4pp.; viii 165-308 12 pp. overall a very good copy. the first major book entirely illustrated by Chagall Gogol's masterpiece 'Dead Souls' the first major book entirely illustrated by Chagall and his first illustrations for Vollard. Signed by Chagall on the limitation and title-page. Written over five years at the end of the long pilgrimage that brought Gogol to Germany Switzerland France and Italy 'Dead Souls' offers a vivid and ruthless portrait of a small swindler in provincial Russia in 1820. Published for the first time in 1842 the novel went on to exert a huge influence over the development of Russian literature. In 1923 the French publisher Ambroise Vollard asked Chagall to produce an illustrated edition. Chagall who had always felt a strong emotional connection to the country where he spent his youth agreed with enthusiasm and pursued the project between 1923 and 1927. However like many other Vollard projects the production of the work was interrupted and only completed years later. The final plate presents a particularly curious image in which Gogol reads and Chagall paints a portrait of Vollard. Paris, Tériade, 1948. unknown
1950rif. 154025Paris & New York: L'Image Littéraire & R. Finelli-Feugère 1950. With an additional suite of Braque colour separations First edition first printing number 29 of 150 copies signed by all the artists and authors with each print numbered and signed by the respective artist and Robert Rey. This copy with an additional suite of 46 sheets with colour separations of Braque's print housed in separate wrappers lettered in black. The print titles included are: Braque "Nature morte au huitres"; Brianchon La neige a auteuil; Chagall La sirène; Desnoyer Liseuses au bord de mer; Dufy Le casino de la jetée a Nice; Laurencin Portrait de femme en rouge; Matisse Nature morte au magnolia; Picasso La cassarole Émaillée; Utrillo Le jardin de Montmagny; Van Dongen Tête de femme; Vlaminck Les blés dans la perche; and Waroquier Dolori sacrum. Folio. 12 colour woodcuts after each of the artists printed on Van Gelder Zonen wove paper with one edge untrimmed. Sheet sizes: 46.5 x 36 cm. Unbound sheets printed on Van Gelder Zonen wove paper in white wrappers titles to front cover in red. With glassine dust jacket. Housed in the publisher's blue morocco clamshell box titles to front cover and spine gilt. All contained in the original card packing box. Closed tear to front wrapper and glassine hinge of clamshell box split minor foxing in places otherwise a bright unfaded set. unknown
1948rif. 48806Paris.: Tériade Editeur. 1948. Loose as issued in original publisher's printed wrappers with titles in black to front covers chemises with labels to spines 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. Marc Chagall's masterful illustrations for Gogol's 'Dead Souls'.From the edition limited to 370 numbered copies signed by Chagall with this one of 285 from the normal edition.The 96 prints for Gogol's unfinished masterpiece were executed between 1927 and 1930 for Vollard but this edition by Tériade was their first appearance.Cramer 17. Tériade Editeur. unknown
1948rif. 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
1967rif. 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.