Marc Chagall, Jean LeymarieBiblio.com
2 501 résultats
1962réf. 319597New York: George Braziller 1962. First Edition; First Printing. Hardcover. Very Good in a Very Good dust jacket. Small closed tear on top front panel. 1 inch closed tear on bottom rear panel. Shelfwear on spine crown and front panel top corner. With 104 plates and 2 original colored lithographs by Chagall exclusively for this edition.; 4to 11" - 13" tall. George Braziller hardcover
1969réf. 18970AB1969. Boston Boston Book and Art Shop. 1969. 33 : 25 cm. 179 pages 1 original colour lithograph by Marc Chagall. Original cloth with colour lithographed dust-jacket by Marc Chjagall hardcover
1963réf. 2471AB1963. Band 2. Monte Carlo Sauret 1963. 325 : 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. Das massgebliche Werkverzeichnis für die lithographischen Arbeiten Chagalls von 1957 - 1962. Mit den 11 Original-Lithographien. Text in deutsch. Neuwertiges Exemplar. unknown
1960réf. 10716AB1960. 3 volumes. Monte Carlo Sauret 1960 - 1969. 33 : 25 cm. With 23 original lithographs most of them coloured by Marc Chagall and hundreds of mostly coloured illustrations. Original cloth with original dust-jackets which are also original colour lithographs. The important first three volumes of the catalogue raisonne of the lithographs of Marc Chagall in perfect condition. Text in German and French. 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
1966réf. 17697AB1966. Paris 1966. 32 : 24 5 cm. 104 pages 34 leaves with hundreds of partly coloured plates and illustrations 2 original colour lithographs 1 double-page Coloured illustrated original boards. With original coloured lithograph by Viera da Silva and on double-page original lithograph by Marc Chagall. hardcover
1941réf. 219115New York 1941. Half-length portrait of the artist glancing to the side. Vintage gelatin silver print. Docketed in pencil on verso giving the name of the sitter the date of the session and a reference to negative and print "XXI - V - 13". 1 vols. 13-3/4 x 9 inches. Matted and framed. Half-length portrait of the artist glancing to the side. Vintage gelatin silver print. Docketed in pencil on verso giving the name of the sitter the date of the session and a reference to negative and print "XXI - V - 13". 1 vols. 13-3/4 x 9 inches. Variant of the portrait from the same session published in Portraits: The Photography of Carl Van Vechten 1978. 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
1926réf. 308198Paris: Au Sans Pareil 1926. No. 207 of 765 of 960 total copies on Lafuma de Voiron. Five drypoint etchings after Chagall. iv 95 3 pp. 8vo. Publisher's wrappers printed blue jacket original glassine. No. 207 of 765 of 960 total copies on Lafuma de Voiron. Five drypoint etchings after Chagall. iv 95 3 pp. 8vo. The story told in reverse of the birth and death of a young woman's illegitimate child illustrated with five drypoint etchings after Marc Chagall. Cramer 5 Au Sans Pareil unknown
1967réf. 70424New York: Schoneman Galleries 1967. First Edition; First Printing. Softcover. Very Good in wrappers. Crease to bottom rear corner; 4to - over 9¾" - 12" tall. Schoneman Galleries unknown
1946réf. 66190New York: Museum of Modern Art 1946. First Edition; First Printing. Softcover. Fair in wrappers. Spine has seperated. A few tears and some toning. Staining. Owner name verso front panel.; 8vo 8" - 9" tall. Museum of Modern Art unknown
1958réf. 63577New York: Thomas Yoseloff 1958. First Edition; First Printing. Hardcover. Very Good in a Very Good dust jacket. All corners of flaps are clipped not price clipped.; 8vo 8" - 9" tall. Thomas Yoseloff hardcover
1963réf. 53079In Collaboration with The Art Institute of Chicago. The Museum Of Modern Art New York 1963. First Edition; First Printing. Softcover. Very Good in wrappers. 1/2 inch open tear to spine crown.; 4to - over 9¾" - 12" tall. In Collaboration with The Art Institute of Chicago. The Museum Of Modern Art, New York unknown
1951réf. 40707New York: Philosophical Library 1951. First Edition; First Printing. Hardcover. Very Good in a Good dust jacket. Rubbing to dj. Multiple chips and tears. Soiling.; 4to - over 9¾" - 12" tall. Philosophical Library hardcover
1989réf. 44274New York: Abbeville Press 1989. First Edition; First Printing. Softcover. Very Good in Wrappers.; 4to - over 9¾" - 12" tall. Abbeville Press 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
1948réf. 57652Genève: Trois Collines 1948. No. 2449 of 2500 copies. 45 dessins de Marc Chagall. 228 pp. 1 vols. 8vo. Pictorial wrappers original glassine. Near Fine. No. 2449 of 2500 copies. 45 dessins de Marc Chagall. 228 pp. 1 vols. 8vo. Trois Collines unknown
1927réf. 26694Paris: Andre Delpeuch 1927. First edition no. 471 of 500 on velin Rives. avec 92 dessins inedits de Marc Chagall. 1 vols. 4to. Printed wrappers with prospectus. Fine. Chagall Marc. First edition no. 471 of 500 on velin Rives. avec 92 dessins inedits de Marc Chagall. 1 vols. 4to. Andre Delpeuch unknown
1971réf. 56781New York: Metropolitan Opera Association 1971. First edition. 51 illustrations. 1 vols. 4to. Cloth. Fine in dust jacket and slipcase. First edition. 51 illustrations. 1 vols. 4to. A study of Chagall's murals for the foyer of the Metropolitan Opera House and his designs for the set and costumes for the company's production of "The Magic Flute." Not in Freitag Metropolitan Opera Association unknown
1961réf. 236407London: Abelard-Schuman 1961. With 9 full-page illustrations by Chagall46 2 pp. 1 vols. Folio 13 x 9 3/8 inches; 330 x 240 mm. Blue cloth. Fine in fine dust jacket. With 9 full-page illustrations by Chagall46 2 pp. 1 vols. Folio 13 x 9 3/8 inches; 330 x 240 mm. Abelard-Schuman unknown
1948réf. 1198Arts Council 1948. 8vo. First Edition with 8 collotype plates; original pictorial wrappers wire-stitched as issued a very good bright clean copy. With publisher's stamp on title and front wrappers. R.H. WILENSKI'S COPY WITH HIS INITIALS IN INK ON FRONT WRAPPER. Arts Council, unknown
1962réf. 6285Plymouth United Kingdom: Sidgwick and Jackson 1962. First Edition. hardcover. Near Fine. N/A. Publication: London Sidgwick and Jackson 1962. Formatting: 8vo pp. 255. Condition Report: Near Fine. The book is securely bound in its original red cloth boards which remain exceptionally clean with barely a trace of shelf-wear or bumping to the extremities. The spine holds firm and its gilt typography remains strikingly bright and unoxidised. Internally the text block is sound tight and impressively fresh with the pages remaining free from notable foxing toning or handling marks. The original pictorial dust jacket now housed in a protective sleeve remains unclipped displaying the original '15s. NET' price. It is complete and vibrant showing only the most minor incidental wear to the edges comprehensively justifying the high grade. Catalogue Note: This is a true first edition first printing of David Chagall's striking novel preceding the American edition. The volume features its distinctive original pictorial dust jacket and a standard printed dedication to "Moish" on the preliminary pages. Copies of the true first UK edition are uncommonly found in such well-preserved condition. The presence of an unclipped remarkably bright dust jacket elevates this copy making it a handsome acquisition for collectors of mid-century counterculture and beat literature. Set amidst the bohemian beatnik subculture of Philadelphia The Century God Slept is a gritty evocative exploration of disenchanted youth seeking meaning in a post-war world. David Chagall's compelling narrative delves into the lives of artists musicians and drifters weaving a raw and authentic portrait of a generation pushing against the boundaries of societal conformity. Sidgwick and Jackson hardcover
1960réf. mon0000567463Musee des Arts Decoratifs 31/12/1960 23:00:00. paperback. Acceptable. in x in x in. FRENCH LANGUAGE. NOT an ex-library book. Clean copy in good condition. Some marking due to age on pages but overall book remains in good condition considering age. Musee des Arts Decoratifs paperback
1950réf. 1203221950. First Edition. CHAGALL Marc. Verve. Contes de Boccace. Paris: ditions de la Revue Verve 1950. Folio original lithographic dust jacket over boards. $1500.First edition of this exceptional volume of 26 Chagall heliogravures accompanied by 26 tipped-in color prints from a medieval miniaturist.The art critic Stratis Eleftheriades under the nom de plume Triade published the art journal Verve in Paris from 1937 to 1960. He commissioned famous artists of the day from Matisse to Picasso and Chagall to provide works for the journal with numerous lithographs appearing for the first time in his publications. This volume is particularly notable for the unusual medium for Chagall used: ""New washed drawings in India ink which are quite unrelated to anything he had done before. Using black diluted in every possible degree from onyx to the palest shade of gray he produced sheets that give an intensely colorful effectÉ These drawingsÉ were a response to what he saw in his new environment and stemmed from the urge to render in a spontaneous fashion the overwhelming impact of the profusion and light. They also reveal paradoxically the increased importance of color as a medium of expression. In these drawings 'light' does not signify a diminution of the colorfulness but an advance into the zone from which it springs. One might say that the heart of the color is light and from this light Chagall created the colorfulness of his sheets. What this means is visibly demonstrated by the drawings he did at Triade's suggestion for the number of Verve dedicated to Boccaccio's Decameron. What Chagall produced was a present-day counterpart to colored reproductions of the miniatures in a fifteenth-century manuscript of Boccaccio's work. For each of his drawings he drew inspiration from the miniature of the same scene and the old and new illustrations are reproduced side by side in the pages of Verve. In Chagall however everything attains a new meaning. A new logic links the objects of the anecdotic 'tale' and the plot of the love story gives rise to ardent desire and serene joy. What is more in Chagall's large black-and-white plates the light radiates in a far richer modulation of color than the full coloring of the miniaturist's precise magic-lantern pictures"" Meyer 499. Interior fine expert repairs to original boards and wrappers. hardcover
1938réf. 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
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
