2512 risultati
1938rif. 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by Mir and Lger photographs by Man Ray and Brassa articles by Matisse Gide Dos Passos and Garcia Lorca previously unpublished letters and drawings by Czanne and the first printed illustration of Picasso's Guernica.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
rif. 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
1979rif. 16817H. N. Abrams. Near Fine in Very Good dust jacket. Hardcover. Orange cloth cover is pristine. Boards and spine are straight. Binding is tight. Former owner's embossment on copyright page. Pages are clean and pristine. Dust jacket has light shelf rubbing but clean bright and very good. DJ protected by a brand new clear acid-free mylar cover. We add mylar covers to all books with DJs to preserve the DJs and add luster to magnify their beauty. If pictured shown without the mylar cover for an accurate representation of dust jacket. . . 1979. 0810907585 . H. N. Abrams hardcover
1950rif. 1204071950. First Edition. Signed. CHAGALL Marc. Verve. Contes de Boccace. Paris: ditions de la Revue Verve 1950. Folio original lithographic dust jacket over boards. $5800.First edition of this exceptional volume of 26 Chagall heliogravures accompanied by 26 tipped-in color prints from a medieval miniaturist boldly signed by Chagall on the half title. From the collection of Joseph Liverant a fellow Russian Jewish emigr and friend of Chagall.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. From the collection of Joseph Liverant a fellow Russian Jewish emigr and close friend of Chagall. Liverant and Chagall both fled Europe in World War II Liverant to Canada and Chagall to the United States. After the war both acquired residences in Provence where shared social circles similar ages and a mutual love of Yiddish combined to forge a lasting bond of friendship between the two.About-fine condition. hardcover
1946rif. 10933Schocken Books. Near Fine in Very Good dust jacket. First Edition; First Printing. Hardcover. Navy cloth cover is rubbed at corners and spine caps but clean bright and otherwise pristine. Boards and spine are straight. Binding is tight. Pages are toned but clean and near pristine. Dust jacket is toned with very modest soiling but in very good condition. Publisher's price of $3.00 on DJ flap. DJ protected by a brand new clear acid-free mylar cover. We add mylar covers to all books with DJs to preserve the DJs and add luster to magnify their beauty. If pictured shown without the mylar cover for an accurate representation of dust jacket. .; 7.8 X 5.3 X 0.9 inches; 261 pages . 1946. Schocken Books hardcover
1946rif. 10932Schocken Books. Very Good in Good dust jacket. First Edition; First Printing. Hardcover. Navy cloth cover is worn at corners and spine caps but clean bright and in very good condition. Boards and spine are straight. Binding is tight. Pages are toned but clean and in very good condition. Dust jacket is heavily toned and tattered at extremities with soiled back panel. Publisher's price of $3.00 on DJ flap. DJ protected by a brand new clear acid-free mylar cover. We add mylar covers to all books with DJs to preserve the DJs and add luster to magnify their beauty. If pictured shown without the mylar cover for an accurate representation of dust jacket. .; 7.8 X 5.3 X 0.9 inches; 261 pages . 1946. Schocken Books hardcover
1950rif. 9694Caravela Mizen Way Cobham Surrey: Grey Falcon/Trianon Press. Very Good in Very Good- dust jacket. First Edition; First Printing. Paperback. Heavy cardstock wraps with illustrated dustwrapper. This is #58 of 750 copies reserved for Trianon Press of a total of 1500 with the latter numbers reserved for Grey Falcon . Pages are lightly toned but clean and in very good- condition. Also comes with the original little tag that was used by the publisher to identify the limitation number of each copy this having "58" on it matching the number stamped on the limitations page. Complete with color frontispiece and 25 b&w drawings. . . 1950. Grey Falcon/Trianon Press paperback
1972rif. 79107Genève : Galerie Gérald Cramer 1972. CHAGALL Marc.Le cirque. Estampes - Livre illsutré - Monotypes - Dessins. Exposition Juin - Septembre 1972. Galerie Gérald Cramer Genève. Genève Galerie Gérald Cramer1972 270x205mm 48 planches en couleurs reliure d’éditeur sous jaquette en rhodoïde. Petites déchirures sur la jaquette autrement bel exemplaire. No hidden customs fees for orders shipped to the U.S.A with a value of up to 800 USD PDDP shipping we pay the VAT in advance Galerie Gérald Cramer unknown
1995rif. 94869Paris : Réunion des Musées Nationaux 1995. reliure d'éditeur sous jaquette. CHAGALL Marc.Le ballet. L’opéra. Paris Réunion des Musées Nationaux1995 300x250mm 180 pages photos couleurs et n/b reliure d'éditeur sous jaquette. Inscritpions manuscrites sur le haut de la page de garde supérieure autrement très bel exemplaire. No hidden customs fees for orders shipped to the U.S.A with a value of up to 800 USD PDDP shipping we pay the VAT in advance Réunion des Musées Nationaux unknown
1977rif. 1419011New York: George Braziller 1977. First Edition Thus. Hardcover. Quarto 222 pages. In Very Good condition with a Very Good minus dust jacket. Spine white with black lettering. Dust jacket protected with a mylar covering. Rubbing and light soiling to dust jacket spine with small open tears at head and tail. Large closed tear on top edge of front cover. Rubbing to corners of dust jacket. Mild shelf wear to boards. Textblock clean. Shelved on the Front Table. 1419011. Shelved Dupont Bookstore. George Braziller hardcover
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
1957rif. ABE-1732225720952Harry N. Abrams 1957. New York: Harry N. Abrams 1957. 8vo xxxviii151 p. original grey cloth stamped in black. Light crimping to spine tips else a NF copy in a VG or better jacket with chipping to spine tips crimping to jacket edges but a nice copy overall. 1st Edition. Hardcover. Very Good/Dust Jacket Included. Harry N. Abrams Hardcover
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
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
1968rif. 100076163Hermann 1968. Bon Etat de conservation intérieur frais exemplaires de bibliothèque étiquette sur le dos tampons fiche livre et code barre collés dans le 4e plat. in8. 1968. Cartonné. 2 volumes. illustrations en noir et blanc Hermann unknown
rif. 137604Broché. Etat moyen. unknown
1972rif. 81151Mourlot: Paris 1972. Gebunden mit Schutzumschlag Wie neu. Paris unknown
1984rif. 35781Monte-Carlo: Editions André Sauret 1984. Hardcover. Near Fine/Very Good. Hardcover. IN FRENCH. Bound in grey cloth covered boards with black title to spine and "Chagall" with dates to front board. Clean and bright with many full color illustrations. In illustrated blue dust jacket with title to front panel. Slight fading to spine panel of jacket and minor wear to edges. Jacket is protected with original clear glassine. 250 pages. ART/070822. Editions André Sauret hardcover
1969rif. 113646Tudor Publishing 1969. Hardcover. Very good/Good. With one original lithograph done for the book. Covers edgeworn. Jacket worn with chipping and missing piece at bottom of spine. In slipcase. Tudor Publishing hardcover
rif. 24374Monte Carlo: Andre Mauret 1986. Cloth. Fine/Fine. Marc Chagall. A gorgeous example of this sweeping 6 volume set published from 1960 to 1986 and representing the complete catalogue raisonne of the great Chagall's body of lithographs. Each of the 6 volumes clean and Near Fine to Fine in crisp Near Fine to Fine dustjackets. Internally all 6 volumes immaculate with no writing or markings of any kind. Issued by Andre Mauret of Monte Carlo lithographs once again created by Chagall's long-term partner Fernand Mourlot. 28 original litographs all told --most in rich color-- within the set roughly 800 color and black-and-white illustrations throughout. Text to Vol. I in German to Vol. II in French and to Vols. III-VI in English. Uncommon in such superb condition truly a collector's copy. Andre Mauret unknown
1957rif. 23397Paris: Maeght Editeur 1957. Portfolio. Very Good. Impressive 1957 Marc Chagall portfolio #99-100 in the formidable "Derriere Le Miroir" series issued by Maeght Edituer of Paris. 4 original color lithographs 2 of them gate-folds and 3 original lithographs in black-and-white. A bright presentable copy of this the 1st and only edition. Light wear along the spine just a bit of very mild soiling to the front panel. Folio pictorial wrappers loose signatures as issued complete. Essay "Chagall a Sa Juste Place" by Jean Paulhan. Maeght Editeur unknown
1962rif. 21546New York: George Braziller 1962. Cloth. Near Fine/Near Fine. A lovely copy of the 1962 1st American edition with the two original color lithographs especially prepared by Chagall for this edition and numerous beautiful color reproductions beyond. Tight and Near Fine in a clean Near Fine example of the publisher's unprinted mylar dustjacket and a sharp VG to Near Fine example of the publisher's printed card slipcase. Folio text and notes by Jean Leymarie. George Braziller unknown
1972rif. 3032722Monaco: Andre Sauret nd 1972. 1st edition. Beige cloth. Nice clean tight bright copy: Near Fine/Near Fine dj in publisher's plain slipcase top edge of slipcase badly torn. Folio. Profusely illustrated in color and black and white with original lithographs by Marc Chagall Andre Sauret hardcover
1946rif. 19249Brooklyn NY: Editions Hemispheres 1946. Boards. Near Fine/Near Fine. Marc Chagall. A gorgeous copy of the 1946 1st edition with 4 original drawings by Marc Chagall complementing Claire Goll's charming text. This copy unsigned and out-of-series but nonetheless part of the original printing of only 300 copies. Just a touch of very light staining at the inner hinge along the upper intersection of the front free endpaper and front pastedown otherwise clean as could be. Also includes a lovely Near Fine example of the publisher's glassine/wax dustjacket. Tall thin quarto printed by Peter Beilenson in Mount Vernon NY. Editions Hemispheres unknown
1973rif. 10088New York: Tudor Publishing Company 1973. First Edition. Fine/Near Fine. folio 12 1/2" x 10" 136 pages; publisher's blue cloth printed in gilt. Pictorial dust jacket. Special issue of the XXe Siecle Review. With an original lithograph executed by the artist specially for this issue; 33 plates in color 100 reproductions in black and white. Internally clean and bright with no markings of any kind. Tudor Publishing Company unknown
