5 280 résultats
1972réf. 40267Barcelona: Gustavo Gili 1972. Limited edition. Hardcover. g to vg. 1/1000. Oblong octavo. 87 3pp Text volume. Original glassine over printed dust-jacket and blind wrappers Text volume. Original full beige cloth Sketchbook. Books housed in their original green box with title laid on front board. Splendid facsimile of an early Picasso sketchbook bound in beige cloth accompanied by a softcover monograph with text in Spanish French and English. The sketchbook reproduced in facsimile is one of the 17 small original sketchbooks that Pablo Picasso donated to the Museo Picasso in Barcelona. In spite of the initial difficulty in dating the sketchbook seeing as there were no indications as to when the drawings were done it has finally been possible to place them at the end of 1900 thanks to the help of Picasso himself who places their execution at the time of his first trip to Paris. On the pages of the album a view of the surrounding reality was shaped: thirty characters of different ages and sexes belonging to different social strata. This series of drawings was done in the streets and parks of Paris. One of 1000 copies of which this is No. 836. Minor shelf wear soiling and rubbing to box. Text in Spanish French and English. Box in overall good binding wrappers and interior in very good condition. Gustavo Gili hardcover
1972réf. 23266Barcelona: Editorial Gustavo Gill 1972. First edition. Hardcover. All three parts two books and case in fine condition. Picasso Pablo. 87 pages English text 61 pages Spanish text: 13 x 20 cm Limited edition copy 561 of 1000. The tiny Notebook 10.5 x 5 cm. of Picasso's drawings are in facsimile containing 46 sheets: drawings and notes from Picasso's stay in Paris in 1900 and reproduced in collotype and pochoir by Daniel Jacomet. Text and drawings encased in light green box with black paper cover label. Text in stiff white wrappers. Jacqueline Picasso Los Editores. Editorial Gustavo Gill hardcover books
1971réf. 79094BBBarcelona:, Editorial Gustavo Gili, 1971. 15 × 20 cm. 68 S.; ca. 24 Bll. (nicht paginiert), Engl. broschiert (Textbuch): Leinen (Skizzenbuch), beide in 1 Schuber 2 Teile. (gut erhalten)
1972réf. 40267Barcelona: Gustavo Gili 1972. Limited edition. Hardcover. g to vg. 1/1000. Oblong octavo. 87 3pp Text volume. Original glassine over printed dust-jacket and blind wrappers Text volume. Original full beige cloth Sketchbook. Books housed in their original green box with title laid on front board. Splendid facsimile of an early Picasso sketchbook bound in beige cloth accompanied by a softcover monograph with text in Spanish French and English. The sketchbook reproduced in facsimile is one of the 17 small original sketchbooks that Pablo Picasso donated to the Museo Picasso in Barcelona. In spite of the initial difficulty in dating the sketchbook seeing as there were no indications as to when the drawings were done it has finally been possible to place them at the end of 1900 thanks to the help of Picasso himself who places their execution at the time of his first trip to Paris. On the pages of the album a view of the surrounding reality was shaped: thirty characters of different ages and sexes belonging to different social strata. This series of drawings was done in the streets and parks of Paris. One of 1000 copies of which this is No. 836. Minor shelf wear soiling and rubbing to box. Text in Spanish French and English. Box in overall good binding wrappers and interior in very good condition. Gustavo Gili hardcover books
1962réf. ABE-1596744017832 PAGES FORMAT 30 CM X 43 CM-EN COUVERTURE DESSIN DE ANGE MICHEL "-SI JE COMPRENDS BIEN, L'AFFAIRE ALGERIENNE ENTRE DANS UNE PHASE NOUVELLE."-SELON LE POUVOIR, "LA FIN JUSTIFIE LES MOYENS" MAIS QUELLE FIN?, 1P, 2 PHOTOS-BILAN D'UN MOIS EN ALGERIE 555 MORTS 990 BLESSES, 1P, PHOTO-L'ACTUALITE PAR ANGE MICHEL-UNE CAMPAGNE SCANDALEUSE CONTRE L'ANCIEN PRESIDENT DU CNR LA FRANCE RETROUVE LE TEMPS DES DELATEURS, 1P, PHOTO-LE REVEUR QUI COMMANDE, PAR GEORGES BIDAULT, 2P-APRES LES ENTRETIENS KENNEDY-ADJOUBEI: POURQUOI WASHINGTON FAIT LES DOUX YEUX A MOSCOU, 1P PAR MAURICE NEGRE, PHOTO-COUPABLE DE TRAFIC DE DROGUE VICTIME DE LA 3DOLCE VITA" JACQUES ANGELVIN, PHOTO-UN GRAND PROBLEME HUMAIN: L'EUTHANASIE EN VOTRE AME ET CONSCIENCE AURIRZ-VOUS ACQUITTE LUIGI FAITA?, 2P, 2 PHOTOS-AVEC LES PARAS POURQUOI SONT-ILS MORTS?, 1P PAR ANDRE BRISSAUD, PHOTO-LITTERATURE PAR PASCAL PIA, FAUSSE NOUVELLE NOUVELLES ET ROMAN, "L'APRES-MIDI DE M. ANDESMAS" DE MARGUERITE DURAS, "RUE D'ABOULKIR" DE MONIQUE LANGE-TROIS QUARTS DE SIECLE CONSACRES A LA VIE DES IDEES: DANIEL HALEVY, 1P PAR PAUL SERANT, PHOTO-BERNARD BUFFET, PEINTRE RELIGIEUX, ILL-EXPOSITIONS: PICASSO A VAUVENARGUES-AUX CONCERTS LAMOUREUX, PHOTO SYLVIE MERCIER-THEATRE PAR CHRISTIAN MEGRET: "LES CAILLOUX" DE FELICIEN MARCEAU, PHOTO MICHEL PICCOLI BARBARA LAAGE ET JEAN TISSIER, "L'AVARE", PHOTO JACQUES DUFILHO-CINEMA PAR PIERRE FABRE: UNE VIE PAS ASSEZ PRIVEE, PHOTO BRIGITTE BARDOT DANS "VIE PRIVEE"-QUELQUES INSTANTS DE BONHEUR "ADORABLE MENTEUSE" DE MICHEL DEVILLE
1976réf. 27602Suisse, Lausanne, Editions Mermod / Collection " Le Bouquet " n° 55 de 1953. In-12 broché de 162 pages au format 12,2 x 17 cm. Couverture rempliée avec titre imprimé et petite illustration en noir. Dos carré, avec infimes plissures de lecture. Préface inédite de Jean Cocteau. Photo de l'auteur par Man Ray en frontispice. Recueil d'articles parus dans différentes publications, accompagnés d'illustrations en couleurs et en noir, tirées en héliogravure, par Raoul Dufy, Van Dongen, Fernand Léger, Pablo Picasso, Marie Laurencin, Georges Braque, Jean Cocteau, etc. Un des 1600 exemplaires numérotés ( n° 1263 ), seul tirage. Rare édition originale illustrée.
1952réf. 21879Paris, Imprimerie Schuster, [1952]. Jolie carte ave les visages des quatre couleurs autour de la colombe.
2011Mm 230x280 Catalogo della mostra di Lucca, Lu.C.C.A - Lucca Center of Contemporary Art, 18 settembre 2011 - 15 gennaio 2012. Brossura editoriale di 143 pagine, numerose illustrazioni in bianco e nero e a colori. Libro in condizioni di nuovo. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
réf. 46667Carton d'invitation illustré en couleurs (10,5x15 cm) en 4 volets + dossier de presse de 42 pages imprimées au recto seul. Le tout sous chemise illustrée (21,5x30 cm). Ensemble complet en très bon état.
1996A clean, unmarked book with a tight binding. 8 1/4"w x 11 3/4"h. 100 pages.
1984réf. RO80214084Ajuntament de Barcelona. 1984. In-8. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 847 pages. Jaquette défraichie avec petites déchirures . nombreuses gravures et photographies en noir et blanc dans et hors texte.. Avec Jaquette. . . Classification Dewey : 708-Galeries, musées, collections d'art
1936réf. 1720London: Zwemmer Gallery 1936. First edition. Illustrated stapled wrappers. 8 pp. Attractive catalogue of a Picasso show printed letterpress on white blue and yellow paper with two mounted plates listing 57 items. Front and rear cover sheets foxed on both sides. Zwemmer Gallery
réf. 51-2890New York: Harry N. Abrams circa 1980. 4to. 4 pp. Lists original graphic works with prices by Agam Albers Alechinsky Appel Berarden Frankenthaler Motherwell Picasso Indiana Rauschenberg Newman et al. New York: Harry N. Abrams, circa 1980 unknown
réf. 68-2418New York NY: Perls Galleries 1947. 8vo. 16 pp. Stapled Wraps Very Good. Illustrated. The Perls Gallery in New York was founded in 1937 by Klaus Gunther Perls 1912-2008 and his brother Franz R. Perls1910-1975 after having worked at their mother's Galerie Kate Perls in Paris. Following his marriage to Amelia Blumenthal of Philadelphia in 1940 Klaus and Amelia B. Perls jointly ran the gallery. They specialized in modern French painting while Franz established the Frank Perls Gallery in Beverly Hills.He originally dealt in works by Maurice Utrillo Maurice de Vlaminck and Raoul Dufy that his mother sent from Paris until the Nazi occupation. When she was forced to flee France he began dealing in now little known contemporary American artists including Darrel Austin and in Mexican and South American art such as Mario Carreno. After the war Klaus again dealt in French art from the School of Paris.Artists in the Perls' stable included Rouault Picasso Léger Derain Dufy Matisse Modigliani Pascin Soutine and Vlaminck. The Perls Galleries closed in 1997. New York, NY: Perls Galleries, 1947. paperback
réf. 68-2420New York NY: Perls Galleries 1949. 8vo. 16 pp. Stapled Wraps Very Good. Illustrated.The Perls Gallery in New York was founded in 1937 by Klaus Gunther Perls 1912-2008 and his brother Franz R. Perls1910-1975 after having worked at their mother's Galerie Kate Perls in Paris. Following his marriage to Amelia Blumenthal of Philadelphia in 1940 Klaus and Amelia B. Perls jointly ran the gallery. They specialized in modern French painting while Franz established the Frank Perls Gallery in Beverly Hills.He originally dealt in works by Maurice Utrillo Maurice de Vlaminck and Raoul Dufy that his mother sent from Paris until the Nazi occupation. When she was forced to flee France he began dealing in now little known contemporary American artists including Darrel Austin and in Mexican and South American art such as Mario Carreno. After the war Klaus again dealt in French art from the School of Paris.Artists in the Perls' stable included Rouault Picasso Léger Derain Dufy Matisse Modigliani Pascin Soutine and Vlaminck. The Perls Galleries closed in 1997. New York, NY: Perls Galleries, 1949. paperback
réf. 68-2416New York NY: Perls Galleries 1945. 8vo. 16 pp. Stapled Wraps Very Good. Illustrated. The Perls Gallery in New York was founded in 1937 by Klaus Gunther Perls 1912-2008 and his brother Franz R. Perls1910-1975 after having worked at their mother's Galerie Kate Perls in Paris. Following his marriage to Amelia Blumenthal of Philadelphia in 1940 Klaus and Amelia B. Perls jointly ran the gallery. They specialized in modern French painting while Franz established the Frank Perls Gallery in Beverly Hills.He originally dealt in works by Maurice Utrillo Maurice de Vlaminck and Raoul Dufy that his mother sent from Paris until the Nazi occupation. When she was forced to flee France he began dealing in now little known contemporary American artists including Darrel Austin and in Mexican and South American art such as Mario Carreno. After the war Klaus again dealt in French art from the School of Paris.Artists in the Perls' stable included Rouault Picasso Léger Derain Dufy Matisse Modigliani Pascin Soutine and Vlaminck. The Perls Galleries closed in 1997. New York, NY: Perls Galleries, 1945. paperback
réf. 68-2419New York NY: Perls Galleries 1948. 8vo. 16 pp. Stapled Wraps Very Good. Illustrated.The Perls Gallery in New York was founded in 1937 by Klaus Gunther Perls 1912-2008 and his brother Franz R. Perls1910-1975 after having worked at their mother's Galerie Kate Perls in Paris. Following his marriage to Amelia Blumenthal of Philadelphia in 1940 Klaus and Amelia B. Perls jointly ran the gallery. They specialized in modern French painting while Franz established the Frank Perls Gallery in Beverly Hills.He originally dealt in works by Maurice Utrillo Maurice de Vlaminck and Raoul Dufy that his mother sent from Paris until the Nazi occupation. When she was forced to flee France he began dealing in now little known contemporary American artists including Darrel Austin and in Mexican and South American art such as Mario Carreno. After the war Klaus again dealt in French art from the School of Paris.Artists in the Perls' stable included Rouault Picasso Léger Derain Dufy Matisse Modigliani Pascin Soutine and Vlaminck. The Perls Galleries closed in 1997. New York, NY: Perls Galleries, 1948. paperback
réf. 68-2417New York NY: Perls Galleries 1946. 8vo. 16 pp. Stapled Wraps Very Good. Illustrated. The Perls Gallery in New York was founded in 1937 by Klaus Gunther Perls 1912-2008 and his brother Franz R. Perls1910-1975 after having worked at their mother's Galerie Kate Perls in Paris. Following his marriage to Amelia Blumenthal of Philadelphia in 1940 Klaus and Amelia B. Perls jointly ran the gallery. They specialized in modern French painting while Franz established the Frank Perls Gallery in Beverly Hills.He originally dealt in works by Maurice Utrillo Maurice de Vlaminck and Raoul Dufy that his mother sent from Paris until the Nazi occupation. When she was forced to flee France he began dealing in now little known contemporary American artists including Darrel Austin and in Mexican and South American art such as Mario Carreno. After the war Klaus again dealt in French art from the School of Paris.Artists in the Perls' stable included Rouault Picasso Léger Derain Dufy Matisse Modigliani Pascin Soutine and Vlaminck. The Perls Galleries closed in 1997. New York, NY: Perls Galleries, 1946. paperback
1939réf. 89995Paris: Paul Rosenberg 1939. Fine. First presentation at the Paul Rosenberg Gallery in Paris of an artwork foreshadowing the bull of Guernica: The Negro Sculpture before the Window. Paul Rosenberg Paris 1939 11 x 13.5 cm Une feuille pliée 4 pp. Rare first edition of the catalogue for Picassos final exhibition at the Galerie Paul Rosenberg in Paris held from 17 January to 18 February 1939 at 21 rue La Boétie. The front wrapper is illustrated with a black-and-white photograph of the exhibitions centrepiece: La sculpture nègre devant la fenêtre now known as Buste de Minotaure devant une fenêtre Private Collection; see Zervos vol. VIII p. 360. Painted on 19 April 1937 the work is widely regarded as a precursor to the bull of Guernica executed only a few weeks later. An excellent well-preserved copy. The plaquette lists the 33 works exhibited arranged by year of execution- 1936 1937 and 1938. The verso carries the notice of the next exhibition Centenary of Cézanne dated 20 February 1939. These two events were followed only by a final show devoted to Georges Braque before the gallery closed and Paul Rosenberg left France for permanent exile in the United States. The event met with considerable success as reported by the American collector and sculptor Meric Callery to Alfred H. Barr the first director of the Museum of Modern Art in New York: ""R's Rosenberg present show of Picasso is surprising in that it is so pretty colorful and gay. They have had over 600 people per day to see it."" Making Modernism Michael C. FitzGerald 1996 The adjectives pretty colourful and gay may seem surprising given both Picassos style and the political context of 1939. Indeed the exhibition - comprising chiefly still lifes painted between 1936 and 1938 in the Tremblay-sur-Mauldre studio - appears at first sight to contrast sharply with the tragic contemporary events. From 1937 onwards the Nazis began confiscating over 20000 modern artworks to mount the notorious Entartete Kunst Degenerate Art exhibition. Circulated throughout Germanys major cities it culminated in June 1939 in a large-scale auction to finance the war preceded by the burning of more than 5000 paintings in the courtyard of Berlins main barracks. Fully aware of the ongoing tragedy Paul Rosenberg took measures to save as many works as possible organising in the same year the first retrospective of Picasso at the Museum of Modern Art where Guernica was displayed and preserved. In 1940 he took permanent refuge in New York opening his celebrated gallery on 79th Street while some 2000 works he could not take with him were looted by the Nazis. Belying its seemingly innocuous appearance the exhibition of recent works by the foremost representative of so-called Degenerate Art held by a Jewish dealer constituted a genuine act of resistance to the rise of Nazism. Yet it was above all through a single work prominently displayed in the main salon and reproduced on the catalogues front that Rosenberg and Picasso transformed the still-life exhibition into a profoundly political statement. Later known as Buste du Minotaure devant une fenêtre this transitional work as noted by the art historian Vérane Tasseau is highly symbolic: The bull does not stand for fascism but for brutality and darkness Picasso remarked in the autumn of 1944 during an interview with the young painter Jerome Seckler for the American Marxist journal New Masses. Seckler had hoped to elicit from him the assertion that the late 1938 series of still lifes with bull heads was a political statement in continuity with Guernica."" This first bulls head in the still-life series gradually evolved over the course of 1938 into a curious zoomorphic human visage. It is nevertheless still titled in the catalogue La sculpture nègre devant la fenêtre. Although this title was not retained in subsequent monographs it establishes a remarkable link between two major themes in Picassos oeuvre: th Paul Rosenberg unknown
1983réf. 143492Arti 1983. Bon Etat aspect 4e plat assez salie intérieur frais. in8. 1983. Broché. Arti unknown
1983réf. 195994Geneva: Patrick Cramer 1983. First edition of this reference work cataloguing 156 titles illustrated by Picasso with the ownership stamp of the eminent Picasso collector Gérard Delile to the first blank. Quarto. Profusely illustrated with 804 photographic illustrations 35 of which are in colour. Text in French. Original beige cloth spine and front cover lettered in dark brown. With illustrated dust jacket and matching beige cloth slipcase. Some pencil marks to margins; dust jacket lightly creased: a near-fine copy in a near-fine jacket. hardcover
réf. 13216Bern Editions Kornfeld u. Klipstein 1968. 4° 310 S. 1399 Abb. Fronti. OLwd. mit OU. OU randrissig u. unfrisch Lwd. an den Kapitalen etw. gebräunt Buch sonst tadellos. Bd. III des Kataloges des gesamten edierten graphischen Werkes von Picasso. Erstausgabe. Text frz. 010 Bern, Editions Kornfeld u. Klipstein, 1968 unknown
réf. 11414In-folio broché. Couverture rempliée. Nombreuses illustrations. 38 pages. Bon état.
1984réf. 117ArBerggruen 1984 In8 ( 22 X 11,5 cm ) - couverture illustrée - non paginé , environ 150 pages - illustrations noir & blanc .
1984réf. 117ArBerggruen 1984 In8 ( 22 X 11,5 cm ) - couverture illustrée - non paginé , environ 150 pages - illustrations noir & blanc .
