MATISSE, HENRIBiblio.com
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1920rif. 2907Paris: The Author Matisse 1920. First edition. Original wrappers. Very Good. FIRST EDITION WITH SIGNED MATISSE ETCHING. A BEAUTIFUL COPY. Cinquante Dessins is “a book of drawings published at Matisse’s expense with an introduction by Charles Vildrac. Vildrac explains Matisse’s return to the figure as an attempt to redress the modernist gap opened between art and life. Since the figure was neglected by contemporary art concerned with the probing and reconstitution of the painting elements themselves Matisse is returning to the ‘moral character’ of painting its human content. Like the older masters he again ‘attunes his style to the style of the model’ and eschewing both the current archaizing and modishness he searches out with humility the grave character of the model by intelligent deduction and by imagination. Written in close collaboration with the painter this is an important statement on Matisse’s Nice manner of the early 1920s.” Weiss 97. With 50 full-page plates of Matisse’s drawings of women in addition to the frontispiece etching of Matisse’s daughter “Mlle. M.M” signed in ink by Matisse below the image. Produced to coincide with Matisse’s exhibition of the drawings at Bernheim-Jeune in 1920. One of 1000 copies issued although in most extant copies the signed frontispiece has now been removed. With preface by Charles Vildrac. Paris: The Author 1920. Quarto approx. 8 1/2 x 12 in. original wrappers; custom box. Splits to text block as usual and with the usual light uniform toning from the tissue guards. The original wrappers in particular the spine are notoriously fragile – this copy is a very rare survival with the wrappers in nearly perfect condition. Note: Without the rare dust jacket issued in some copies in Pierre Matisse’s possession. The Author Matisse unknown
1920rif. 2907Paris: The Author Matisse 1920. First edition. Original wrappers. Very Good. FIRST EDITION WITH SIGNED MATISSE ETCHING. A BEAUTIFUL COPY. Cinquante Dessins is “a book of drawings published at Matisse’s expense with an introduction by Charles Vildrac. Vildrac explains Matisse’s return to the figure as an attempt to redress the modernist gap opened between art and life. Since the figure was neglected by contemporary art concerned with the probing and reconstitution of the painting elements themselves Matisse is returning to the ‘moral character’ of painting its human content. Like the older masters he again ‘attunes his style to the style of the model’ and eschewing both the current archaizing and modishness he searches out with humility the grave character of the model by intelligent deduction and by imagination. Written in close collaboration with the painter this is an important statement on Matisse’s Nice manner of the early 1920s.” Weiss 97. With 50 full-page plates of Matisse’s drawings of women in addition to the frontispiece etching of Matisse’s daughter “Mlle. M.M” signed in ink by Matisse below the image. Produced to coincide with Matisse’s exhibition of the drawings at Bernheim-Jeune in 1920. One of 1000 copies issued although in most extant copies the signed frontispiece has now been removed. With preface by Charles Vildrac. Paris: The Author 1920. Quarto approx. 8 1/2 x 12 in. original wrappers; custom box. Splits to text block as usual and with the usual light uniform toning from the tissue guards. The original wrappers in particular the spine are notoriously fragile – this copy is a very rare survival with the wrappers in nearly perfect condition. Note: Without the rare dust jacket issued in some copies in Pierre Matisse’s possession. The Author Matisse unknown books
rif. 59-2619France 1927. Lithograph on laid Chine paper; signed in pencil numbered 3/5. From Dix Danseuses by Edition de la Galerie d'Art Contemporaire 1927. Includes a Certificate of Authenticity from Original Fine Art Ltd dated March 1984. Good condition. Light fold mark on right side.Fribourg 442 Pully 138; Planche 96. France, 1927. unknown
1951rif. 374447New York: Museum of Modern Art 1951. First edition. Profusely illus. 591 pp. 1 vols. 4to. Cloth-backed boards. Fine in slightly chipped Very Good dust jacket. First edition. Profusely illus. 591 pp. 1 vols. 4to. Inscribed: "en hommage à monsieur Monroe Wheeler avec mes remerciements pour mon exposition au musée Modern dont il fut l'organisateur parfait H. Matisse 1er juillet 52" "In homage to Mr. Monroe Wheeler with my thanks for my show at the Museum of Modern Art which he organized perfectly" Henri Matisse-the second-most exhibited artist at the Museum after Pablo Picasso-was the subject of MoMA's first monographic exhibition in 1931. The 1951-52 exhibition was the largest Matisse exhibition to be assembled in the United States to date and covered his pivotal work of the 1930s and the mature cut outs of the 1940s. As Barr writes in one of the letters laid-in "I did not realize that the 1930-40's would prove so rich and important. Frankly I tended to look down on Matisse's paintings of those years. They have changed my mind -- and the length of my text. I also greatly underestimated the interest and importance of the illustrated books of the 1940's." Monroe Wheeler 1899-1988 was made Director of Publications in 1939 and became the Museum's first Director of Exhibitions the following year positions which he held until 1967. Wheeler interviewed Matisse in March 1950 and their conversation comprises "Questionnaire II" which was used as one of the primary sources of the text of this volume p. 529. Alfred Barr 1902-1981 the first historian of Modern Art and the author of this volume was the first Director of MoMA from 1929-1943 when he worked as advisory director with his successor Rene d'Harnoncourt. Laid-in to the volume is correspondence from Barr to Wheeler about the progress of the writing of the book and about its publication as well as ephemera related to the exhibition and collected in the years afterwards. Contents laid-in include: - TLS 1 p. on MoMA letterhead annotated April 21 1950 from Barr and written in preparation for the Matisse exhibit mentions his research and help or lack of help from his assistant Bill and suggests that Wheeler try to purchase a painting not accomplished until 1983 - TLS 2 pp. on MoMA letterhead with a few holograph notes at the end July 2 1951 with envelope from Barr and about the delay in finishing the Matisse book in time for the opening of the exhibition discussing the editorial insight of the publications manager Frances Pernas - 4 short ANS notes from Barr to Wheeler on printed Memorandum stationary of Barr - 1 ANS note from Rene D'Harnoncourt on printed Memrandom Stationary - Pierre Matisse calling card - Errata sheet for the book - Invitation to the Exhibition opening admitting two folded as issued - Invitation to the Exhibition opening official after party admitting two - Matisse obituary clipping from the NYT - Color postcard for Harmony in Red laid-in at page 345 with the black-and-white illustrations of this work - Color postcard of Still Life with Oysters 1940 tipped-in at p. 486 - Color postcard of Zulma - Color postcard of Vase of Anemones - Color card cut in half Ivy and Flowers docketed on verso - "Matisse Designed Uncancelled French Stamp" in MoMA envelope docketed as such - Invitation to the Donation Matisse on January 5 1963. Museum of Modern Art unknown
1951rif. 374447New York: Museum of Modern Art 1951. First edition. Profusely illus. 591 pp. 1 vols. 4to. Cloth-backed boards. Fine in slightly chipped Very Good dust jacket. First edition. Profusely illus. 591 pp. 1 vols. 4to. Inscribed: "en hommage à monsieur Monroe Wheeler avec mes remerciements pour mon exposition au musée Modern dont il fut l'organisateur parfait H. Matisse 1er juillet 52" "In homage to Mr. Monroe Wheeler with my thanks for my show at the Museum of Modern Art which he organized perfectly" Henri Matisse-the second-most exhibited artist at the Museum after Pablo Picasso-was the subject of MoMA's first monographic exhibition in 1931. The 1951-52 exhibition was the largest Matisse exhibition to be assembled in the United States to date and covered his pivotal work of the 1930s and the mature cut outs of the 1940s. As Barr writes in one of the letters laid-in "I did not realize that the 1930-40's would prove so rich and important. Frankly I tended to look down on Matisse's paintings of those years. They have changed my mind -- and the length of my text. I also greatly underestimated the interest and importance of the illustrated books of the 1940's." Monroe Wheeler 1899-1988 was made Director of Publications in 1939 and became the Museum's first Director of Exhibitions the following year positions which he held until 1967. Wheeler interviewed Matisse in March 1950 and their conversation comprises "Questionnaire II" which was used as one of the primary sources of the text of this volume p. 529. Alfred Barr 1902-1981 the first historian of Modern Art and the author of this volume was the first Director of MoMA from 1929-1943 when he worked as advisory director with his successor Rene d'Harnoncourt. Laid-in to the volume is correspondence from Barr to Wheeler about the progress of the writing of the book and about its publication as well as ephemera related to the exhibition and collected in the years afterwards. Contents laid-in include: - TLS 1 p. on MoMA letterhead annotated April 21 1950 from Barr and written in preparation for the Matisse exhibit mentions his research and help or lack of help from his assistant Bill and suggests that Wheeler try to purchase a painting not accomplished until 1983 - TLS 2 pp. on MoMA letterhead with a few holograph notes at the end July 2 1951 with envelope from Barr and about the delay in finishing the Matisse book in time for the opening of the exhibition discussing the editorial insight of the publications manager Frances Pernas - 4 short ANS notes from Barr to Wheeler on printed Memorandum stationary of Barr - 1 ANS note from Rene D'Harnoncourt on printed Memrandom Stationary - Pierre Matisse calling card - Errata sheet for the book - Invitation to the Exhibition opening admitting two folded as issued - Invitation to the Exhibition opening official after party admitting two - Matisse obituary clipping from the NYT - Color postcard for Harmony in Red laid-in at page 345 with the black-and-white illustrations of this work - Color postcard of Still Life with Oysters 1940 tipped-in at p. 486 - Color postcard of Zulma - Color postcard of Vase of Anemones - Color card cut in half Ivy and Flowers docketed on verso - "Matisse Designed Uncancelled French Stamp" in MoMA envelope docketed as such - Invitation to the Donation Matisse on January 5 1963. Museum of Modern Art unknown books
rif. 15155Paris Editions d'Art Les Heures Claires 1965 in folio (38x29) 1 fort volume broché en faux-feuillets sous couverture rempliée, 220 pages et 5 faux-feuillets non chiffrés, avec 19 planches hors-texte en couleurs et un portrait de A. Warnod en frontispice (phototypie), sous boitage de l'éditeur. Préface de Pierre Brisson. Lithographies de Derain, et Van Dongen (tirées par Lucien Détruit), lithographies de Dufy, Matisse, Chagall, Dunoyer de Segonzac, Cavaillès, Terechkovitch et Carzou. Lithographies de Picasso, et Buffet (tirées par P.-J. Ballon), Lithographies de Miro (tirée par l'atelier Arte), eaux-fortes de Villon et Zadkine (tirée par Manuel Robbe), eau-forte de Braque (tirée par A. et P. Crommelynck). Original etchings by Braque, Jacques Villon, Zadkine. Original woodcuts by Vlaminck, Rouault, Pascin, Utrillo. Original lithographs by Derain, Dufy, Matisse, Van Dongen, Picasso, Chagall (engraved by Sorlier), Dunoyer de Segonzac, Cavaillès, Terechkovitch, Bernard Buffet, Carzou, Miro. Tirage limité à 250 exemplaires numérotés sur grand vélin d'Arches (limited to 250 copies), et quelques exemplaires hors-commerce. Notre exemplaire imprimé sur grand vélin d'Arches est un exemplaire d'artiste, il porte sur la justification la mention imprimée: exemplaire d'artiste. Cet exemplaire est enrichi d'une importante suite de 33 planches de divers états de la décomposition des couleurs de la lithographie de Picasso (sous chemise). Collationné complet. Très bel et rare exemplaire d'artiste ( Photographies sur demande / We can send pictures of this book on simple request )
1935rif. 140946387New York: The Limited Editions Club 1935. Signed Limited Edition. Fine. First illustrated edition. 373 pp. Copy number 1492 of a limited 1500 signed by Henri Matisse. Bound in publisher's brown cloth stamped in gilt with top edge speckled brown. Fine with just the faintest rubbing to the gilt-covered relief on the front cover in Near Fine publisher's slipcase with slight soiling and slight wear bubbling to paper on one face. A beautiful copy in much nicer condition than as normally found. A visually striking production which combines James Joyce's modernist masterpiece with twenty-six illustrations by Matisse including six hand-printed etchings and twenty lithographs. The Limited Editions Club unknown
1935rif. 140946387New York: The Limited Editions Club 1935. Signed Limited Edition. Fine. First illustrated edition. 373 pp. Copy number 1492 of a limited 1500 signed by Henri Matisse. Bound in publisher's brown cloth stamped in gilt with top edge speckled brown. Fine with just the faintest rubbing to the gilt-covered relief on the front cover in Near Fine publisher's slipcase with slight soiling and slight wear bubbling to paper on one face. A beautiful copy in much nicer condition than as normally found. A visually striking production which combines James Joyce's modernist masterpiece with twenty-six illustrations by Matisse including six hand-printed etchings and twenty lithographs. The Limited Editions Club unknown books
1946rif. 1733661946. MATISSE Henri. Lettres Portugaises. By Marianna Alcaforado. Illustrated with 15 full-page and 80 smaller lithographs by Matisse. 4to. loose as issued in the original publisher's illustrated wrappers and cardboard box. Paris: Teriade 1946. An immaculate copy of Matisse's first collaboration with Teriade. Unlike Jazz which he was working on at the same time this work showcases Matisse's brilliance as a draughtsman. The plethora of images and the use of purple ink combine to make this a particularly pleasing book. The author Mariana Alcoforado was a Portuguese nun who conducted a passionate clandestine affair with a French soldier documented in these letters. The letters articulate the arching trajectory of her love from passion to eventual heartbreak. Whether or not these letters were actually written by Marianna Alcaforado is still a subject for debate. This is one of 20 hors commerce copies published in addition to the 270 copies signed by Matisse. Duthuit Matisse Livres Illustres 15. The Artist and the Book 199. unknown
1946rif. 1733661946. MATISSE Henri. Lettres Portugaises. By Marianna Alcaforado. Illustrated with 15 full-page and 80 smaller lithographs by Matisse. 4to. loose as issued in the original publisher's illustrated wrappers and cardboard box. Paris: Teriade 1946. An immaculate copy of Matisse's first collaboration with Teriade. Unlike Jazz which he was working on at the same time this work showcases Matisse's brilliance as a draughtsman. The plethora of images and the use of purple ink combine to make this a particularly pleasing book. The author Mariana Alcoforado was a Portuguese nun who conducted a passionate clandestine affair with a French soldier documented in these letters. The letters articulate the arching trajectory of her love from passion to eventual heartbreak. Whether or not these letters were actually written by Marianna Alcaforado is still a subject for debate. This is one of 20 hors commerce copies published in addition to the 270 copies signed by Matisse. Duthuit Matisse Livres Illustres 15. The Artist and the Book 199. unknown books
1944rif. 48724Paris.: Martin Fabiani. 1944. Original publisher's printed wrappers with flaps original linoleum cut illustration and title by Matisse in blue and white original publisher's cream cloth-backed patterned board chemise with title in red to spine without slipcase. 4to. 336 x 260 mm. Half-title justification verso original linoleum engraved frontispiece printed title in red and black de Montherlant's introduction and text for the 'Chant de Minos' and 'Pasiphaé' illustrated with 17 full-page original linoleum engravings printed in black 33 vignettes including head- and tail-pieces also in black 13 repeated headbands in red and 84 initials also in red leaf with notes and final leaf with achevé d'imprimer all the original linoleum cuts by Henri Matisse; the wrapper for the book also features an original linoleum cut over both covers printed in blue. Henri Matisse's illustrations for de Montherlant's 'Pasiphaé'.From the edition limited to 250 numbered copies signed by Matisse to the justification with this one of 200 on vélin d'Arches filigrané au nom de l'éditeur.'Matisse's attention to this contemporary retelling of the story of Pasiphaé and the Minoan bull was the impetus for one of his most intensive printmaking periods. Using linoleum he cut many blocks of each image to perfect the flowing lines and relationship of forms. He successfully captured the spirit of the classic tale by drawing on images from ancient Greek black-figure pottery. The linoleum-cut medium ideally displayed the bold images of white lines on a black background.' Artist Books in the Modern Era.Duthuit / Garnaud 10; The Artist and the Book 198; From Manet to Hockney 112; Logan 102. Martin Fabiani. hardcover
1946rif. 180358Paris: Le Éditions du Chêne 1946. Fourteen faces of Annelies Nelck First edition number 167 of 200 on de Lana paper from a total edition of 250 copies signed by Matisse and Reverdy. The artist and poet collaborated on several projects together. Visages being unique as Reverdy created the poems to accompany Matisse's images which he had previously drawn of his muse Annelies Nelck. Lithographs printed by Mourlot Freres Paris. Quarto. With 14 full-page original lithographs in sanguine and 17 linocut vignettes in black by Matisse on vélin à la forme de Lana paper. Text in French. Original wrappers lettering and illustrations to covers in dark purple and black. With publisher's beige paper covered boards and slipcase lettering to spine in dark purple. Slipcase rubbed otherwise in excellent condition. Duthuit Books 11 hardcover
1926rif. 2112Paris : Éditions « Cahiers d’Art », 1926 In-4 (283 x 228 mm), broché, non rogné, sous couverture rempliée de papier Japon. Encartée dans l’exemplaire: 1 EAU-FORTE ORIGINALE DE PABLO PICASSO TIRÉE SUR HOLLANDE, SIGNÉE AU CRAYON PAR L' ARTISTE ET JUSTIFIÉE 13/50. Note historique: Un des premiers livres sur Picasso, publié par la galerie "Cahiers d'Art" fondée cette même année. L'ouvrage est illustré de 4 reproductions de dessins dans le texte et de 42 planches, dont 2 en couleurs, reproduisant des œuvres de Picasso des années 1920-1926. La gravure accompagnant ce tirage de luxe, "Femme au fauteuil", fait partie d'une série réalisée en 1922-1923 dans laquelle les lignes superposées donnent à voir les figures à la fois de face et de profil. Le zinc est perdu. Un des 50 exemplaires sur Hollande van Gelder, les seuls avec les 6 sur Japon à comprendre la gravure originale, celui-ci le n°13 (quelques piqûres à la gravure et à la couverture). Chemise et étui d l'époque. ENGLISH DESCRIPTION: PABLO PICASSO (1881-1973) et CHRISTIAN ZERVOS (1889-1970) Picasso. Œuvres 1920-1926. Paris : Éditions « Cahiers d’Art », 1926 Deluxe copy, with the signed original etching. 4to (283 x 228 mm). Untrimmed, Japan wrappers. 1 etching on zinc by Pablo Picasso, on van Gelder Holland wove, signed in pencil by the artist and numbered 13/50. Several black and white reproductions of works by Picasso, 2 plates in color. One of 50 copies on van Gelder Holland wove, the only copies with the first 6 on imperial Japan to contain the etching, this copy numbered 13 (some spotting on the etching and the wrappers). Jacket and slipcase of the time. Référence: Goeppert-Cramer, Picasso, n°15 - Bloch, 56 - Baer-Geiser, 99/II.
1929rif. 174201Paris: 1929. Edition of 50. Signed and numbered in pencil lower right by the artist. Lithograph on Vélin d'Arches watermarked paper. Image size: 45 x 56 cm. Sheet size: 50.5 x 66 cm. Framed size: 86.6 x 101.1 cm. Paper lightly age toned otherwise in excellent condition. Presented in a decorative wooden frame with conservation acrylic glazing. Duthuit 503 unknown
1935rif. 140947396New York: The Limited Editions Club 1935. Signed Limited Edition. Near Fine. First illustrated edition of James Joyce's modernist masterpiece. One of a limited 250 copies signed by both James Joyce and Henri Matisse from an edition of 1500 total the majority of which were only signed by Matisse. Bound in publisher's brown cloth stamped in gilt with top edge speckled brown; housed in the original tan cardstock slipcase with spine stamped in brown. 363 p. Near Fine with trivial rubbing to spine ends corners and gilt at raised relief on upper board. In a Very Good slipcase with soiling and light wear and a short repair to the seam at the opening along the bottom edge. A wonderful copy housed in a custom brown cloth solander case with morocco spine label stamped in gilt. A visually striking production which combines James Joyce's modernist masterpiece with twenty-six illustrations by Matisse including six hand-printed etchings and twenty lithographs. Slocum & Cahoon 22. The Limited Editions Club unknown
1935rif. 70085New York:: The Limited Editions Club 1935. No. 1142 of 1500 copies; signed by Henri Matisse in pencil and by James Joyce in ink. publisher's embossed gilt cloth in publisher's slipcase. Very slight tanning of inner hinges; but just about a fine copy. The fragile hinges are fine which is unusual for this book. The publisher's box has a little bit of wear to the fore-edges and extremities but is clean tight and strong. . Folio. Illustrations by Henri Matisse. With an Introduction by Stuart Gilbert. Laid in is the publisher's four-page prospectus and postcard announcement for this book plus an additional postcard announcement of shipment addressed to its first owner in which the purchaser is informed that she was one of the fortunate Limited Editions Club members who are being shipped a copy signed by both Matisse and Joyce. The postcard goes on to describe how the Club tried to handle the imbalance between the number of members who wanted the Joyce signatures and the number of copies Joyce agreed to sign. We have never seen another copy of this postcard. The Limited Editions Club, hardcover
1935rif. 140947396New York: The Limited Editions Club 1935. Signed Limited Edition. Near Fine. First illustrated edition of James Joyce's modernist masterpiece. One of a limited 250 copies signed by both James Joyce and Henri Matisse from an edition of 1500 total the majority of which were only signed by Matisse. Bound in publisher's brown cloth stamped in gilt with top edge speckled brown; housed in the original tan cardstock slipcase with spine stamped in brown. 363 p. Near Fine with trivial rubbing to spine ends corners and gilt at raised relief on upper board. In a Very Good slipcase with soiling and light wear and a short repair to the seam at the opening along the bottom edge. A wonderful copy housed in a custom brown cloth solander case with morocco spine label stamped in gilt. A visually striking production which combines James Joyce's modernist masterpiece with twenty-six illustrations by Matisse including six hand-printed etchings and twenty lithographs. Slocum & Cahoon 22. The Limited Editions Club unknown books
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
1935rif. RMATSIX00AFThe Print Club 1935. Very Good. Matisse Henri illustrator. Six Signed Proofs of Original Etchings by Henri Matisse. Illustrations for Ulysses by James Joyce published by the Limited Editions Club. NY: The Print Club 1935. #77 of 150. 6pp. Illustrated. Folio. Book condition: Very good with faint label residue on foot of inside cover. Cloth on flaps faintly faded near edges. Slight bumping and creasing of title page. Prints are near fine with tissue protectors. Prospectus has gentle creasing and rubbed edges. Each print is titled numbered and signed by Matisse. The first 250 copies were signed by Joyce and Matisse. The final 1250 were signed only by Matisse. The Print Club hardcover
1935rif. RMATSIX00AFThe Print Club 1935. Very Good. Matisse Henri illustrator. Six Signed Proofs of Original Etchings by Henri Matisse. Illustrations for Ulysses by James Joyce published by the Limited Editions Club. NY: The Print Club 1935. #77 of 150. 6pp. Illustrated. Folio. Book condition: Very good with faint label residue on foot of inside cover. Cloth on flaps faintly faded near edges. Slight bumping and creasing of title page. Prints are near fine with tissue protectors. Prospectus has gentle creasing and rubbed edges. Each print is titled numbered and signed by Matisse. The first 250 copies were signed by Joyce and Matisse. The final 1250 were signed only by Matisse. The Print Club hardcover books
1931rif. 3114Paris, Ambroise Vollard Éditeur, 1931. Un volume in-4 (32 x 24 cm). Remarquable reliure "sculptéee de Paul Bonet en plein box bleu nuit et décor polychome en relief, chemise et étui (signée et datée de 1944). - 12 EAUX-FORTES ORIGINALES EN HORS-TEXTE et 1 EAU-FORTE pour la "table des eaux-fortes" GRAVÉES PAR PABLO PICASSO. - UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dessins de l'artiste gravés sur bois par Georges Aubert et tirés en in-texte. Une "préface" de 16 pages de dessins composés de points et de traits dessinés par Picasso en 1924 également gravés sur bois par Aubert. Tirage : 340 exemplaires (65 Japon + 240 vélin de Rives + 35 H.C.). Celui-ci 1 DES 65 EXEMPLAIRES SUR JAPON IMPÉRIAL, LES SEULS SIGNÉS AU PINCEAU PAR PICASSO et monogramés à la plume par Vollard, avec UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dans une extraordinaire reliure "sculptée" de Paul Bonet, datée 1944 : "box bleu corbeau, un grand caisson ovale occupe presque chaque plat, encadrant un grand motif abstrait sculpté et couvert de veau de différentes couleurs vives" (Carnets, n°692), couverture conservée, chemise, étui. Bonet n'a réalisé qu'une poignée de ces fameuses reliures sculptées qui sont très recherchées. Celle-ci étant l'une des plus réussies et des plus élégantes. —— ENGLISH DESCRIPTION: Paris, Ambroise Vollard Éditeur, 1931. Illustrated with 12 original etchings by Pablo Picasso (and 1 for the plate "Table des eaux-fortes") and numerous woodcuts by G. Aubert after the drawings by Picasso. One of 65 NUMBERED ON JAPAN PAPER SIGNED BY PICASSO AND VOLLARD with an EXTRA SUITE of the 12 original etchings on Rives paper. Only the 65 numbered on japan paper are signed by Picasso and Vollard. Mint condition. Outstanding "sculptural" binding by Paul Bonet, dated 1944: "raven blue box, a large oval box occupies almost each cover, framing a large abstract motif carved and covered with calfskin in different bright colors" (Carnets, n°692), cover preserved, folder, case.
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.
Paris: Editions de la Revue Verve, 1940. In-folio - Reliure editeur à la bradel en Velin - Volume 2 : N° 5/6 - Consacrée à la figure humaine - Couverture illustrée en couleurs par Aristide MAILLOL - Textes de J. PAULHAN, J. SUPERVIIELLE, J. GRENIER, A. JARRY, M. JOUHANDEAU, J. GIRAUDOUX, ALAIN, G. ROUAULT, A. SUARES, etc.. - Peintures en quadrichromie par MARINUS, RUBENS, CORNEILLE de Lyon, COROT, etc, - Enluminures (Héliogravure couleurs & or) St-Grégoire-le-Grand, Les Echecs Amoureux, Les Dames de Renom de Boccac, les Fouquet de Chantill, livre d'Heures d'Etienne, chevalier, XV è siècle - Lithographies de Constantin GUYS, G. BRAQUE, G. ROUAULT, A. DERAIN, F. LEGER, P. BONNARD, H. MATISSE, P. KLEE - Dessins, Peintures, Scultures de GOYA, MIRO, A. GIACOMETTI, etc.. - Photographies en Héliogravure par DISDERI, H. LIST, EGER-TERMET, BRASAI, etc..- 181 pages. N° 7 - Les très riches Heures du duc de Berry 12 enluminures, reproduction très fidèle de l’intégrale du calendrier. N° 8 - couverture illustrée de MATISSE - Texte de REVERDY, J. GIRAUDOUX, A. MONNIER, A. MALRAUX, etc - Peintures de MATISSE, MIRO, etc - Calendriers de Charles d'ANGOULEME, André DERAIN TRES BEL EXEMPLAIRE
