689 résultats
193787781Paris: Gallimard 1937. Fine. ""Convulsive beauty will be veiled-erotic fixed-explosive magic-circumstantial or it will not be"" Gallimard Paris 1937 14.50 x 19.50 cm Relié First edition one of 9 numbered copies on japon only deluxe issue aside from 35 copies on pur fil and a few on coloured paper. Full black morocco binding flat spine authors name palladium-stamped title stamped lengthwise in palladium and blind grey long-grain shagreen inlays to boards with author and title stamped lengthwise in palladium and in blind turn-ins framed in morocco light plum suede pastedowns and flyleaves three palladium decorated deckled edges outstanding custom binding by Thomas Boichot. Illustrated with 20 photographs including 7 photographs by Man Ray 4 by Brassaï one each by Dora Maar Henri Cartier-Bresson and Rogi André as well as artworks by Max Ernst and the statue of a female character by Giacometti in which the writer saw the very emanation of the desire to love and to be loved in search of its real human object in its painful ignorance. André Breton offers a meditation on love at first sight and passion drawn from his fateful first encounter in 1934 with his future wife Jacqueline Lamba this woman was scandalously beautiful. Recalling the beginnings of their romantic relationship he reflects on chance and embarks on a rereading of their love story detecting all sorts of phantasmagoric signs analysing his experiences and feelings. He concludes with an open letter to their daughter Aube born in December 1935 which ends with these words: I want you to be madly loved. A masterpiece of Surrealist literature both an extension and opposite of Nadja which was published nine years earlier also considered an objectbook in the classic surrealist style interleaved with photographs by Cartier-Bresson Brassaï and Man Ray . It proves its own startling kind of existence in the real world being not just a book not just the record of an extraordinary love that between André Breton and the artist with whom he shared his life but an object inserted madly and really now in our world Mary Ann Caws Translators note Mad Love University of Nebraska Press 1987. Gallimard hardcover
193787781Gallimard | Paris 1937 | 14.50 x 19.50 cm | Relié
13232Used; Like New/Used; Like New. An important collection of early sketchbooks and original drawings from the influential Hungarian-born French photographer sculptor writer and filmmaker.  The three sketchbooks one dated 1915 and one with drawings dated 1916 contain a total of 104 pages of pencil ink charcoal and watercolor drawings including portraits animal and figure studies architectural drawings and geometrical shapes. Some works are captioned in Hungarian. An interesting and important record of the artist's very early work accomplished as a young man during World War I in Transylvania.<br style="">The first sketchbook of lined paper is inscribed with Brassaï's name Halász G. Y. and dated Brassó Brassaï's hometown in Transylvania 1915. 44 pp. drawings in total. Heavy wear and fraying to the boards; slight water stains; internally in very good condition. 6.5 x 8 inches 16.5 x 20.5 cm. Contents: 1 full-page ink drawing of a crowd of people dated Oct. 30; 4 pages of pencil studies of men in uniform seated and standing dated Nov. 3-5; ink drawing of a group of standing women dated Nov. 5; ink drawing and colored pencil drawing of standing figures dated Nov. 5; 2 pages of pencil drawings of standing figures dated Nov. 5; 5 pages of pencil and colored pencil drawings of a young boy dated Nov. 6-8; 1 page of pencil drawings of people with umbrellas dated Nov. 10; 2 pages of rough pencil sketches of a face dog and a female figure dated Nov. 10; 1 page drawings of a woman heavily shaded in pencil dated Nov 10; 2 pages rough pencil sketches of people backs and studies of arms dated Nov. 10; 2 pages pencil drawings of a young boy standing dated Nov 10; 1 page rough sketches of men undated; 2 pages rough pencil sketches of a dog dated Nov. 11; 1 page pencil sketch of a seated man and rough figures dated Nov. 11; 1 page very bold pencil studies of fighting figures dated Nov. 11; 1 page pencil studies of standing figures dated Nov. 10; 1 page rough pencil sketches of a young child dated Nov. 13; 1 page rough pencil sketches of standing figures dated Nov. 13; 1 page pencil sketch of a man with glasses and mustache dated Nov. 13; 2 pages pencil sketches of a young child dated Nov. 14; 1 page pencil sketches of standing figures undated; 1 page bold pencil sketches of standing figures dated Nov. 14; 1 page rough sketches of standing figures and shapes dated Nov. 15; 1 page bold pencil sketches of a dog and a child dated Nov. 16; 1 page pencil drawings of a young child dated Nov. 17; 5 pages pencil sketches of standing figures dated Nov. 19; 1 full-page pencil drawing of an outdoor scene at a fair dated Nov. 19. <br style="">The second sketchbook of grid paper contains drawings dated 1916 many with captions in Hungarian. Scribbles mathematical calculations and geometric diagrams on the endpapers. Most of the drawings are identified as having been drawn in Szászsebes SebeÈ Transylvania or Brassó. 42 pp. drawings in total. Heavy wear and fraying to the boards; several pages removed; otherwise in fine condition internally. 6 x 9 inches 14.5 x 22.5 cm. Contents: 1 loose full-page pencil drawing of men in uniform with a van outside a gate dated Sep. 11; 1 loose page drawings of a young child dated Jan. 1; 1 loose full-page drawing of a man with beard in profile; 1 loose page drawings of men and women part of the page cut away dated Sep. 17; 1 page pencil drawings of women at a fair dated Jul. 20; 1 page pencil drawing of a man in uniform dated Jul. 20; 1 full-page pencil drawing of women at a market stall dated Jul. 20; 1 page pencil drawings of standing and seated figures with headscarves dated Jul. 20; 1 full-page pencil drawing of people at a cheese chart dated Jul. 20; 1 page small pencil sketch of a standing woman dated Jul. 20; 1 page pencil sketch of a group of standing figures dated Jul. 22; 1 page pencil sketches of chickens; 1 page pencil drawings of pigs; 1 page very small pencil drawings of figures approaching a wall dated Jul. 22; 1 page pencil drawings of cows dated Jul. 22; 1 full-page pencil drawing of a boy playing a viola dated Jul. 30;  1 page pencil drawing of a pig dated Jul. 26; 1 full-page pencil drawing of a boy in a tree dated Jul. 26; 1 full-page pencil drawing of cows dated Jul. 27; 1 full-page pencil drawing of a family with a covered wagon dated Jul. 27; 1 page rough ink and pencil drawings of a boy; 1 full-page pencil drawing of a boy looking out a window dated Jul. 27; 1 full-page pencil drawing of two men playing flute and violin dated Jul. 30; 1 full-page ink drawing of people working with a large barrel in the center dated Jul. 27; 1 full-page pencil drawing of a doll dated Jul. 31; 1 full-page pencil drawing of a fence flowers and trees dated Jul. 31; 1 page pencil drawing of two men in uniform at a fence dated Aug. 5; 1 page pencil drawing of a pig dated Aug. 1; 1 page small pencil drawings of cats and birds dated Aug. 1; 1 page pencil drawing of people at a table; 1 page pencil drawing of a train traveling around a curve dated Aug. 5; 1 full-page pencil drawing of people waiting at a train station dated Aug. 5; 1 page small colored pencil drawings of ducks chickens and rabbits dated Aug. 8; 1 page colored pencil drawing of a figure on a park bench dated Aug. 8; 1 page colored pencil drawing of 3 figures at a table with a lantern dated Aug. 9; 1 page ink drawing of men in unfirom sitting under a tree dated Aug. 10; 1 full-page pencil drawing of a male semi-nude dated Aug. 11; 1 page small pencil drawings of squirrels in a tree dated Aug. 14; 1 full-page pencil drawing of the view over a fence; 1 page bold ink sketch of a half-length figure; 1 full-page ink drawing of a landscape with cows dated Aug. 23; 1 full-page pencil sketch of figures in a house.<br style="">The third sketchbook of blank paper is labeled on the cover: "Halász Gyulas / Ãbrázoló geometria" "Descriptive geometry." Undated. 18 pp. drawings in total. Some external wear internally in fine condition except for light toning. 7.5 x 9.75 inches 19.5 x 24.5 cm. Contents: 1 page pencil and ink architectural drawings; 1 page ink drawing of a fountain with another small ink sketch; 1 page architectural ink drawing with charcoal scribbles at the foot; 1 full-page charcoal drawing of a house; 1 page ink drawings of city buildings and trees; 1 full-page ink and watercolor drawing of concrete buildings; 7 pages geometrical pencil diagrams with captions in Hungarian; 2 pages blue and black ink and pencil lettering geometrical designs and architectural details; 1 page small architectural ink drawings; 1 page pencil and charcoal drawing with studies of a male head; 1 full-page ink and pencil drawing of concrete buildings.  <br style="">Together with two large original drawings one of a woman dated Berlin April 1921 approx. 48 x 42 cm and one of an old woman approx. 60 x 45.5 cm. Each signed "Halász" upper right. <br style=""><br style="">Known primarily for his dramatic photographs of Paris at night the artist's pseudonym Brassaï is derived from the name of his native city. He trained as an artist and settled in Paris in 1924 working there as a sculptor painter and journalist and associating with such artists as Pablo Picasso Joan Miró Salvador Dalà and the writer Henry Miller. Although he disliked photography at the time he found it necessary to use it in his journalistic assignments and soon came to appreciate the medium's unique aesthetic qualities. In his remarkable oeuvre of photographs Brassai imbues even the most inanimate images with a warm sense of human life. The present early collection of drawings shows the artist honing his eye through keen observation of detail and nuance precisely the qualities which would inform the work for which he is today best remembered. <br style=""> hardcover books
51-1017Paris: Théâtre des Champs-Elysées 1949. Seven original drawings by Brassaï who did the décor for the ballet together with the typescript with the author's manuscript annotations as well as the printed publication.Louis Aragon Elsa's husband described the performance in Les Lettres françaises n° 1096 915 septembre 1965.Ça me rappelle cette soirée aux Champs Elysées à la première d'un ballet d'Elsa musique de Jean Rivier chorégraphie de Boris Kochno décors de Brassaï le réparateur de radios avec le déchaînement de la salle les sifflets à roulettes parce que l'on voyait danser les gens du monde dans une boîte de nuit et qu'est-ce que vous voulez tout de suite tout Paris se sentait visé !Dessins originaux à l'encre de Chine sur 7 feuillets environ 246 x 159 mm représentant des bouquets de muguet 3 ou des papillons 4 destinés à illustrés le texte de présentation d'Elsa Triolet "Le Réparateur de radios" publié dans le programme du Théâtre des Champs-Elysées de 1949-1950.On joint :- Triolet Elsa. Le Réparateur de radios ou d'amour et d'eau fraîche. Tapuscrit corrigé 3 p. et épreuves corrigées 3 p. signées.Le livret du Réparateur de radios d'Elsa Triolet sera mis en musique par Jean Rivier avec une chorégraphie de John Taras au Théâtre des Champs-Elysées.- Programme du Théâtre des Champs-Elysées 1950 n° 10.In-4 324 x 346 mm en feuilles cordelette. Dirigé par Boris Kochno textes de Paul Eluard et Elsa Triolet dessins de Balthus Cecil Beaton Brassaï etc. Paris: Théâtre des Champs-Elysées, 1949. unknown
193348496Neuilly-sur-Seine. 1933. Original publisher's printed white glossy wrappers reproduction of a Man Ray photograph to front cover of each issue with titles and contributors in red against a white background taking the form of a lighthouse with revolving light later cream morocco-backed black card board chemise with title in red to spine and matching slipcase. 4 vols. in 3. Small 4to. 252 x 182 mm. 4to. 284 x 194 mm. Printed text in French with reproductions of monochrome photographs throughout nos. 1 & 2 with printed 'Bulletin d'Abonnement' sheets on orange paper tipped-in issue with advertisements on various coloured stock see below. An excellent complete set of Lise Deharme's very scarce 'Le Phare de Neuilly' with the final number in the even scarcer large paper édition de tête format.The third number i.e. 'Numéro 3 - 4' is a large paper copy one of 20 nominatif examples issued on papier couché mat spécial printed for 'Monsieur et Madame Raoul Fernandez'; only the third volume was issued in this format.Although each title page of 'Le Phare de Neuilly' suggests that ten issues were to be published 'Dix numéros par an' only these four were achieved. A mixture of the literary and artistic the illustration is of monochrome photographs throughout with Lee Miller contributing to each issue; Man Ray's work also features - the covers are his work - as well as Nadar Dora Maar Brassaï Pierre Keffer Eli Lotar Lloyd Sloane and others.The literary contributors - all listed on the covers of each issue - are extremely varied and include Georges Ribemont-Dessaignes who also wrote the record reviews in the first two numbers Robert Desnos two poems in no. 1 Céline Arnauld Jacques Baron Hans Arp as a poet translated from the German by Georges Hugnet Paul Dermée Lise Hertz i.e. Lise Deharme Nathalie Barney Stendhal the unpublished 'Le lac de Genève' writen under Stendhal's pseudonym 'Henri Martineau' James Joyce see below Thérèse Aubray Jacques Lacan the poem 'Hiatus Irrationalis' Marcel Jouhandeau Ilarie Voronca the poem 'Foules' translated from the Romanian by M. de Boully D. H. Lawrence a translation of 'The Man Who Died' Claire Goll Eugène Jolas 'Gyroscope' Raymond Queneau 'Fragments d'un Roman' and many others.Of particular note in terms of content not to mention innovation are the following: - Alejo Carpentier's 'Images et Prières Nègres' illustrated with a series of photographs - the negatives were burnt in the presence of the Cuban sorceror 'Taita José' - of ritualistic objects shrines and saints; - Le Phare de Neuilly's presumably Deharme herself writing under the eponymous psudonym 'Manifeste du Désarmement Psychique'; - James Joyce's poem 'Ecce Puer' written on the birth of his grandson Stephen in 1932 translated into French by Yvan Goll and printed on the right of a sheet of transparent crystal paper; beneath on a sheet of glossy paper is a photographic reproduction of Joyce's manuscript for the poem and at left is a portrait of both Joyce and his grandson by Robert H. Davis; - Lloyd Sloane's extraordinary 'Monsieur Sépulcre Agent d'Assurances Présente . ' a Surrealist photographic collage novella; - no. 1 with the advertisements at the front of the issue printed in black on monochrome sheets of burgundy blue and pink paper that on pink with text reproducing Deharme's manuscript those at rear on cream newsprint paper advertising Jose Corti''s publishing house 'Corti / 6 Rue de Clichy' and announcing Deharme's own 'Cahier de Curieuse Personne / Poèmes / par / Lise Hirtz' to be published by Corti as appearing 'dans trois mois' this advertisement also reproducing Deharme's manuscript and Roger Vitrac's 'Le Coup de Trafalgar'.Lise Deharme the editor of 'Le Phare de Neuilly' published in the Paris suburb of Neuilly was a salonnière a prolific poetess and a novelist. A muse and patron to the Surrealists - she encountered them as a group in the 1920s - her first published work was 'Images dans le Dos de Cocher' of 1922 although her collaboration with Miró 'Il était une petite pie' of 1928 is cited more usually as her first publication both were issued under her maiden name Ilse Hirtz. Deharme was immortalised by Breton in Nadja as 'la dame au gant' and she can be regarded in many ways as being 'Le Phare de Neuilly' herself.'Page de couverture identique pour les trois fascicules : photographie de Man Ray contient de nombreuses reproductions photographiques de Man Ray Lee Miller Nadar Brassaï Pierre Keffer Dora Maar'. Destribats. Le Fonds Paul Destribats 339; not in Ades. unknown
1966112218Cannes 1966. Unpublished and heavily corrected manuscript of Brassai's account of his visit to Picasso A superb unpublished and heavily corrected manuscript in French in which Brassaï recounts his visit to Picasso a long-standing friend at his home near Cannes. Brassaï who photographed much of Picasso's work in the 1940s had published Conversations with Picasso in 1964 in which he created an intimate portrait of Picasso covering their friendship and artistic collaboration and recording each of their meetings with minute detail. Picasso said of the volume "Read this book if you want to understand me". This account is written in a similar style and during the course of the afternoon Picasso speaks about his nostalgia for his old studios his health his enthusiasm for the recently invented felt-tip pen his opinion of his own writings his relationship with his wife Jacqueline and his views on feminism. Though unmarked as such it is from the collection of Brassaï's close friend and colleague photographer Stefan Lorant who founded Picture Post the pioneering pictorial magazine. Quarto 285 x 233. 20 typed sheets in French rectos only legibly hand-corrected throughout by Brassai in black ink. Housed in a black cloth album with each sheet in a separate clear plastic file. In excellent condition the final page a little creased and with minor loss to right-hand side affecting one letter. Overall fresh and clean. hardcover
19351952Paris: Paris-Publications 1935. FIRST EDITION THE PRESUMED FIRST ISSUE COMPLETE WITH THE EIGHT SUPPRESSED PLATES AND ORIGINAL SPIRAL BINDING. Original spiral binding. Very Good. FIRST EDITION THE PRESUMED FIRST ISSUE COMPLETE WITH THE EIGHT SUPPRESSED PLATES AND ORIGINAL SPIRAL BINDING. "Brassaï's early photographs concentrated on the nighttime world of Montparnasse a district of Paris then noted for its artists streetwalkers and petty criminals. His pictures were published in a successful book Paris de nuit 1933 which caused a stir because of its sometimes scandalous subject matter. His next book Voluptés de Paris made him internationally famous" Britannica. "Paris by Night was no sooner off the press than Brassaï sold the remaining photographs to the popular magazine Voilà and began another phase of his exploration of the city. In December 1933 he wrote his parents that he was taking the final photographs for his 'Paris intime' Pierre Mac Orlan had agreed to write the preface and publication was scheduled for March. "By October 1935 it was clear that the book had stalled at the publishers. Although Brassaï had received an advance the publisher claimed he was financially unable to bring the book out. When the book finally did emerge from the printer it was entitled Voluptés de Paris and there was no introduction by Mac Orlan. The unsigned preface mimicked a carnival barker's spiel touting the city to the potential reader like a lewd sideshow attraction: 'Paris the paradise of desire the capital of Adventure. Paris where you can find your every fantasy in reality.'. Available by mail order the book would be sent in a plain wrapper." Brassaï was not pleased with the production and distribution of the book and soon disowned it. "However Voluptés de Paris did not entirely escape critical notice. Peter Pollack. judged it among Brassaï's best work 'an invaluable collection of Brassaï's essential pictures'." Marja Warehime Brassai: Images of Culture and the Surrealist Observer. On the two issues: Anne Wilkes Tucker notes in her detailed book Brassaï: The Eye of Paris: "The book is very rare and for unknown reasons two versions exist. One has thirty-eight halftones and the other has forty-six. I have yet to see a copy of the larger edition with the binding intact so perhaps plates were removed to prevent the rings from breaking". This is the only copy we have seen complete with the forty-six photos and original spiral rings. Paris: Paris-Publications 1935. Quarto original orange wrappers original spiral binding; custom box. One leaf neatly detached; neat stars drawn on two leaves not affecting images. A spectacular copy. RARE. Paris-Publications unknown books
1932162876Paris: Édition Arts et Métiers Graphiques 1933 1932. A superb copy inscribed by author and photographer First edition of the photographer's first publication double presentation copy inscribed by Morand on the first page of text "à Pierre Cot Voici un joli décor pour La Patriouille etc. Chut! chut! chut! tres fideliement P. Morand Paris fev. 32" and further inscribed by Brassaï across the following two pages "Pour Christian-Vincent Matorasso ce Paris de Nuit perdu et retrouvé avec toute ma sympathie Brassai Ete Village le 7 mai 1965". The first recipient Pierre Cot 1895-1977 was a politician central to the establishment of the French Air Force and later of Air France. Morand's inscription alludes to La Patriouille a display wing of the air force the French equivalent of the British Red Arrows. Pasted below Morand's inscription is a small photograph of Brassaï in later life which probably relates to the photographer's subsequent inscription. This is a superb copy of the work in which Brassaï showcases his mastery "at drawing luminosity from the darkness. The swaths of wet paving stones featured on the covers and endpapers of Paris de Nuit gleam like pale beacons in the streetlight. Inside Brassaï explores the city beginning with its broad vistas and grand public spaces and gradually moving into the demimonde he knew so intimately" Roth p. 76. It remains one of the most influential photobooks; signed copies are rare and copies inscribed by both author and photographer rarer still. Quarto. Illustrated with 62 full-page gravure plates and 2 double-page plates as endpapers. Spiral bound monochrome photographic wrappers front cover lettered in red. Housed in a custom black quarter morocco solander box by the Chelsea Bindery. A few punch holes slightly worn covers lightly creased and rubbed at extremities a few pages faintly soiled. A very good copy of a notoriously fragile book. Parr & Badger I p. 134; Roth p. 76. unknown
19282129Paris, Éditions de la Nouvelle Revue Française, 1928. Un vol. in-4° (210 x 162 mm). Reliure décorée de Georges Leroux. Plein maroquin mosaïqué, doublures et gardes de maroquin noir, tête et tranches argentées à l'œser, couvertures et dos conservés, chemise et étui. ÉDITION ORIGINALE du plus célèbre écrit d'André Breton. L’UN DES 109 PREMIERS EXEMPLAIRES SUR PAPIER LAFUMA-NAVARRE AU FILIGRANE NRF, RÉIMPOSÉS DANS LE FORMAT IN-4 TELLIÈRE. Celui-ci nominatif, imprimé pour M Ozanne, secrétaire général de la Compagnie P.L.M. - Note bibliographique : Ce roman fut inspiré à André Breton par sa rencontre, au hasard d'une de ses fréquentes promenades parisiennes, avec une jeune femme à l'aspect enchanteur et mystique. Entraperçue le lundi 4 octobre 1926 près d'Opéra, Nadja, de son vrai nom Léona Camille Ghislaine Delcourt (1902-1941), fut, pendant quelques semaines, l'objet de sa curiosité passionnée. Le comportement erratique de la jeune femme mit bientôt fin à leurs rencontres, mais l'idéal qu'elle incarna brièvement, ce rejet des conventions de l'existence et sa réceptivité à l'extraordinaire et à l'intuition, ne cesseront désormais d'obséder Breton. Les deux tiers du livre furent écrits huit mois plus tard, en août 1927, au manoir d'Ango, à Varengeville-sur-Mer. La première partie, qui sert de préambule, retrace les épisodes les plus marquants de la vie de l'auteur, ses rencontres et les curiosités qu'il observe et consigne. La deuxième, centrale, est le « récit minutieux des dix jours passés » avec Nadja et de « la fin de leurs relations ». La troisième enfin, rédigée dans les derniers jours de 1927, constitue la partie théorique du texte ; elle fut perçue comme le premier manifeste du surréalisme. L’ouvrage s’achève sur cette formule devenue célèbre : « La beauté sera convulsive ou ne sera pas. » Breton y prône une conception de la beauté qui inspirera tous ses compagnons de route, qu’ils soient peintres ou poètes. AVEC 44 PLANCHES DE PHOTOGRAPHIES : L'usage révolutionnaire que fit l'auteur de ces clichés contribua pour beaucoup au rayonnement de Nadja. Pour la première fois dans l'histoire littéraire, un auteur fait l'économie de la description narrative, en substituant au texte lui-même une reproduction des lieux, personnes, lettres, documents, dessins ou tableaux cités. Les vues de Paris furent confiées à Jacques Boiffard, capable « d'accompagner la prose sans ornement de Breton de paysages étrangement déserts », les portraits d'amis et les rencontres sont de Man Ray, photographe officiel des dadaïstes, et la photo du gant de bronze (p. 67) est due à Lise Deharme. Quant au portrait de Nadja, que Breton érige en symbole, il est significativement absent du corpus.
1933vC1123<p>SIGNED by Paul Morand atop his 8-page preface. Paris: Edition Arts et Métiers Graphiques 1933. First Edition. Spiral bound quarto sixty-four gravure plates. The highest celebrated most iconic of the great Paris photobooks printed in a luscious gravure so tactile "that after handling the book one expects to find sooty deposits all over one's fingers. One should think of it as amongst the best produced and influential photobooks ever" The Photobook Vol. I. Roth 101. Whereas most night photography of the period celebrates electric light speed and metropolitan life Brassai's portfolio expresses a different urban narrative. The Paris he shows his "little boxes of night" is tawdry intimate dark and full of mystery as though nighttime were its natural hue. As a young man prefacer Paul Morand bathed in Parisian artistic circles and the high public service. Appointed at the age of 24 attached to the French Embassy in London he began a career at the Quai which took him all over Europe. He entered literature in 1921 with his first prose work Tendres Stocks a collection of short stories prefaced by Marcel Proust. During the 30s he published numerous books travelogues novels short stories; he also practiced journalism notably for Le Figaro. A lovely collectible copy signed by Paul Morand. Book #vC1123. $4850. We specialize in Rare Ayn Rand history and science.</p> Edition "Arts et Metiers Graphiques"
1954165639Paris: Robert Delpire 1954. First Edition. Hardcover. First Edition. INSCRIBED by Brassaï to legendary actress Gloria Swanson in the year of publication at the home of fashion journalist and "Harper's Bazaar" editor Marie-Louise Bousquet: "Pour Gloria Swanson / avec tout mon admiration / Brassai / Paris le 17 Juin 1954 / chez Marie-Louise Bousquet." <br /> <br /> Bousquet and her husband the playwright Jacques Bousquet hosted regular Thursday night gatherings at their apartment in Paris 3 Place du Palais-Bourbon inviting the brightest creative luminaries of the period.<br /> <br /> Near Fine in in a Very Good plus dust jacket with some brief chipping at and around the crown. Robert Delpire unknown
1933160826007Paris: Arts et Metiers Graphiques 1933. First Edition. Spiral-bound. Very Good. Spiral bound stiff wraps. Signed and inscribed by Paul Morand. Very Good with light wear and light surface crackling to wraps. A coveted and rare copy of Brassai's first photobook. Signed by Paul Morand and quite rare as such. Arts et Metiers Graphiques unknown books
19332311Paris: Arts et Métiers Graphiques 1933. First Edition. Near fine. Spiral-bound Quarto 9 7/8 x 7 1/2 inches 248 x 191 mm 12 pp 62 photogravure plates after photographs by Brassaï each numbered in lower outer corner. Spiral bound stiff card covers without jacket as issued; housed in a custom clamshell case lined in red felt covered in red cloth with morocco spine gilt title. Two-notch chip at bottom of spiral extending into first leaf and one notch at top of spiral; pages lightly toned at the edges but photogravures in excellent condition. 8 pages of text in French by Paul Morand plus a 4 page index with detailed captions for each of the photographs. As beautifully stated in the first line of Paul Morand's introduction to this exceptional collection of photographs: Paris at night is not the negative of the day; the surfaces not not stop being white to become black: in reality they are not even the same images." The 62 photographs by Hungarian-born photographer Brassaï Gyula Halász capture nocturnal scenes throughout Paris - from glowing wet pavement and empty streets to bars cafés and the denizens of Paris at night. This was Brassaï's first published photo book and the work that established his reputation as a master of night photography showcasing his ability to extract light and atmosphere from darkness. A collector's treasure scarce in good condition this is one of the most influential photo books ever produced and is admired not just for its content but for the its productions values: the deep and velvety gravure printing and the evocative layout make it an object of intense tactile and visual appeal. The photogravures are in exceptional condition-richly inked with deep velvety blacks luminous highlights and a striking tonal range that preserves the full atmospheric subtlety of Brassaï's nocturnal vision. The plates retain remarkable clarity and contrast with a vividness and depth seldom found testifying to both the high production standards of Arts et Métiers Graphiques and the care with which this copy has been preserved. Arts et Métiers Graphiques unknown
1932189332Paris: Édition Arts et Métiers Graphiques 1933 1932. The city of light by night First edition of the photographer's first publication an exploration of the nocturnal life of Paris. Brassaï showcases his mastery "at drawing luminosity from the darkness. The swaths of wet paving stones featured on the covers and endpapers of Paris de Nuit gleam like pale beacons in the streetlight. Inside Brassaï explores the city beginning with its broad vistas and grand public spaces and gradually moving into the demimonde he knew so intimately" Roth p. 76. Quarto. Illustrated with 62 full-page gravure plates 2 double-page. Original spiral bound photographic wrappers front cover lettered in red. Wrappers creased and rubbed a few spots of wear short closed tear to head of front wrapper a few marks to rear wrapper: a very good copy. Parr & Badger I p. 134; Roth p. 76. unknown
This is a near fine copy of the rarest of Brassai's books, which has been bound into a hardcover binding from the period, in handsome red and black marbled paper-covered boards, and a linen cloth spine with red leather label, gilt title. The original binding of this book was a spiral plastic ring type. The spiral binding was taken off and the book with its original red-orange covers with the title printed in large white letters, was bound in whole. Covers are bright and clean, in very good condition, (small closed tear to bottom corner of back cover), inside completely clean. There is no date on the colophon page (inside back cover) and there apparently were two editions. The first edition was published in 1930, but Brassai was reportedly unhappy with the selection of images and because he was not credited. In our copy he is credited as the photographer and so we assume this is the second edition from ca.1934. It is unpaginated. There are 40 pages, with 38 black and white photographs of ladies of the night, strippers, models, night clubs and balls like the Bal Tabarin, shots of tough streetwalkers in Les Halles, many shots of men and women in costume, sometimes drag, also a lesbian couple in a club "strictement Feminine", shots of lovers in parks, on streets, playful shots of men looking into a lingerie shop window with elaborately garbed mannequins at night, 1 shot of Kiki in a Montparnasse night club, an amazing shot in " La Cage a Femmes d'un Grand Music-Hall Parisien" which shows a cage or pit, viewed from above with women on stools, like lions, in various states of undress and performing "acrobatic" feats. Finally tipped in at the very end on the collophon page a half-page size shot in color of a nude woman in profile, we assume not by Brassai. Large 4to, 11" high X 8" wide. The original book was not cut down when re-bound, it is in its' intended size, and because of the re-binding, it has been kept in near fine condition. A beautiful copy of a true rarity. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
194969445Paris: Les éditions du point du jour 1949. Fine. Les éditions du point du jour Paris 1949 12.50 x 16.50 cm broché First edition one of 126 numbered copies on Alfa paper with the original etching by Brassaï which he signed ours one of the 26 lettered copies reserved for the friends of the author deluxe copies ""tirage de tête"". Foreword by Henry Miller. Beautiful copy. Rare autograph dated and signed by Brassaï to Janine and Raymond Queneau: "". these alms sic made by Marie . very little Claudelian. With Brassaï's friendship."" Les éditions du point du jour unknown
1933138421Paris: Arts et M'tiers Graphiques 1933. First Edition. First Edition. 60 full-page black and white plates. Brassai's first and most notable photobook. <br/><br/>A nocturnal exploration of Parisian culture and one of the most celebrated and influential collections of urban photography ever published. Compiled in a somewhat eery sequence of encounters set around the darkest corners of 1930s Paris. Brassai does not shy away from capturing the less-than-savory aspects of inner city life often featuring sex workers seedy back alleys and the murky nighttime waters of the Seine. <br/><br/>Very Good plus in bright wrappers softcover. Spiral bound. Moderate creasing and rubbing overall. <br/><br/>Roth 101 p. 76-77. Parr and Badger Vol. 1 p. 134. Arts et M'tiers Graphiques unknown books
19333087Wraps spiral bound. Intro. by Paul Morand. Brassai's first book. He used Kertesz' camera. Illus. cover. Important 20th century photo book! Metiers Graphiques paperback
002510Paris: Paris-Publications This is a near fine copy of the rarest of Brassai's books which has been bound into a hardcover binding from the period in handsome red and black marbled paper-covered boards and a linen cloth spine with red leather label gilt title. The original binding of this book was a spiral plastic ring type. The spiral binding was taken off and the book with its original red-orange covers with the title printed in large white letters was bound in whole. Covers are bright and clean in very good condition small closed tear to bottom corner of back cover inside completely clean. There is no date on the colophon page inside back cover and there apparently were two editions. The first edition was published in 1930 but Brassai was reportedly unhappy with the selection of images and because he was not credited. In our copy he is credited as the photographer and so we assume this is the second edition from ca.1934. It is unpaginated. There are 40 pages with 38 black and white photographs of ladies of the night strippers models night clubs and balls like the Bal Tabarin shots of tough streetwalkers in Les Halles many shots of men and women in costume sometimes drag also a lesbian couple in a club "strictement Feminine" shots of lovers in parks on streets playful shots of men looking into a lingerie shop window with elaborately garbed mannequins at night 1 shot of Kiki in a Montparnasse night club an amazing shot in " La Cage a Femmes d'un Grand Music-Hall Parisien" which shows a cage or pit viewed from above with women on stools like lions in various states of undress and performing "acrobatic" feats. Finally tipped in at the very end on the collophon page a half-page size shot in color of a nude woman in profile we assume not by Brassai. Large 4to 11" high X 8" wide. The original book was not cut down when re-bound it is in its' intended size and because of the re-binding it has been kept in near fine condition. A beautiful copy of a true rarity. This book will be securely wrapped and packed in a sturdy box and shipped with tracking. Hard Cover. Near Fine. Paris-Publications Hardcover
193426971Paris: Paris-Publications N.d. c. 1934. Lacking spirals most copies with intact spiral bindings are not original; a very good copy creased at the top edge with soiling to the distinctive orange wrappers. Presumed second issue of Brassai's first book disavowed due to contractual conflicts. Thin quarto spiral-bound. With 38 photographs of Parisian nightlife that while chaste now were deemed to racy for inclusion in "Paris de Nuit". SIGNED by Brassai and inscribed to publisher Nicholas Callaway: "Pour Nicholas / Callaway / un livre / Ã hion insu / bien amicalement / le 3 mai 1981. Brassai." Very uncommon signed. Paris: Paris-Publications unknown books
193324590Paris: Edition Arts et Métiers Graphiques 1933. Former owner's innocuous book plate signature that reads "Brassai" but likely not in the photographer's hand light edge creases to the bottom corners gently handled with minor wear; a solid very good copy lacking serious defects in photo-illustrated spiral-bound wrappers. First Edition. Spiral bound quarto sixty-four gravure plates. The best-known and most iconic of the great Paris photobooks printed in a deep gravure so tactile it seems almost as if charcoal will rub off on the hands of the viewer. The cobblestone covers and endpapers are particularly evocative. Parr / Badger v1 134; Roth 76-77. Paris: Edition Arts et Métiers Graphiques unknown books
194969445Les éditions du point du jour | Paris 1949 | 12.50 x 16.50 cm | broché
1933321328Paris: Édition Arts et Métiers Graphiques 1933. First edition first printing. 62 full-page gravure plates including photographic covers. 4to. Spiral bound stiff wraps. Some light creasing but a very attractive copy of an often damaged book. Housed in custom black cloth clamshell box. First edition first printing. 62 full-page gravure plates including photographic covers. 4to. Roth 101 p. 76-77. Parr and Badger Vol. 1 p. 134 Édition Arts et Métiers Graphiques unknown books
1933204269Paris: Arts et Métiers Graphiques 1933. First edition. Softcover. First printing. Text by Paul Morand in French. A collection of 62 full bleed photogravures that represent the height of printing and imagery of France at night. A likely unique copy that includes two examples of the front cover. A close to near fine copy in spiral binding with some of the usual minor rubbing and edge wear to the front and rear covers but with the second front cover much brighter and largely free of wear. Internally a clean copy. A very nice copy of one of the true high spots of 20th century photography books and on virtually every best of lists. Parr & Badger v1 134 Roth 76. Arts et Métiers Graphiques unknown
22690Paris, Éidition "Arts et métiers graphiques", [1933]. In-4, 62 pp., broché à la spirale en métal, couverture illustrée (frottements).
