883 résultats
195674986Galerie Louis Carré | Paris 1956 | 17 x 26.50 cm | broché
193016427Paris, Au Sans Pareil, collection les Têtes Brûlées n°1, 1930. In-12 de 364-[4] pages, plein maroquin rouge, plat supérieur décoré d'une bande de box noir titre en rouge métallisé, dos lisse titré en noir et en long, couvertures et dos conservés, tranches dorées, gardes de box rouge et noir, étui bordé de maroquin rouge.
193821965Châtenay Malabry, Les Exemplaires, 1938. In-4 oblong (295 x 230), plein maroquin caramel, dos lisse, titre doré en vertical, plats ornés au centre de papier richement décoré (peinture et or); couvertures et dos conservés, tête dorée, étui bordé de même maroquin. Reliure signée J.-F. Barbance.
19171674331917. CENDRARS Blaise. Profond aujourd'hui Prose par Monsieur Blaise Cendrars et 5 Dessins de Monsieur A. Zarraga. 20 pp. Illustrated with 5 illustrations by Angel Zarraga. 12mo. bound in original wrappers preserved in an new light brown cloth folding box. Paris: La Belle Édition 1917. A fine copy of this curious book with futuristic illustrations by the little-known Mexican artist Angel Zarraga. The book is elegantly printed as were almost all the books published by La Belle Edition and the 5 illustrations have a wonderful surreal quality which makes them all the more remarkable for their date. One of an edition of 305 copies of 331 printed including 26 lettered copies. hardcover books
1919344891919. CENDRARS Blaise. Dix-Neuf Poèmes Élastiques. 30 ff. Illustrated with a portrait of the author by Amedeo Modigliani. 16mo. 195 x 125 mm bound by S. Jacques in three-quarter crushed burgundy morocco over matching paper boards author and title gilt on spine marbled endpapers t.e.g. with original printed wrappers bound in. Paris: Au Sans Pareil 1919. Fourth in the Littérature series printed by Firmin-Didot et Cie. this is number 1050 of 1050 copies numbered 51 to 1100 on velin d'Alfa inscribed by Cendrars to Francois Laya on the flyleaf "a Francois Laya/ en lui reclament/ toujours et encore/ ce manuscrit inpubliable/ de poemes./ Blaise Cendrars." This is one of the only examples of Modigliani's work in a book featuring his portrait of the author after the title-page. In excellent condition with the original wrappers bound in. Jentsch I Libri d'Artista Italiani del Novocento 392. hardcover books
195675671Sous étui cartonné. Reliure demi-chagrin bleu nuit à coins. Dos à nerfs avec date dorée en queue. Tête dorée. Couverture et dos conservés. Non rogné. Reliure signée G. Dubois d'Enghien.
195674986Paris: Galerie Louis Carré 1956. Fine. Galerie Louis Carré Paris 1956 17 x 26.50 cm broché First edition printed with 750 numbered copies on Arches Velin and planned for the exhibition of Léger's works organised at the Louis Carré gallery from 19 November to 31 December 1954 for which the catalogue has been published only two years after the retrospective. Work illustrated with original lithographs by Fernand Léger: 6 unpaged colour plates two of which are double pages 5 black and white unpaged plates and 10 within the text. A beautiful copy despite slight rubbing to the caps. Galerie Louis Carré unknown
1919007635Paris: Éditions de la Sirene. Printed at l'Imprimerie Frazier-Soye. Coloring done at Ateliers de Richard 1919. First Edition. Wraps. Very Good Plus. A Cubist tour-de-force and an exemplary creation of the close collaboration between poet Cendrars and the artist. No. 49 of 1225 copies this copy on Papier Registre Velin Lafuma. 4to. 31.5 by 25 cm. Unpaginated 29 leaves with content. At least four single page color plates and two double paged color plates by Leger and arguably a third one with some text on one of the pages -- the first page of text. Leger artwork and designs though appear on many other pages and this includes his original and striking typography which is also manifest in the illustrations which have a collage-like arrangement. Light wear. Éditions de la Sirene. Printed at l'Imprimerie Frazier-Soye. Coloring done at Ateliers de Richard unknown
192648312Paris.: Au Sans Pareil. 1926. Original publisher's dark turquoise printed wrappers with titles to front cover and spine in black spine with some fading. 8vo. 194 x 144 mm. Half-title with 'Du Même Auteur' verso leaf with Hecht's original engraving as frontispiece verso printed title with copyright verso leaf with Cendrars' dedications to Jacques Doucet and to Conrad Moricand and Cendrars' prose illustrated with four further original engravings by Hecht leaf with 'table des Matières' leaf with 'Note Bibliographique' and final leaf with justification; the additional double suite of Hecht's engravings is included after the justification. A scarce example on Japon Impérial of Blaise Cendrars' 'L'Eubage aux Antipodes de l'Unité' with Joseph Hecht's plates on three different paper stocks.From the edition limited to 1100 copies with this one of 25 examples on Japon Impérial with Hecht's engravings on three paper stocks: Japon Impérial Hollande and vélin Montgolfier; the first 20 copies all nominatif and 'reservés aus Amis du Sans Pareil' were issued on vélin de cuve.Born in Poland Joseph Hecht 1891 - 1951 was a painter and print-maker and a founder member - with Stanley William Hayter and others to whom he had taught the technique of burin engraving - of Atelier 17. Au Sans Pareil. unknown
191915043Paris, Au Sans Pareil, 1919. In-8 réimposé broché, de [64] pages, couverture blanche illustrée. Sous chemise, étui.
191915991Paris, Editions de la Sirène, 1919. In-4 relié de [60] pages, demi-maroquin violet, dos carré portant uniquement Cendrars-Léger. Couvertures illustrées conservées (brunies)In-4 of [60] pages, purple half morocco, square back titled only Cendrars-Léger. Illustrated covers preserved (browned).
195641470Sous couverture imprimée orange à rabats.Illustré de 6 compositions hors texte en couleurs par Fernand LEGER et de nombreux dessins en noirs.
19241689821924. DO AMARAL Tarsila. Feuilles de route I. Le Formose. By Blaise Cendrars. 80 pp. With 8 illustrations by Tarsila do Amaral cover illustration repeated on title-page. 8vo. 165 x 120 mm bound in contemporary cloth over marbled boards original wrappers bound in. Uncut partially unopened. Preserved in a new blue cloth folding box. Paris: Au Sans Pareil 1924. A fine copy of the de-luxe version of this little-known illustrated book by the Brazilian artist Tarsila do Amaral. In 1923 Tarsila returned to Brazil after a year in Paris. She was accompanied by Cendrars and with him rediscovered her country. The book combines the work they did together in the form of his poems and her drawings. The importance of the book is confirmed by the extensive coverage it was given in the 2017 retrospective devoted to her art by the Museum of Modern Art. One of 20 on Velin from a total edition of 800. Tarsila do Amaral. Inventing Modern Art in Brazil 47. hardcover books
191615428Paris, Dan. Niestlé, 1916. In-folio broché de [40] pages, couverture de papier fort beige, imprimée en brun.
1919B-2022-1202<p>Paris Éditions de la Sirène 1919. This very rare innovative book is a collaborative work between artist Ferand Leger and writer Blaise Cendrars. It was originally intended to be a screenplay but due to financial constraints and technical limitations it was published as a novel instead. The book combines Leger's bold and dynamic visual style with Cendrars' poetic and evocative prose creating a rich and immersive reading experience. Léger illustrated Cendrars' novel with 20 pochoirs in color plus two pochoirs for the cover in black. The narrative explores themes of destruction rebirth and the resilience of the human spirit in the face of catastrophe. It is considered an important work in the history of avant-garde cinema and literature reflecting the innovative spirit of the early 20th century. The collaboration between Leger and Cendrars brings together the visual and literary arts in a unique and visionary way offering a glimpse into the creative minds of two influential figures in modernist culture. This very fragile book is in good condition complete in the original tan cover. It is limited edition one of 1200 numbered copies in Velin LaFuma</p> La Sirène paperback
191887198Editions de la Sirène | Paris 1918 | 19 x 23.50 cm | broché
1926015082Paris Grasset 1926 In-12 Broché Edition originale
193046840(Paris) (Au Sans Pareil, Col 1930 In-12 mont sur onglets, buffle taupe orn sur chaque plat d'une composition de style africain, constitue de pices de box (noires sur le premier plat et blanches sur le second) estampes de motifs gomtriques, le tout bord de jeux de pointills verticaux; dos sans nerfs portant les noms de l'auteur et de l'artiste ainsi que le titre de l'ouvrage, pousss l'oeser noir et blanc; doublures bord bord de mme buffle taupe, gardes de papier granit beige fonc, non rogn, couverture imprime. Chemise, tui (Pascale Gagey, 2017).Edition originale, illustre par Alfred Latour de 5 compositions originales graves sur bois et imprimes en deux tons. Tirage unique limit 500 exemplaires numrots sur papier verg (et non pas sur papier vlin comme annonc la justification de tirage). Dlicate reliure mosaque signe de Pascale Gagey, dont le dcor est en parfaite harmonie avec l'esprit du livre.
191928302Un des 10 premiers exemplaires réimposés sur chine avec envoi Paris, Au sans pareil, coll. « Littérature », (15 août) 1919. 1 vol. (190 x 285 mm) de [32] p. et 1 f. Maroquin citron, dos lisse, titre doré sur le plat, couvertures et dos conservés (reliure postérieure). Édition originale. Un des 10 premiers exemplaires réimposés sur chine (n° 6), avec un second portrait hors-texte de Cendrars par Modigliani, reproduit en noir (comme pour les 40 réimposés sur hollande). Envoi signé : « à monsieur Desanges, fondeur en bronze, ses poèmes élastiques, fragiles, éphémères, avec ma main amie Blaise Cendrars 20 avril 1953 ».
191922979LA SIRENE 1919 1 Roman de Blaise Cendrars. Compositions en couleurs par Fernand LEGER. Paris, La Sirène, 1919, in-4, broché, couverture imprimée, ornée d'un dessin et titrée en calligraphie, sous chemise verte ornée d'un décor géométrique rouge et noir sur le premier plat.
191887198Paris: Editions de la Sirène 1918. Fine. "" C'est le crach du Panama qui fit de moi un poète !"" It was the Panama crash that made me a poet! Editions de la Sirène Paris 1918 19 x 23.50 cm broché First edition one of 500 numbered copies on Arches laid paper. Work illustrated with 25 American railroad route maps. Spine skillfully restored discreet crease marks to corners. Superb livre-objet like the Prose du Transsibérien which was composed in the same period the poem is presented folded. The second cover in bright red executed by Raoul Dufy resembles the railway timetables that one slipped into one's pocket: ""Le nom de Cendrars orne une bouée de sauvetage associant l'auctorité d'avant-garde au travail de sauvetage dans une décennie marquée par les catastrophes maritimes du Titanic au Lusitania"" The name of Cendrars adorns a life preserver associating avant-garde authority with rescue work in a decade marked by maritime disasters from the Titanic to the Lusitania Sophie Esch. Rare early autograph inscription signed and dated December 1918 on this text by Blaise Cendrars to Georges Le Cardonnel literary critic who co-wrote with Charles Vellay La Littérature contemporaine a survey conducted among French critics writers and poets. The year following the inscription he would sign a review of J'ai tué in la Minerve française. Editions de la Sirène unknown
194916797Paris: Pierre Seghers Editeur 1949. Boards. Very Good/Very Good. A wonderful Association copy: WARMLY INSCRIBED BY ROBERT DOISNEAU TO HIS AGENT CHARLES RADO owner/manager of Rappho Agency in Paris on the half-title. A solid copy to boot of the 1949 1st edition in its uncommon pictorial dustjacket. Tight and VG light soiling at the panels and along the spine in a bright VG to VG dustjacket with light chipping at several spots along the spine. Still though attractive and very presentable. Octavo 130 first-rate Doisneau heliogravures. Widely considered Doisneau's finest work cited by both Andrew Roth and Martin Parr for its brilliant look at the suburbs "La Banlieue" of Paris. <br/><br/> Pierre Seghers, Editeur hardcover books
194983298Denoël | Paris 1949 | 11.50 x 19 cm | relié
1918000150Paris: La Belle Edition 1918. Soft cover. Very Good. Fernand Leger. Square octavo 19x18 cm. - 32 pages uncut. - In original wrappers illustrated in yellow and blue in the cubist style. - In a protective clear acetate wrapper which is somewhat yellowed and frayed due to age. - Printed entirely in bright red title page also in red with a blue illustration. - With 2 full-page plates in blue and 2 text illustrations in red. - First edition of the first book illustrated by Leger and the only one in the cubist style. - No. 202 of 327 copies 300 of which are "sur papier a la forme". - Very strongly anti-war as indicated by the title itself "J'ai tue" = I killed. - Both Cendrars 1887-1961 and Leger 1881-1955 served on the Western Front during World War I. In fact Cendrars lost his right arm in 1916. - A BEAUTIFUL AND RARE PACIFIST DOCUMENT AND ART WORK. <br/> <br/> La Belle Edition paperback
19562091[Paris], Caractères, 1956. Un volume in-4 (284 x 225 mm), en feuilles sous couverture à rabats imprimée sur le front. 4 COMPOSITIONS ORIGINALES AU POCHOIR DE SONIA DELAUNAY, EN HORS-TEXTE. Tirage unique à 60 exemplaires sur pur fil du Marais, celui-ci numéroté 37, signé à l'encre par Tristan Tzara et Sonia Delaunay. Très bel exemplaire parfaitement conservé dans sa condition d'origine. De toute rareté, un grand nombre de ceux-ci ayant été, de plus, démembrés. - ENGLISH: [Paris], Editions Caracteres, 1956. A vol. 4° (284 x 225 mm), in loose sheets, cover with flaps printed on the front. 4 ORIGINAL STENCIL/POCHOIRS COMPOSITIONS BY SONIA DELAUNAY, OUT OF TEXT. A unique edition of 60 copies on pur fil Marais paper, this one numbered 37, signed in ink by Tristan Tzara and Sonia Delaunay. Very nice copy, perfectly preserved in its original condition. EXTREMELY SCARCE, a large number of these having been dismembered. Note: “Le Fruit permis marks Sonia Delaunay’s return to book illustration since La Prose du transsibérien and to the stencil technique that she used from 1913 to 1916.” - Reference: Sonia and Robert Delaunay, National Library, 1977, p. 52, no. 150. More pictures on request.