829 résultats
1946168304Paris: Éditions de Clermont 1946. First Edition. Softcover. First Edition limited to 2975 copies this being No. 1178. Text in French. <br /> <br /> Devoted to the work of Italian-French poster artist and painter Leonetto Cappiello illustrated in color and black-and-white.<br /> <br /> Very Good plus in a Very Good plus dust jacket. Jacket spine lightly toned. Éditions de Clermont unknown
198827404New York:: Paragon House 1988. First Printing of the First US Edition. A Fine tight copy in a Fine unclipped dust jacket. Diary of an Unknown was started in 1951 at about the time Cocteau begin his famous journals. This more personal document is at once intensely intimate and deeply philosophical. In these essays - which often recall the essays of Montaigne with their strictness of form theme and syntax - Cocteau reveals himself as never before. Like the Surrealists Cocteau thrived upon and solicited public attention. But behind the flamboyance and the mystique behind the public persona there was the private self. Here we glimpse the private Jean Cocteau playing with ideas and musing on all manner of subjects: nature; New York ; poetry; and beauty. Cocteau ruminates on psychoanalysis the Nuremberg trials the Trinity freedom and the death penalty as well as familiar Coctelian themes - angels invisibility friendship memory and the birth of ideas. Paragon House, unknown
191355315Paris: Maurice de Brunoff 1913. Limited edition. Hardcover. Very good to fine condition. 1/80. Small Elephant Folio. 6 49pp. text 77 leaves plates 8pp. Uncut at fore- and bottom edges. Original gilt-stamped full vellum with gilt vignette on cover gilt lettering and ruling on spine. Top edge gilt. Laid in an original pochoir-highlighted watercolor signed and dated in pencil by the artist in lower right margin protected by modern mylar. Mounted photogravure frontispiece portrait of Leon Bakst with his facsimile signature below gravure. Title page printed in red and black. Limitation page with publisher's signature. Additional publisher's signature on verso of first front free endpaper. Historiated head- and tailpieces after Bakst. Chapter titles and initials printed in red.<br /> <br /> Lev Samoylovich Rosenberg Bakst painter and stage designer realized his greatest artistic success in the Alesandrinksy and Maryinsky theaters and later from 1901 to 1921 with Diaghilev at the Ballet Russe where he designed more productions than any other artist. Theater and costume designs for more than ten ballet works appear in this splendid deluxe edition containing 77 tipped-in plates all but one after Bakst 4 of them folding and 50 in full color with pochoir highlights. <br /> <br /> The striking plates of Leon Bakst's stage sets and costumes for the Ballet Russe are accompanied by synopses of the plays by Jean Cocteau for whom they were designed. Bakst’s brilliant control of color line and decoration give his stage pictures a visual rhythm. Color and chromatic combinations were used emotionally and sensuously. The splendid costumes are richly decorated with a myriad of motifs and decorative shapes. Captions for each plate on facing plates. <br /> Text in French. Covers with minor smudging interior in near fine to fine condition. Maurice de Brunoff hardcover
191360956London: The Fine Art Society 1913. FolioIllustrated. 51 plates pp. Recent half morocco over marbled boards. Raised bands to spine with gilt decoration & leather title label. Top edge gilt. Internally clean. Notes on the ballets by Jean Cocteau. Frontis portrait. With 65 of 77 tipped-in plates 38 of 50 colour plates and 27 black & white plates. With twelve of the colour plates removed so they could be framed and sent to Nairobi in the 1970s. Paperwork accompanying the plates to be framed loosely laid in. The book was then rebound. The first major work on Bakst. . Very Good. Half Morocco. 1913. The Fine Art Society 1913 unknown
18-7587Paris: Fernand Hazan 1950. 12mo. 24 pp. Very Good. Soft Cover. Illustrated paper wraps with French folds. Some shelf wear. Starting at head and tail of spine. Slight toning of wraps. Pages and plates fine. Color plates throughout. Collection of Amedeo Modigliani's paintings and notes by Jean Cocteau. Text in French. From the Collection of the Art Historian Peter Selz. Paris: Fernand Hazan, 1950. paperback
1957000014Paris: Olympia Press 1957. Book. Very Good. Soft cover. 1st Edition. 12mo - over 6¾ - 7¾" tall. 94pp. Green sotfcover white field with black titles on spine black titles on front panel. Slight wear along edges of spine but binding remains sturdy spine straight. Pages clean and unmarked throughout. Preface and illustrations by Jean Cocteau and despite the pretense of its anonymous authorship text by Cocteau as well. . Olympia Press Paperback
1958018487Macaulay. Unclipped DJ in archival cover. . Fine. Hardcover. 1st Edition. 1958. Macaulay hardcover
19261258baRParis France: Plon-Nourrit 1926. Book. Very good- condition. Paperback. Signed by Authors. First French edition. Octavo 8vo. vi 397 pages of text including table. Paperback binding; original blue printed paper wrappers with numerous small creases and tears and extremities and a few tiny chips at top of spine; protected in custom stiff archival mylar and further protected by a custom made gray and navy linen clam-shell box with printed spine label. Measues 20 cm in height. Illustrated with a historic photograph of Ashford as a girl and a facsimile of the first page of the original manuscript. Pages 133-221 contain the French translation of "The young visitors" which Ashford wrote at age 9; it was first published in 1919. This edition with an introduction by Cocteau and translated by Maurice Sachs who was Cocteau's secretary at the time. Sachs has inscribed and signed the book on the half-title page in the year of publication. Sachs was a black marketeer anti-semitic collaborateur went to Germany 1943 to work with Gestapo arrested and shot 1945. Contains the following works: "La messagere de la politique divine" by Humbert Clerissac; "Renoncer a toute richesse" "Jeunesse lacustre" and "Angoisses et autres" by Max Jacob; "Et le sentiment de la mort" by Charles Maurras; "Et sa pensee" by Paul Valery; "Et le soldat" by Anatole France; "Si Peguy etait la." by Henri Massis; "Le destin de la culture" by Nicholas Berdiaeff; "Scenes dans le paradis" by Justin Klotz; "Les freres caches" by Jean Aurenche; "Daisy en France" by Jean Cocteau; "Les jeunes visiteurs ou le plan de Mr. Salteeana" by Daisy Ashford; "Veillee" by Alfredo Gangotena; "Erasme et Thomas Morus contre Machiavel ou la politique et la morale" by Emile Dermenghem; "La traversee inutile" by Julien Green; "I. Mariage" and "II. Les bisons Porteciel" by Paul Sabon; "La Chine et les missions" by Leopold Levaux; "Les traces de Dieu dans la vie de Jacques Riviere" by Jules Lebreton; "Lettre a Frederic Lefevre" by Georges Bernanos. Plon-Nourrit Paperback
19271901200324Lausanne: Mermod 1927. 1st Edition 1st Printing. Hardcover. Fine. Bischoff Henry. A handsome copy of the First French language edition of Daisy Ashford's The Young Visitors. The book was a publishing sensation in its day and was first published in France in a magazine1926. This is the first book edition in French. It was limited to only 262 copies of which 30 were hors commerce i.e. not intended for sale. 20 of these hors commerce copies were printed on Auvergne a la cuve and numbered in Roman numerals from xii to xxxi. This copy is numbered xxvii. Translated from the English by M. Sachs and with a preface by Jean Cocteau. Illustrated with woodcuts by Henry Bischoff including 6 plates coloured by hand. Full leather gilt with 5 raised bands at the spine and gilt-decorated colour-dyed covers. Top edge gilt and multi-coloured paper collages to the pastedowns untrimmed. Presented in a marbled slipcase with leather trim at the fore-edges. The original green wrappers are bound-in and thus perfectly preserved. The binding is firm and straight and in Fine condition - the colour may have faded very slightly from the boards but still vibrant. Very occasional and single spots internally some off-setting from a couple of the coloured plates to the pages opposite. The slipcase is colour-faded and sunned but otherwise shows no signs of wear. A lovely copy of a rare book. <br/> <br/> Mermod hardcover
191355306London: The Fine Art Society 1913. First English edition. Hardcover. Good to fine condition. Folio. 8 51pp. text 77 1 leaves plates. Uncut. Original gilt-stamped three-quarter vellum over decorative paper-covered boards with Bakst signature stamped to cover gilt lettering on green leather label and gilt ruling on spine. Top edge gilt. Mounted photogravure frontispiece portrait of Leon Bakst with his facsimile signature below gravure. Title page printed in red and black. Historiated head- and tailpieces after Bakst. Chapter titles and initials printed in red.<br /> <br /> Lev Samoylovich Rosenberg Bakst painter and stage designer realized his greatest artistic success in the Alesandrinksy and Maryinsky theaters and later from 1901 to 1921 with Diaghilev at the Ballet Russe where he designed more productions than any other artist. Theater and costume designs for more than ten ballet works appear in this splendid edition containing 77 tipped-in plates all but one after Bakst 4 of them folding and 50 in full color with pochoir highlights. <br /> <br /> The striking plates of Leon Bakst's stage sets and costumes for the Ballet Russe are accompanied by synopses of the plays by Jean Cocteau for whom they were designed. Bakst’s brilliant control of color line and decoration give his stage pictures a visual rhythm. Color and chromatic combinations were used emotionally and sensuously. The splendid costumes are richly decorated with a myriad of motifs and decorative shapes. Captions for each plate on facing plates. <br /> Covers with minor smudging interior in near fine to fine condition.<br /> <br /> Binding with some rubbing on front over and spine. Title page with small inked initials HTK. Interior and plates in fine condition. The Fine Art Society hardcover
196228224Paris France: Galerie Gaveau. Near Fine. 1962. First Edition; First Printing. Soft Cover. 11 full page plates in color and black and white. Foreword by Maurice Serullaz. Text in French. Published on the occasion of the exhibition at the Galerie Gaveau Paris March 27 - May 15 1962. This catalog comes with a four page color illustrated invitation to the opening containing a laid in full page color plate and a facsimile of a handwritten appreciation of the artist by Jean Cocteau. ; Tight clean and crisp. A hint of tanning to covers otherwise in excellent condition. No inscriptions. No remainder mark. Not ex-library. Scarce. ; 4to . Galerie Gaveau paperback
69-4359Cambridge Massachusetts: The MIT Press 1997. Oblong 8vo. Hardcover with dust-jacket 108 pp. B&W Plates. Very Good.Provenance: Richard A. Lorenz 1952 -2001 author art conservator curator and director of the San Francisco Regional Art Conservation Center. As a trustee of The Imogen Cunningham Trust Mr. Lorenz organized and curated exhibitions of Cunningham's photographs and authored four major books on the photographer. Cambridge, Massachusetts: The MIT Press, 1997 hardcover
16-5386Milano: 1991. 4 printed pages 29.7 x 21cm. . Gualtiero Marchesi nasce a Milano nel 1930. Il suo approccio con la gastronomia avviene in giovane età quando comincia a far pratica nella cucina del ristorante dell'albergo "Mercato" di proprietà dei genitori.La sua formazione professionale inizia al Kulm di St. Moritz e alla scuola alberghiera di Lucerna in Svizzera 1948- 1950.Tornato in Italia lavora all'albergo "Mercato" dove propone una cucina d'avanguardia che attinge ai testi classici.Successivamente perfeziona le sue tecniche culinarie in alcuni dei migliori ristoranti francesi quali il "Ledoyen" a Parigi "Le Chapeau Rouge" a Digione e il ristorante dei fratelli Troisgros a Roanne e anche grazie a questa esperienza Gualtiero Marchesi si dimostra come sempre attento all'evoluzione che anima l'alta cucina.Ritorna in Italia nel 1977 e inaugura a Milano il suo ristorante di via Bonvesin de la Riva riscuotendo un immediato successo: una stella della guida Michelin due stelle nel 1978.A due anni dall'apertura i gastronomi Gault e Millau nel corso di un'intervista al Time lo annoverano tra i quindici ristoranti al mondo da loro preferiti.Le migliori guide lo propongono ai vertici della ristorazione e nel 1985 la Michelin per la prima volta in Italia attribuisce al suo ristorante le tre stellProvenance: Collection of M. Denis SCHNEIDER ancien Chef de Cuisine Copenhague Maison du DANEMARK. 142 Ave. des Champs-Élysées 75008 Paris. Milano: 1991 unknown
199267972Univ of Pennsylvania Pr. New. 1992. Hardcover. 9065380329 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Corresponds to ISBN: 9065380329. Text in Dutch French English and German with portions in French only. 220 pp. With 99 ills. 80 col. . 25 x 23 cm. Description: "Illuminates diverse explorations of ceramics by six major European artists through a chiefly pictorial survey of 80 painted vessels tiles plates and sculptural objects dating mainly from the 1950s and 60s." -- with a bonus offer--; 1.25 x 9.75 x 9 Inches . Univ of Pennsylvania Pr hardcover
1928161170London: Wishart & Company 1928. Eliot and I are working on a parallel First edition first impression one of 100 deluxe copies printed on handmade paper and specially bound including illustrations by Jean Cocteau not supplied with the trade edition this copy unnumbered. Armed with Madness was Butts's second novel "a modernist treatment of the grail myth" ODNB. The first trade edition is seldom encountered and this handsome limited edition is inevitably rare. This Butts's first novel to be published in the UK combines Modernist concerns about the spiritual wilderness of the period with the powerful symbol of redemption and healing found in the Holy Grail. "In toying with the Grail myth Armed with Madness casts modernism's relentlessly fragmented disenchanting and morally ambiguous narratives as a quest without end" Emre. The use of Arthurian grail-quest mythology to comment on the conditions of the time had been explored by other modernist authors most notably perhaps in T. S. Eliot's The Waste Land 1922 the fact of which Butts was well aware. In a journal entry from 1927 Butts half-jokingly complains that Armed with Madness "might well have been called The Wasteland sic. Eliot always anticipates my titles. Eliot and I are working on a parallel but what is interesting is that he is working on the Sanc Grail on its negative" Kroll p. 159. Butts uses this novel to suggest "readily available cures for the condition of barrenness and sterility illustrated in Eliot's poem" ibid. Butts's own interest in the Grail myth was grounded in the rich folkloric landscape where she lived - the countryside around Salterns South Dorset. This "together with the classical stories and myths her beloved father recounted and acted out with her haunted her imagination and informed her writing" ODNB. Her interest in the mystical led Butts to spend three months at Aleister Crowley's Abbey of Thelema where she contributed to Book 4 of his Magick in Theory and Practice. Butts was disappointed with Crowley's form of mysticism however which she later referred to as "a desolate path" Blondel p. 102. Despite this her "brief friendship with Crowley had a lasting effect on her fiction leading to the development of her ethics of modernist occultism" Clukey p. 79. Butts met Jean Cocteau in Paris in 1926 and immediately felt that they shared a "magical affinity" Radford p. 219. The pair quickly established a friendship based on their shared loves of literature and opium. Cocteau also illustrated her Imaginary Letters published in the same year as the present work. Butts's writing remained somewhat overlooked until the 1980s when several of her novels were republished and her work has continued to receive growing scholarly interest. She is "now recognized as one of the most important and original modernist authors of the inter-war years" Blondel p. 1. Octavo. Frontispiece and 2 plates after drawings by Jean Cocteau. Original blue buckram spine lettered in gilt top edge gilt others untrimmed blue silk bookmarker. Pencilled ownership inscription dated January 1936 of one Lady Margaret Joanne Bowyer-Smyth 1900-1976 on front free endpaper. Spine and board edges faded extremities rubbed touch of wear to foot of spine contents clean and bright; a very good copy indeed. Nicholas Blondel The Journals of Mary Butts 2002; Amy Clukey "Enchanting Modernism: Mary Butts Decadence and the Ethics of Occultism" in Modern Fictions Studies 2014; Merve Emre "Modernism's Forgotten Mystic" in The New Yorker December 2021; Jennifer Kroll "Mary Butts's 'Unrest Cure' for The Waste Land" in Twentieth Century Literature 1999. hardcover
19281403491Paris: Edward W. Titus 1928. First Edition. Hardcover. Octavo 6 49 7 pages plus 5 illustrated plates. In Very Good minus condition. In brown cloth binding with red lettering on paper labels to front board and spine. Boards are moderately soiled most heavily on spine with faint stains on boards near the joints. Rubbing along board edges fore corners lightly bumped. Label on spine is heavily sunned and scuffed. Text block shows light wear and foxing to deckled edges. Also foxed sparsely throughout most prominently on endpapers. Stain in gutter of first free endpaper. Small pencil annotation on page 7 indicates a typo in the text. SH consignment. Shelved in Room A. Bill Bird was an American publisher best known for running the Three Mountains Press a small press that published many prominent modernists in the 1920s including Ezra Pound Ernest Hemingway James Joyce William Carlos Williams and Robert McAlmon with Ezra Pound serving as editor. Over a period of two and a half years he published 9 works. Concurrently he founded Consolidated Press Service and worked there as a journalist from 1920-1933 when he joined the New York Sun as chief foreign correspondent. Forced to flee France after the Nazi invasion he wrote articles warning of war. After WWII he moved to Tangier and was the editor of the Tangier Gazette.<br /> <br> <br /> <br> <br /> This title was among Bird's private collection having been carted by him from Paris where he stayed until 1940 to Spain Tangiers and finally back to Paris and by descent to the US. 1403491. Special Collections. Edward W. Titus hardcover
1928166236Paris: Edward W. Titus 1928. A rare inscribed copy First edition limited issue number 55 of 250 numbered copies on large paper; this a presentation copy and is inscribed by the author on the front free endpaper "Peter Teigen all good wishes from Mary Butts. part of a part of my best part of Paris. September 1928". Butts met the recipient through one of her closest friends Harcourt Wesson Bull who recalled their escapades in Paris in 1928 "at a time when sheer pleasure-seeking was neither shaming nor dull". Butts took a liking to his friend Teigen whom she nicknamed "Mr. Peter Tiger". Imaginary Letters is a fictional tale of gay heartbreak in 1920s Paris comprised of eight letters written to the mother of a young Russian by one of his exasperated and possibly infatuated friends. It was the first book that Cocteau illustrated aside from his own publications. Square octavo. Copper-engraved frontispiece and 3 plates all after original drawings Jean Cocteau. Original tan cloth paper labels printed in dark red on spine and front board edges uncut. Housed in a custom paper jacket and linen-reinforced card slipcase author and title written in manuscript on rear. Spine ends gently bumped covers and labels toned a few marks to covers text block a little foxed gutter just cracked at pp. 24-5; slipcase toned: a very good copy. Harcourt Wesson Bull "Truth is the Heart's Desire" in Chrisopher Wagstaff ed. A Sacred Quest: The Life and Writings of Mary Butts 1995. hardcover
1928184934Paris: Edward W. Titus 1928. First edition limited issue number 5 of 250 copies on large paper. Imaginary Letters is a fictional tale of gay heartbreak in 1920s Paris comprised of eight letters written to the mother of a young Russian by one of his infatuated friends. It was the first book Cocteau illustrated aside from his own publications. Cocteau and Butts met at the Hotel Welcome in the French Riviera. Butts writes of her first impression "aged & suffering Latin quicksilver quality. I like him not at all afraid of him. 'Touches nothing that he does not adorn'. I think that's the phrase. Yes France's Brightest Boy." Square octavo. Copper-engraved frontispiece and 3 plates all after original drawings by Jean Cocteau. Original tan cloth paper labels printed in red on spine and front board edges uncut a few gatherings unopened. With glassine jacket. Edges and outer leaves a little foxed; a little loss to glassine jacket: a very good copy. Mary Butts The Journals 2002. hardcover
16-5389Erbusco Bs: 1991. 4 printed pages 29.7 x 21cm. . Printed menu in Italian with manuscript notes in French.Provenance: Collection of M. Denis SCHNEIDER ancien Chef de Cuisine Copenhague Maison du DANEMARK. 142 Ave. des Champs-Élysées 75008 Paris. Erbusco (Bs): 1991 unknown
37961Montrouge : Draeger 1929. Quarto 290 x 200 mm metal spiral binding silvered boards the upper board with 8 circular ""windows"" allowing glimpses of the stunning illustrated title leaf a serigraph of a cubist-stye poster for the theatre designed by Jean Carlu which is printed on black with six colours in pochoir; 24 leaves with numerous full-page b/w heliogravure photographic illustrations by Germaine Krull and four-page preface with facsimile of a handwritten text by Jean Cocteau; a virtually pristine example accompanied by the original manila mailing envelope. Rare original edition of the brochure published to coincide with the opening of the Théâtre Pigalle in October 1929. The publication's machine-age aesthetic is in complete harmony with the design concept of this legendary theatre. 'The Théâtre Pigalle was a theatre in Paris located in the rue Pigalle in the ninth arrondissement. Opened on June 20 1929 financed by Philippe de Rothschild on the estate of his father Henri de Rothschild the Rothschilds' ambition was to construct the most modern theatre in the world. The architects Charles Siclis Henri Just and Pierre Blum were sent through Europe to research the latest technical developments in theatre design. Graphic artist Jean Carlu designed two well-known posters emphasizing its machine-age image. André Antoine was hired as art director and Gabriel Astruc as manager. Antoine was replaced after two years with Gaston Baty following a disagreement with Rothschild. The 1500-seat venue opened with Sacha Guitry's piece Histories of France. The great German impresario Max Reinhardt staged a production of Die Fleidermaus here in November 1933. Through the 1930s and the war directors and performers here included Louis Jouvet the 1931 premiere of Judith written by Jean Giraudoux the brothers Émile Isola and Vincent Isola Raymond Rouleau and many others. Although the venue had been ""furnished with four elevators an immense switchboard and a vast amount of complicated theatrical machinery"" Jouvet for one found it challenging to make it work theatrically. After the failure of Claude Vermorel's Thermidor in 1948 the theatre closed its doors. The site was sold in 1958 and an automobile garage built on the site.' Wiki. hardcover
1950384132-UE8Paris : Musée national d'art moderne 1950. Softcover. Fair. Paperback numerous illustrations in colour and b/w text in French unpaged 8vo.; Spine discoloured front and rear cover discoloured along the edges and lightly spotted several small creases to front and rear cover spine lightly damaged at top end foxed on cut. Paris : Musée national d'art moderne paperback
192845975Paris.: Editions des Quatre Chemins. 1928. Original publisher's cream printed wrappers with red printed title and black printed text to upper cover and spine cloth-backed board chemise and matching box. Small 4to. 246 x 194 mm. Half-title printed title with copyright verso and Cocteau's text dated 'Décembre 1927' illustrated with 5 monochrome illustrations by de Chirico each recto only leaf with justification recto and 'Paru dans la même collection' verso and final leaf with achevé d'imprimer. A very fine example of the édition de tête with de Chirico's original etchings and corrected proofs by Jean Cocteau.From the edition limited to 3330 copies with this one of 10 from the édition de tête on Japon Impérial with de Chirico's etchings inserted loose each signed and numbered from the edition of 100 in pencil;; the book is also signed by Cocteau on the half-title and includes two leaves of printed text with manuscript corrections in ink by Cocteau.The two leaves with manuscript corrections feature text printed on pages 30 31 32 and 33. Cocteau has made manuscript excisions ellisions and additions which amount to substantial changes. In several instances the corrections differ even from the final published text which was completed in December 1927; the achevé d'imprimer gives a publication date of 'le Trente Mai Mil Neuf Cent Vingt-Huit'.Ciranna 3 / 4. Editions des Quatre Chemins. hardcover
1964D15741Zurich: Arche Studio 1964. Hardcover. Near Fine/Very Good. 95 pp. Dual text in German and French. Black and white photgraphs across Clergue's range of work including nudes. Briefly inscribed by Clergue in the year of publication. Nice copy in DJ. <br/><br/> Arche Studio hardcover
19963112343Paris: Marval. Fine in Fine dust jacket. 1996. First Edition; First Printing. Hardcover. INSCRIBED & dated in 1998 by Lucien Clergue over the entire half-title page. Fine in dust jacket. unpaginated 9" X 9" Text in French. Black & white images. ; 8vo 9" - 9" tall; Signed by Photographer . Marval. hardcover
0824057554.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
