4 387 résultats
191917887Partitions sur Paris Paname,Partitions sur la Danse Maurel 1919 approx.
195497671954 Grand Théâtre Académique de l'URSS / Théâtre Académique d'Opéra et de Ballet Moscou / Léningrad 1954 in-4broché, illustré de planches, 94p. Couverture et jaquette imprimée. :: Programme Souvenir du Théâtre national de l'Opéra, Paris. Imprimerie et zincographie de Ivan Federov à Léningrad. :: Edition illustrée de vues des salles, de décors et de représentations, ainsi que de nombreux portraits des maitres du ballet soviétique : Galina Oulanova, Constantin Serguéïev, Alla Chéleste, Vladimir Préobrajenski, etc. :: Broché. Bon état,
New york, Doubleday, 1954. In-8 carré relié toile verte éditeur, 360 pp. avec des illustrations en hors texte. Sans la jaquette. Bon état.
- Les presses françaises, Paris 1925, 12x19cm, broché. - First edition. Illustrated. [FRENCH VERSION FOLLOWS] Edition originale. Ouvrage orné d'illustrations.
1619170555c.1916-1920s. A collection of photographs of Ballets Russes dancers including images of the principal dancer and choreographer Adolph Bolm his daughter Kyra Alanova the prima ballerina Tamara Karsavina and a single photo of Nijinsky as Albrecht in Giselle. Fifteen were taken by Emil Otto Hoppé 1878-1972 one of the most sought-after photographers of the 1920s and 1930s. He photographed the Ballets Russes from 1911 to 1923; these images are predominantly from their only American tours in 1916 and 1917. Karsavina appears in five and Bolm in twelve including two images of them together in costume for Le Pavillon d'Armide one of them together in Thamar and two in L'Oiseau de Feu. Adolph Bolm 1884-1951 was a pioneer of ballet in the United States. From 1909 to 1916 he was a principal dancer and choreographer for the Ballets Russes. During their American tour Bolm injured himself while dancing Thamar. He stayed in the USA and quickly established himself as a coveted choreographer. There were no American ballet companies and dancers performed with opera companies until Bolm established Chicago Allied Arts the first repertory ballet company in the USA. He later founded the San Francisco Opera Ballet and was one of five choreographers involved in the 1940 founding season for New York's Ballet Theatre. Tamara Karsavina 1885-1978 was a principal artist of the Imperial Russian Ballet before joining Diaghilev's Ballets Russes. She is perhaps most famous for creating the title role in Mikhail Fokine's L'Oiseau de Feu. Seventeen photographs are unattributed. One showing Bolm and Karsavina in Scheherazade is from the same Ballets Russes season. Another shows Bolm as the Golden Slave in Scheherazade post-1929 while a third shows Bolm as Amoun in Cleopatra undated but perhaps 1910. A further three are portraits of Bolm's daughter the ballerina Kyra Alanova two as the princess in A Kiss in Xanadu and one in unidentified costume. She danced with the Ballets Russes between 1918 and 1924 but these photos are likely later: one is dated in pencil "London 1925" on the verso and another has the ink stamp of Vaughan & Freeman on the verso London photographers who were active from 1928. The remaining 11 photographs are all dress rehearsals from an unidentified ballet with an "oriental" theme which does not appear to be any of the six ballets of that kind that the Ballets Russes debuted in Paris. Pencil annotations on the verso of nine images suggest "Adolf Bolm Kyra Deakin Alanova" and two images are annotated in a different hand with Alanova's name weight height hair and eye colour and New York address. These are likely from ballets choreographed by Bolm once he had parted with the Ballets Russes and established himself as one of the most important figures in American ballet. Together 32 photographic prints of varying mediums including carbon and silver gelatin from approx. 170 x 122 mm to 260 x 203 mm the photograph of Kyra Alanova as the princess in A Kiss in Xanadu mounted on card 260 x 198 mm. Edges rubbed occasional chips a few photographs overexposed or lightly silvered at edges remnants of adhesive to verso of two photographs two short closed tears to Adolph Bolm in Le Pavillon d'Armide one with tape repair to verso. A well-preserved collection. Andrew Foster "A Directory of Diaghilev Dancers" Dance Research: The Journal of the Society for Dance Research vol. 37 no. 2 2019 pp. 181-205. unknown
1911190134Paris & New York: various publishers 1911-39. Highly desirable collection of elusive and superbly produced ephemeral publications offering a rich panorama of the two decades of the Ballets Russes and featuring the leading lights of the company - Bakst Rubinstein Nijinsky; the whole reflecting the very highest standards of Diaghilev himself who in the words of his highly acclaimed biographer "would never allow quality to suffer" Sjeng Scheijen Diaghilev: A Life 2009 p. 405. Souvenir programme: Théâtre Sarah-Bernhardt Mai-Juin 1911. Grande Saison Russe: Opéras et Ballets. Organisée par "L'Association pour la Propagation de la Musique Slave" avec le concours d'Artistes des Théâtres Impériaux de Saint-Pétersbourg et Moscou et des principaux Théâtres de France et de 'Etranger. Paris: Publications Willy Fischer 1911 Square quarto pp. 32. Original pictorial wrappers designed by Jean Portalez wire-stitched. Portraits from photographs and adverts throughout. Light creasing and signs of handling to wrappers otherwise very good. Eye-catching souvenir programme clearly inspired by the enormous impact of the first two seasons of the Ballet Russes in Paris 1909-10 when "audiences were dazzled by the dancing and striking designs" V&A its title echoing Diaghilev's original billing of a "Saison Russe". The repertoire for the season at the Théâtre Sarah-Bernhardt comprised five operas including Dargomyzhsky's Rusalka Eugene Onegin and Anton Rubinstein's Le Démon and "sketches" from four ballets including La Forêt enchantée by Riccardo Drigo. The striking cover design is by Jean Portalez who did much stylish work for the French humour magazines Le Rire and Journal Amusant and was a frequent contributor to La Nouvelle Mode. One copy only located on Library Hub at New York Public Library. Comdia Illustré - Numero Special. Les Russes au Châtelet. Paris: Comdia Illustré 1911 Quarto. Original pictorial wrappers front cover with colour design by Bakst for the ballet Narcisse premiered in 1911 wire-stitched. With the translucent paper wrapper. Monochrome illustrations and adverts throughout one colour plate costume design by Bakst.One 4-page section loose light signs of handling otherwise very good. Attractive special number of the Comdia Illustré dedicated to Le Martyre de saint Sébastien a five-act mystery play by Gabriele D'Annunzio with incidental music by Debussy and scenery and costumes by Bakst designed as a vehicle for the inspirational Ida Rubinstein. Comdia Illustré - Théatre du Châtelet Grande Saison de Paris. du 4 Mai au 10 Mai 1912 Six Représentations de Gala: Hélène de Sparte. du 10 Juin au 20 Juin 1912 Six Représentations de Gala: Salomé. Paris: Comdia Illustré 1912 Quarto. Original pictorial wrappers front cover printed in silver and blue showing costume design by Bakst for Ida Rubinstein as Hélène wire-stitched. With the translucent paper cover wrapper printed in gold and green with copper-coloured cord. Colour and monochrome illustrations and adverts throughout all printed within gold borders. Light signs of handling to cover wrapper a few short closed-tears to periphery otherwise very good. Beautifully produced special issue of the Comdia Illustré dedicated to two productions Hélène de Sparte Verhaeren's tragedy music by Deodat de Severac decorations and costumes by Bakst mise en scène by Sanine and Wilde's Salomé music by Glazunov mise en scène by Sanine Dance of Salome choreographed by Fokine. Illustrations include colour plates of Bakst's costume and scenery portraits of the leading participants. One copy only located on Library Hub at BnF. Comdia Illustré - Grande Saison de Paris. Programme official des Ballets Russes. Septieme Saison de Ballets Russes. Mai-Juin 1912. Paris: Comdia Illustré 1912 Quarto. Original pictorial wrappers front cover with colour design by Bakst showing Nijinksy in L'Apres-Midi d'un Faune wire-stitched. With the translucent paper cover wrapper printed in blue and gold art nouveau border pearl-coloured cord. Colour and monochrome illustrations and adverts throughout all printed within gold borders. An excellent copy. Spectacular special number commemorating the seventh season of the Ballets Russes covering four spectacles and including Le Spectre de la Rose The Firebird Petrushka Prince Igor L'Apres Midi Daphnis et Chloé with excellent colour reproductions of Bakst's stunning costume and scenery designs. One copy only located on Library Hub at BnF. Souvenir - Serge De Diaghileff's Ballet Russe: With Originals by Leon Bakst and Others. 1916 American Tour Programme. New York: Metropolitan Ballet Company Inc. 1916 Quarto pp. 38. Original mottled brown hammer-finish card wrappers green silk cord tie cover image of Nijinsky in Scheherezade by Robert Montenegro in brown with embossed gilt work title lettering similarly embossed. Sepia frontispiece from a photograph Nijinsky in Spectre de la Rose and 8 other similar full-page illustrations including one of Lydia Lopokova 15 full-page colour illustrations one double-page the majority costume designs by Bakst among them the famous image of Nijinsky as the Faun in L'Après Midi. Minor nicks to periphery of wrappers. An excellent copy. An important piece of ballet history: the original souvenir programme from the first American tour of the Ballet Russes with full-colour illustrations of the sumptuous costumes designs of Leon Bakst. The programme includes brief ballet synopses an itinerary and two pages of illustrated advertisements. This is an unusual and highly desirable variant in that it features the superb Nijinsky illustration on the cover. Souvenir - Serge de Diaghileff's Ballet Russe. New York: Metropolitan Ballet Company Inc. 1916 Quarto pp. 36. Original cord-tied embossed grey card hammer-finish wrappers. Colour and sepia illustrations throughout. Minor nicks to wrappers. An excellent copy. Sumptuous souvenir program published by the Metropolitan Ballet Company for the first and only American tour of the Ballets Russes superbly illustrated and containing brief introductions to the repertoire: Le Pavillon D'Armide; L'Oiseau De Feu; Les Sylphides and Papillons; Le Spectre de la Rose; Narcisse; Schéhérazade; Sadko; Thamar; Le Carnaval of Schumann; Prince Igor; Petrouchka; Snégourotchka; Daphnis et Chloé;'L'Après-Midi d'un Faune; Le Dieu Bleu; and Cléopâtre. This differs in many respects to the version above. Souvenir programme: Ballets Russes de M. Serge de Diaghilew. Paris: Printed by L'Edition Artistique for Les Publications Willy Fischer 1925 Quarto. Original pictorial wrappers front cover with colour design by Pedro Pruna wire-stitched. With the glassine paper cover wrapper. Monochrome illustrations and adverts throughout. Glassine a little creased and tattered general light signs of handling. A very good copy. Attractive art deco souvenir programme the repertoire including Pulcinella La Boutique fantasque Les Matelots Les Biches and Train Bleu. The young Catalan artist Pedro Pruna was recommended to Cocteau by Picasso and a meeting with Diaghilev and Boris Kochno was arranged; they "immediately commissioned him to design Les Matelots" being impressed by his "limpid poetic theatrical work" cited in Alexander Schouvaloff The Art of Ballets Russes Yale UP 1997 p.279. Included here are a publisher's slip issued by Editions des Quatre Chemins advertising as "just published" Les Biches and Les Facheux; also the single page programme for 18 June Pulcinella Les Matelots La Boutique fantasque. Just a handful of copies on Library Hub. Ballets Russes de Diaghilew 1909 a 1929. Exposition organisée par Serge Lifar Mars a Juin 1939. Paris: Jacques de Brunhoff printed by Imprimerie Crété 1939 Quarto. Original printed wrappers with design by Bakst on gold paper inset to front cover wire-stitched. Monochrome illustrations throughout. Small stain at fore-edge of front cover light vertical crease. A very good copy. Attractive resume of productions spanning the first two decades of the Ballets Russes and illustrating costume designs by Bakst Gontcharova Sert Marie Laurencin Juan Gris and Benois scenery and curtain designs by Roerich Federovsky Picasso Braque Matisse Derain de Chirico Rouault Larionov Utrillo and Tchelichew. 8 works quarto. Original variously illustrated wrappers cord-tied or wire stitched as issued. Illustrated throughout in colour and monochrome. unknown
1920108883Ballets Russes 1920. Softcover. Poor/No jacket. Illustrated with tipped-in colored plates of designs for upcoming events and photos of of the principle movers in the troupe including Igor Stravinsky Leon Bakst and Nijinsky. The binding has fallen apart but all the pages with the plates are still present.<br /> <br /> As is. Ballets Russes unknown
1922193327M. De Brunoff; Paris 1922. First Edition. Hardcover. Acceptable. Heavily worn boards. Silk covering the beveled boards is separating from the boards in many places and faded in color- Front board illustration has dust soiling but colors are bright and unfaded. Binding is beginning to crack at some places hinges not started. Name is written at the top corner of the front pastedown- no other marks or notations. The 8pp of "L'Apres Midi di Faune" are loose but included the following program Comoedia Illustre 10pp "Le Carnaval" and "Daphnis et Chloe" is missing. All other pages and programs are present. Beautiful collection of art and performers of that era- Leon Bakst Natalia Goncharova Henri Matisse and Pablo Picasso to name a few with Vaslav Nijinsky Tamara Karsavina and Ida Rubenstein as a few of the featured performers/dancers. More photos available upon request. M. De Brunoff; Paris hardcover books
1922004588Paris: M. De Brunoff 1922. Folio green silk over thick beveled boards with large inset color illustration from Natalia Goncharova's design for "Firebird". Endpapers color- stenciled with names of the dances dancers composers and choreographers and in the center that of the impresario Serge Diaghilev. Silk faded; a little edge wear to bottom of front board. An exceptionally nice copy of this magnificent book. A compilation of the most important special issues of the theatrical periodical "Comoedia Illustré" and souvenir programs for the 1909-1921 seasons of the Ballets Russes compiled by the program publishers themselves Maurice and Jacques de Brunoff Explanatory forewords by the critic Valerian Svetlov. Lavishly illustrated with photographs and black and white and splendid color plates some heightened with gilt and silver of the dancers costumes and stage decor. Work by Léon Bakst Valentine Hugo André Derain Alexandre Benois Mikhail Larionov. Natalia Goncharova José Sert Henri Matisse and Pablo Picasso. Dancers include Vaslav Nijinsky Tamara Karsavina Michael and Vera Fokine and Ida Rubenstein. Léon Bakst's brilliantly exotic and vivid designs for costumes and stage design revolutionized theater and fashion in the first quarter of the 20th century drawing on Neo-Russian Orientalist and ancient Greek motifs. The May 1917 issue is devoted primarily to the ballet "Parade". In his introduction "Parade et l'Esprit Nouveau" Guillaume Apollinaire coins the term "surrealism" laying the foundation for this movement. "Parade" is a collaboration among Erik Satie Jean Cocteau Pablo Picasso Léonide Massine and Serge Diaghilev. Picasso's costumes are depicted in two pochoir-colored plates: "Costume de Chinois" and "Costume d'Acrobate". A copy is in the collection of the Metropolitan Museum of Art rebound without the original cover plaque by Goncharova and another copy is featured in the 2019 exhibition "Hymn to Apollo/The Ancient World and the Ballets Russes" at the NYU Institute for the Study of the Ancient World. Illustrated Boards. Near Fine. Folio. M. De Brunoff Hardcover books
199728310Hartford: Wadsworth Atheneum and Yale University Press 1997. First edition. Paperback. Near Fine. Tall thick paperbound quarto. 352 pp. Profusely illustrated in color. This book documents the Serge Lifar Collection of Theater Designs Costumes and Paintings at the Wadsworth Atheneum. An impressive work. Price sticker to rear cover. A handsome near fine copy. Very heavy volume. Wadsworth Atheneum and Yale University Press paperback books
18581Used; Like New/Used; Like New. Striking original vintage sepia toned gelatin photograph of the important dancer ca. 1912. Stamped "ADOLPH BOLM / 'THAMAR' / SERGE de DIAGHILEFF'S BALLET RUSSE" on the verso in violet ink. Right edge trimmed irregularly small loss to upper left corner light spotting else in fine condition. 5.2 x 8 inches 13.2 x 20.3 cm<br style="">An early associate of Anna Pavlova Adolphe Bolm later was a major figure in Diaghilev's Ballet Russes. An injury sustained during this US tour lead him to leave the company and remain in the US where he went on to organize "Ballet Intime" and collaborate with the New York Metropolitan Opera. He is shown in the present image in the 1912 Ballets Russes production of "Thamar" in a costume by Leon Bakst.<br>In the ballet with music by Balakirev and choreography by Michel Fokine the subject of the life of Thamar Queen of Georgia from 1184 to 1213 was transformed in the spirit of nineteenth-century Romanticism becoming a symbol of nationalist pride in the face of growing Russian cultural dominance in the Caucasus. Russian poet Mikhail Lermontov fictionalized Thamar's history within his interpretation of a Georgian legend of a malevolent seductress in his 1841 poem Tamara and it was this version along with Balakirev's symphonic poem Tamara that inspired Bakst and Fokine for the Ballets Russes production. Bakst's looming set dramatized Thamar's isolated court in her castle in the treacherous Terek River and provided a stark background for his sumptuous and richly detailed costumes for the queen her courtiers guards and suitors.  The men's costumes are based on the traditional Caucasian cherkeska Circassian coat or kaftan with beshmet underdress. <br style="">German born photographer E. O. Hoppé moved to London in 1902 at the age of 24 to work for the Deutsche Bank. He was elected member of the Royal Photographic Society in 1903 and became one of the most important portrait and documentary photographers of his time. E. O. Hoppé spent most of his life in England or travelling the rest of the world on assignments. The present photograph was published as a gravure in Hoppé's 1913 Fine Art Society London volume "Studies from the Russian Ballet" the photographer's first major publication. At a time when ballet was highly popular he photographed most of the leading members of Serge Diaghilev's Russian Ballet in London and the present image of Bolm is one of his most celebrated images. <br style=""> unknown books
246910New York vd. 3 vols. Fine. 3 vols. Ballet Russe de Monte Carlo was an influential ballet company founded by René Blum and Colonel Vassily de Basil in 1933. The company followed Sergei Diaghilev's Ballets Russes. unknown books
18294Used; Like New/Used; Like New. Bound collection of 6 concertinos for 4 violins viola cello and basso continuo in score copied from a manuscript at the Conservatoire de Paris as prepared for and subsequently inscribed by Sergei Diaghilev. Long attributed to Italian Baroque composer Pergolesi these pieces are a famous case of reattribution within the canon of classical music having been identified in recent decades as the work of the Dutch composer and statesman Count Unico Wilhelm van Wassenaer. Half a century before this musicological consensus had been established Diaghilev wrote his opinion in an inscription on the cover of the present manuscript translated as follows from the French:<br style="">"In my opinion only the sixth last concertino was composed by Pergolesi. The others are of different authors who have nothing in common with him. I believe the autograph score does not exist and that the copy at the Conservatoire de Paris is the sole known copy that belongs to <lacuna>. These works are found in no library in Italy. It is especially strange that they are not to be found in Naples. The quality of the music of these three concertini is very unequal and one recognizes Pergolesi solely in the last part of the last concertino which was composed wholly by him the Adagio movement recalling his serenades etc. S. Diaghilev 1918."<br style="">"à mon avis il n'y a que le 6me dernier Concertino qui est composé par Pergolesi. Les autres sont de différents auteurs qui n'ont rien de commun avec lui. Je crois que le partition autographe n'existe pas et que l'exemplaire du Conservatoire de Paris est la copie de l'unique exemplaire connu qui appartient à <lacuna>. Dans aucune Bibliothèque d'Italie ces oeuvres ne se trouvent pas. Il est étrange surtout qu'on ne les trouve pas à Naples. La qualité de musique de ces concertini est très inégale et l'on reconnait Pergolesi seulement dans la dernière partie du dernier concertino qui fait être tout entier composé par lui mouvement d'Adagio rappelant ses serenades etc. S. Diaghilev. 1918."<br style="">24 pages bound in a single gathering 10 1/2 à 13 3/4 inches 27 à 35 cm closed. Each page ruled neatly in 16 staves. Notation neatly penned in the hand of the copyist L. Mathieu who has stamped lower right corner of cover: "'Copie musicale et littéraire' L. Mathieu 30 rue Legendre Paris." Diaghilev himself has further inscribed at the base of the page "Copiés d'après le manuscrit se trouvant au Conservatoire de Musique de Paris / 1917. SergeiDIaghilev" Purple ownership stamp in lower right corner of cover of Serge Lifar obtained at the sale of his library. Outer sheets cover and last page of music ever so slightly darker than openings else very fine throughout. <br style="">Diaghilev the great impresario of the Ballets Russes is best known for his prescient assemblage of extraordinarily promising composers artists choreographers and dancers. Perhaps Diaghilev's most famous musical innovation was his suggestion to Stravinsky that he set some themes by Giovanni Pergolesi or at least some music as here that was then believed to be by Pergolesi. The result was Pulcinella making Diaghilev at least partly responsible for the transition from Igor Stravinsky's Russian period to his Neoclassical period and the subsequent broader 1920s fascination with neo-classicism.  The present manuscript offers a glimpse into Diaghilev's central own role in evaluating projects for his ensemble since his inscriptions of 1917 and 1918 two/three years before the Ballets Russes production of Pulcinella so clearly demonstrate his interest in Pergolesi and the commedia dell'arte. unknown books
1922307356Paris: M. de Brunoff 1922. Profusely illustrated with full-color covers mounted and full-page plates and photographs. 187 of 188 leaves. Folio. Original cloth with inlaid illustrated upper cover from "The Firebird" by Natalia Gontcharova. Covers and spine rubbed and soiled internally fine but lacking cover for Ballets Russes program from May 1921 featuring Picasso illustration on recto and verso. Bakst Léon. Profusely illustrated with full-color covers mounted and full-page plates and photographs. 187 of 188 leaves. Folio. An outstanding visual record of Diaghilev's Ballets Russes and Ida Rubinstein's Galas Russes in their most influential years lavishly illustrated with the works of Bakst Gontcharova Larionov Picasso Matisse Massine Derain and others. The collection is comprised of special issues of the theatrical periodical "Comoedia Illustré" and souvenir programs devoted to Ballets Russes and Rubinstein's Galas Russes for the seasons 1909-1921 with introductory letterpress text for each season by V. Svetloff. With splendid color and gilt illustrations of costume and set designs as well as numerous photographic portraits of dancers and production artists. Bakst is the most frequently represented artist in the group; the illustration inlaid to the upper cover is by Natalia Gontcharova. M. de Brunoff unknown books
19302043Ballets Russes Georges-Michel Michel; Waldemar George; and Nathalie Gontcharova. <b>Les Ballets Russes de Serge de Diaghilew par Michel Georges-Michel Waldemar George / Le Costume Théatral par Nathalie Gontcharova</b>. Paris: Pierre Vorms 1930. First Edition First Printing. <br /><br />Small Quarto 10 5/8 x 7 3/8 inches; 270 x 185 mm 31 1 pages in printed wrappers. <br /><br />A sumptuously illustrated tribute to Serge Diaghilev's Ballets Russes issued in 1930 one year after his death. Diaghilev rendered here as Diaghilew created one of the world's most innovative ballet and opera companies and hired some of the greatest artists of the 20th century to design sets and costumes. <br /><br />Artists represented here include Picasso Laurencin Braque Derain de Chirico Rouault Bakst and others. The book features 19 plates depicting sets and costumes with four of the plates in color. There is also a photo of Diaghilev taken several days before his death at the young age of 57. <br /><br />Michel Georges-Michel and Waldemar George have written introductions while Nathalie Gontcharova has written about costumes; the book is illustrated with several of her designs for sets and costumes. There is also a complete list of the troupe's productions and a list of all the artists who designed sets and costumes. All text is in French. <br /><br />This book should not be confused with a 1955 revised edition. An altogether wonderful tribute to the Ballets Russes. <br /><br />CONDITION: Light edge wear toning to the wrappers especially the lower wrapper. Internally clean bright and unmarked. A beautiful Near Fine copy. Pierre Vorms paperback books
192436302Paris: Éditions des Quatre Chemins 1924. Two volumes. Quarto. Original publisher's heavy ivory wrappers with illustration in color by Braque to uppers. <br/><br/>Vol. I:<br/>1f. recto half-title verso blank 1f. recto title verso blank 1f. recto "Jean Cocteau" verso blank 3ff. text 1f. portrait of Cocteau 1f. recto "Louis Laloy" verso blank 7ff. text 1f. recto facsimile of music by Auric verso blank <br/>1f. recto "Georges Braque" verso blank 23 hand-coloured set and costume designs by Braque: La Naïde; Esquisse du décor; Décor manquette; Éraste; La Montagne; Lysandre; Orphise; L'Élegante; Joueuse de volant; Joueuse de volant dos; Première bavarde; Deuxième bavarde; Deuxième bavarde dos; Joueur de boules; Joueur de cartes; Le Tuteur; Premier valet; Deuxième valet; Policier; Premier masque; Premier masque dos; Deuxième masque; and Deuxième masque dos.<br/> <br/>Vol. II: <br/>1f. recto half-title verso blank 1f. recto blank verso reproduction of photograph of Braque by Man Ray 1f. recto title "Réalisation Scénique" verso blank 1f. contents 1f. recto "Argument" verso blank 1f. recto part title verso blank 22 full-page reproductions of photographs of dancers L. Krassovska; Nicolas Zverew; Antoine Wilzak; La Nijinska 2; Lubov Tchernicheva 3; Antoine Doline; N. Devalois 2; Ludmila Cholar L. Choliar et A. Wilzak; Alice Nikitin; L. Chollar A. Nikitina and A. Wilzak; Thadée Slavinsky 2; Th. Slavinsky E. Lapitsky et C. Tcherkas; Léon Woizikovsky; J. Jazvinsky et M. Pavlow; M. Federow; and S. Lifar in role portraits.<br/><br/>All plates with tissue gards.<br/><br/>Wrappers very slightly worn and soiled. Minor internal wear; a few signatures partially split; some tissue guards worn and creased. First Edition limited to 500 copies this no. 15 of only 40 copies on Hollande van Gelder with limitation statements at the conclusion of each volume. Magriel p. 187. Niles & Leslie I p. 75. Derra de Moroda 1503. <br/><br/>Les Facheux a ballet in one act with music by Georges Auric choreography by Bronislava Nijinska scenario by Boris Kochno after Moliere's comedy-ballet and curtain scenery and costumes by Georges Braque was first performed by Diaghilev's Ballets Russes in Monte Carlo on 19 January 1924 with principal dancers Lubov Tchernicheva Anatole Vilzak and Anton Dolin.<br/><br/>"By the time Auric found himself a member of Les Six Auric Durey Honegger Milhaud Poulenc and Tailleferre the style of his music - brilliant and often acidly aggressive - had become well established and works such as the Huit poèmes de Jean Cocteau 1919 or the foxtrot Adieu New York! 1919 show how he can be considered along with Poulenc the group's most typical representative. On hearing his 1921 incidental music for Molière's comédie-ballet Les fâcheux Diaghilev asked him to transform it into a ballet. First performed in Monte Carlo . it shows a facility for mood creation and a virtuosity in the manipulation of highly varied material that presages his film music. Other successful ballets followed: Les matelots 1924 and La pastorale 1925 for Diaghilev Les enchantements de la fée d'Alcine 1928 for Ida Rubinstein ." Jeremy Drake in Grove Music Online. <br/><br/>Examples of Les Facheux on Hollande van Gelder with particularly strong color to the plates are quite rare with no copies recorded in ABPC as having coming to auction since at least 1977. Éditions des Quatre Chemins unknown books
Bengt HägerIn Pristine Condition. unknown
19859996352New Dehli Sterling Publishers New Dehli Sterling Publishers 1985, In-8 cartonnage éditeur sous jaquette, 164 pages. Figures et photos. Texte en anglais. Bon état.
New Dehli Sterling Publishers 1985, In-8 cartonnage éditeur sous jaquette, 164 pages. Figures et photos. Texte en anglais. Bon état.
2017500057496Grund 2017 240 pages 21 6x27 8x2 2cm. 2017. Broché. 240 pages.
2017500077105Grund 2017 240 pages 21 6x27 8x2 2cm. 2017. Broché. 240 pages.
2017500096837Grund 2017 240 pages 21 6x27 8x2 2cm. 2017. Broché. 240 pages.
1921208771921 Aquarelle sur papier greige signée et datée en bas à droite, 1921, 27 x 20 cm., encadrée.
1925225061925 1 Aquarelle en couleurs, signée et datée au milieu à gauche, 1925, papier collé sur carton, 24.5 x 20 cm., encadrée.
1923238961923 1 Aquarelle en couleurs sur carton, signée à droite, (1925),22 x 13.5 cm. (format à vue), 26.3 x 20.1 cm. (format de la feuille).
