JACKOWSKI, Aleksander.MareMagnum
2 505 résultats
24x21. 157p. Fotogr. Trad. A. Peláez. Enc. Tela ed. Sobrecubierta.
J. BARIL La danse moderne (d'Isadora Duncan à Twyla Tharp). Parigi, Vigot 1977 finnish, 447 SC579Brossura editorialevolume in buone condizioni, segni di usura causati dal fattore tempo sulla copertina, interno in ottimo stato, legatura salda, scritto in francese447 pagine circaCopertina come da foto
169pp.avec 17 photos + 1 carte, br.orig., bel état, 27x18cm., dans la série "Archives d'ethnographie" nr.4, [OCLC 5288719; 1538746], C39107
1937. Ensemble de 7 illustrations réhaussées, montées sous-verre. Bon état. Serge Ivanoff, peintre et illustrateur fut formé à l'Ecole de Saint-Pétersbourg. Il quitta la Russie en 1920 et collabora 20 ans à L'Illustration.
64pp.of which 32pp.ills.out-of-text, cart.cover, VG
In 8', br. ed. con risv., pp. 317, numerose ill in n. n.t.; bruniture alla cop.fioriture ai risguardi, alle prime ed ultime pp.,interno in buono stato, ingiallimenti e segni del tempo.Teatro, cinema, musica, danza, varieta' ecc.suddivisi per argomento, tav . rip. su Anna Magnani(foto), sotto gli auspici del Ministero del turismo e dello spettacolo, a cura di Egidio Ariosto, Giovanni Calendoli e Bruno Marini.
P., Editions du Grenier, 1927. In-4 broché, couverture rempliée, 86 pp. Illustrés de dessins inédits (sous serpente) par Antoine Bourdelle, José Clara et Grandjouan. 1 des 725 ex. surpur-fil Lafuma.petits manques de papier au dos, quelques marques au stylo bille à quelques endroits du texte, sinon bon exemplaire.
N.PAG.134 -BROSSURA-OTTIMO
cartone edit. ill. - illustrazioni in b.n. fuori testo
Genova, Sagep, settembre 1992. (mm. 195 x 125). Cartonato editoriale. pp. 189(1), 1 c. b. Dall'indice: l'operetta a Genova - il politeama genovese - il politeama Margherita e il tramonto del XIX secolo - i teatri fra le due guerre - il festival del balletto di Nervi - G. Puccini: " piccolo valzer " - etc.
A walking trip across Yugoslavia and more. With 23 illustrations. Index. Tears, creases and chips to edges of dust jacket. Previous owners name on front free endpaper.
- Domat, Paris 1947, 14x19cm, broché. - Edition originale dont il n'est pas fait mention de grands papiers. Huit hors-texte en héliogravure. [ENGLISH DESCRIPTION ON DEMAND]
ill., br. Anahita (dal persiano antico la "pura") fu, nella cosmologia iraniana pre-zoroastriana, la dea dell'acqua, dell'oceano cosmico, collegata alle acque della nascita e ai culti lunari. La danza ha un enorme potere creativo e ci radica profondamente con il nostro paesaggio interiore oltre che con quello esteriore: la nostra Terra. Quando una donna è collegata al suo ritmo naturale è anche intensamente connessa al suo corpo e alla sua intima essenza e saggezza. Questo libro, con l'ausilio del necessario corredo fotografico, presenta la danza persiana, un sistema di movimento coerente e organico, facile da comprendere, per riproporne poi anche in maniera creativa tutto il potere di riequilibrio e di ricongiungimento al sacro feminino.
Milano, 1911, stralcio con copertina posticcia muta, pp. 70/76 con ill. - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo di rivista, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perchè ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “estratto” or “stralcio” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.
In ottime condizioni, spedizione tracciata
Coll. Millenni, tre volumi, in ottime condizioni, cofanetto
Programme de la Revue - In-4 - Sans date (Années 1960) - Broché - Couverture illustrée en en couleurs - Illustrations Nb - 16 pages
Traduit de l'anglais par Jean Romanche, exemplaire du service de presse marqué S.P., 1 vol. in-12 reliure bradel demi-toile marron, couverture conservée, NRF, Gallimard, Paris, 1932, 209 pp. Bel exemplaire de l'édition originale de la traduction française. Français
condizioni mediocri, coperta strappata e scollata sul dorso, pagine ingiallite
- 1920-1922, oeuvres : 23x30cm ; cadres : 38,4x48,6cm, trois feuilles sous cadres. - Three original gouaches around dance by Loïs Hutton. 1. Original gouache with dancers May 16th 1920 | work: 23 x 30 cm frame: 38,4 x 48,6 cm | framed leaf This early composition, one of the rare ones still preserved, attests to her modernism and total symbiosis with her choreography. The dominant curves of the bodies in this Gouache with dancers, dated "May 16th 1920" evokes the androgynous silhouettes of Matisse's round dance (La Danse, 1910), as does the choice of vibrant blue and dark ochre tints. A Cubist aesthetic appears in the movement of the dancers with their unrelenting symmetrical balance - while the boldly contoured kaleidoscopic designs betray the influence of Vorticism, whose members during the same period assiduously frequented the underground club of Loïs' lover, Margaret Morris. This work from the London era will find its fulfilment the following year in the choreographies created in France where the Margaret Morris School settle in the summer. The photographs of these sensational performances from Dinard to Cap d'Antibes show very similar compositions, notably one of the scenes of Hutton's ballet, entitled Étincelles, created in 1922 to music by Maurice Ravel. 2. Signed original gouache "Background design, 1922" 1922 | work: 26,5 x 36 cm frame: 40 x 50 cm one framed leaf One of the only original preserved stage decor sketches by Loïs Hutton, also one of the first of her career. This abstract composition reflects the artist's incredible versatility. She flourished both as a principal dancer at her lover's school, the Margaret Morris School as well as a choreographer, set and costume designer. These painted sets on large fabrics served as the backdrop to the school's dance troupe productions and solo dances by Loïs who had previously painted a design on canvas based on a sketch by her mentor the Fauvist painter John Duncan Fergusson. Trying her hand here at a radically new and ambitious style, her design joinsthe angular movements of her dances and is inspired by the teachings of Cézanne: "Everything in nature is modelled on the sphere, the cone and the cylinder" (letter to Emile Bernard). This vital attention paid to volumes goes hand in hand with a fragmentation of motives close to Edward Wadsworth's Vorticism. Hutton visited at that time Wadsworth and the group of Vorticists in Morris' Chelsea underground club, a laboratory of modern dance where the set in its large-format version may have been displayed in December 1921 or the following year as suggested by the two dates on the lower part of the composition and on the back. 3. Signed original gouache "Composition - Ground design of dance, fool's dance" may 22 1919 | work: 20 x 25,5 cm; frame: 30 x 40 cm | one leaf One of Loïs Hutton's rare abstract works, a horizontal and graphic exploration (entitled "Ground design") of her Fool's Dance choreography. A hypnotic solo dance that she performed for the first time in January 1920 to music by Edvard Grieg. In this interesting and innovative vision of dance, Loïs Hutton lays down the products of the force of her choreographic movements on paper: a ballet of lines and curves filled with vivid colours. This fluid and dynamic composition is marked out by a square with asserted outlines, acting as both a physical support for the painting and a material surface for the scene where its movements unfold - an essential space of creation to be compared with the "original plan" theorised several years later by Kandinsky in Point et ligne sur plan (1926). Presented at the Margaret Morris Club in Chelsea where her very first creations were born, Fool's Dance will be performed again at the Château des Deux Rives in Dinard in July of the same year. It earned Hutton one of her first mentions as a performer and choreographer in the French press, in the newspaper Comoedia on 20 July 1920, and marks the beginning of her notoriety in France.
In ottime condizioni, spedizione tracciata
Coll. Storia della musica Oxford, vol. 3. La sovracopertina ha piccoli segni del tempo
in-4°, 240 pp., nombreuses illustrations en n&b et en couleurs, relie cartonnage ed., jaquette illustree. Tres bel exemplaire. [PLC-14]
