832 résultats
1969CH22Maecenas Press 1969. Book. Fine. Hardcover. Signed by Authors. FIRST. THE ROLLING STONES BILL WYMAN'S COPY OF THE DELUXE EDITION OF SALVADOR DALI'S ILLUSTRATED "ALICE'S ADVENTURES IN WONDERLAND" Paris and New York 1969 4000/6000 New York: Random House Maecenas Press 1969. Copy CXXXI of 200 copies of the deluxe edition. The Deluxe Edition of Lewis Carroll's Alice in Wonderland is signed by Salvador Dali on both the title page and the original colored etching with double suites of the original etching and 12 mixed-media illustrations each overprinted with Dali's remarque. Large folio 18-1/2 by 13 inches with 16 loose gatherings as issued including an original four-color etched frontispiece signed by Dali and 12 full-page mixed-media illustrations on Rives and an extra suite of the etching and 12 illustrations on Japanese Nacre. Both suites are housed in black raw silk portfolios all contained in original full tan morocco clamshell box secured with black fore-edge toggles both detached one present. This deluxe edition distinguished from the more commonly found edition of 2500 includes the extra suite of illustrations and etching and it features hand signed and numbered original etching. 18 1/2 by 13 inches PROVENANCE Property From Bill Wyman and his Rolling Stones Archive The Rolling Stones Memorabilia WITH COA. Maecenas Press Hardcover
20145617Barcelona: Editorial Joventut 2014. 1ª Edición. Encuadernación de tapa dura. Muy bien. Fotografies inèdites de l'album familiar. Amb dedicatòria manuscrita de l'autora. Volum en un estat perfecte. Editorial Joventut hardcover
6298876Taylor & Francis Group pp. 212 . Hardback. New. Taylor & Francis Group hardcover
19402092902137305575Atorie-sha 1940. Soft Cover. Fine. The book is in fine condition. Atorie-sha paperback
201087438Yale University Press. New. 2010. Hardcover. 0300168284 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 176 pages; 151 illus. -- with a bonus offer-- . Yale University Press hardcover
A9780367369644Hardback. New. <p><em>Humanizing LIS Education and Practice: Diversity by Design</em> demonstrates that diversity concerns are relevant to all and need to be approached in a systematic way. Developing the Diversity by Design concept articulated by Dali and Caidi in 2017 the book promotes the notion of the diversity mindset.</p> hardcover
A9780367404499Paperback / softback. New. <p><em>Humanizing LIS Education and Practice: Diversity by Design</em> demonstrates that diversity concerns are relevant to all and need to be approached in a systematic way. Developing the Diversity by Design concept articulated by Dali and Caidi in 2017 the book promotes the notion of the diversity mindset.</p> paperback
A9781538167779Hardback. New. <p>Presenting perspectives from Australia Canada China New Zealand the U.K. and the U.S. this volume brings together a collection of essays from library and information science LIS educators from around the world who delve into difficult unpopular and uncommonly discussed topics.</p> hardcover
51466Eds du Musee d'Art Moderne In-8-carré 412pp. illustr. Nb-0150 unknown
131209Garden City New York: Doubleday & Company Inc. NONE NONE 1970. hardcover xi 1340 358 . Near fine. Folio. English text. A Catholic Bible translated from the French Bible de Jerusalem. Included are 73 books: the 39 shared with the Hebrew Bible and the 7 deuterocanonical books that comprise the Old Testament and the 27 books shared by all Christians as the New Testament. Black leatherette pink marbled endpapers. The cover font and all edges gilt boxed. 8 pages of maps and floor plans black and white as well as colour at rear. There are also 8 family registry pages at the back that remain blank. Two red satin ribbon book marks one of which shows a small tear. The box black leatherette with the titles in silver stamped to the top shows light markings and wear however remains sturdy and square. In 1969 Giuseppe Albareto Dali's friend and publisher commissioned the artist to paint a series entitled the Biblia Sacra. Dali painted 105 paintings. This edition includes full colour reproductions of 32 of those paintings. Illustrations by Salvador Dali. Doubleday & Company, Inc. NONE Hardcover
197099224Garden City NY: Doubleday & Company Inc. 1970. 1st thus. Hardcover. Very Good/None. Salvador Dali. 1715 pages. Hardcover. color illustrations throughout illustrated by Salvador Dali. Pages unmarked including back pages intedend for recording of family information. 2 red ribbon book marks attached at spine. No slipcase. Marbled decorated endpapers. leather cover boards gilt title and decoration on spine and front cover board. Gilt edges slightly faded. Binding beautiful. Spine straight. DOMESTIC SHIPPING ONLY. Record # 99224 Doubleday & Company, Inc. hardcover
N - 2026 - 16<p>Paradis Perdu Paradise Lost. Translated by Pierre Messian. Les Bibiliophiles de l'Automobile-club de France 1974. One of John Milton's most important works illustrated by 10 dry-points by Salvador Dali in color signed and numbered in pencil by the artist. One of 150 copies in BFK de Rives paper of which this this n 145. Loose as issued and held within original linen wrapped slipcase and chemise.</p> Les Bibiliophiles de l'Automobile-club de France hardcover
1995Q-8481560790Pockets Tusquets/Electa 1995-01-01. Paperback. New. New. In shrink wrap. Looks like an interesting title! Pockets Tusquets/Electa paperback
195736579New York: American Fabrics Magazine 1957. Very Good. New York: American Fabrics 1957. First Edition. Folio 37cm; 102pp. Publisher’s stiff staple-bound wraps. Images and illustrations throughout. Wraps bumped at spine ends and corners; toning foxing and creasing throughout condition. Binding sound. Textblock endsheets and interior pages lightly foxed. Overall Very Good. <br /> <br /> Special commemorative edition of this periodical created for the sixth annual Silk Congress. Contents include illustrations advertisements fabric samples and explorations of the history and use of silk throughout the world. Cover design by Salvador Dali. Although not attributed a young Andy Warhol likely provided at least two of the illustrations p75. American Fabrics Magazine unknown
197013578FDoubleday 1970. hardcover. Good. 0x0x0. 32 full page color Dali illustrations. Some pock marks on the front of the red leather binding. The gilt edges are quite oxidized and scratched. Stored in a well worn box. Doubleday hardcover
51-6816Paris: Flammarion 1994. 12mo. 13 x 18cm. Boards in d-j. Fine.The relationship between Dali and Halsman:. The collaboration between Dalà and Halsman began in 1941. They met while working on Labyrinth a project performed by the Ballets Russes at New York’s Metropolitan Opera House in 1941 for which Halsman photographed the costumes designed by DalÃ. They continued to work closely together on joint commissions mainly related to ballet but also generated their own projects such as Dali’s Midsummer Night’s Mare Dali Atomicus Dali Sculpture with Light and In Voluptate Mors in which models are arranged in the shape of a skull. In 1960 Halsman documented the making of DalÃ’s film Chaos and Creation.Philippe Halsman explains the concept of the jointly produced book Dali’s Mustache as follows: “In 1954 the growth of Dali’s mustache miraculously increased. When the painter returned to New York I was amazed: the points of his mustache were higher than his eyebrows. I saw my duty and started to photograph the play and interplay of his mustache. I needed DalÃ’s consent and I approached the great surrealist cautiously: ‘Books have been written about you and about other painters. But there is no book about a part of their personality as for instance Rembrandt’s nose or Picasso’s foot. What a tribute to your genius DalÃ! A book to appear – dedicated not to the whole but only to a small part of you!â€.Text below by Mary PanzerCurator of PhotographsNational Portrait Gallery Smithsonian Institution.Philippe Halsman 1906-1979 was born in Riga Latvia. He studied engineering in Dresden before moving to Paris where he set up his photographic studio in 1932. Halsman's bold spontaneous style won him many admirers. His portraits of actors and authors appeared on book jackets and in magazines; he worked with fashion especially hat designs and filled commissions for private clients. By 1936 Halsman was known as one of the best portrait photographers in France.From the 1940s through the 1970s Philippe Halsman's sparkling portraits of celebrities intellectuals and politicians appeared on the covers and pages of the big picture magazines including Look Esquire the Saturday Evening Post Paris Match and especially Life. His work also appeared in advertisements and publicity for clients like Elizabeth Arden cosmetics NBC Simon & Schuster and Ford. Photographers amateur as well as professional admired Halsman's stunning images. In 1958 a poll conducted by Popular Photography named Halsman one of the "World's Ten Greatest Photographers" along with Irving Penn Richard Avedon Ansel Adams Henri Cartier-Bresson Alfred Eisenstaedt Ernst Haas Yousuf Karsh Gjon Mili and Eugene Smith. Altogether Halsman's images form a vivid picture of prosperous American society in the middle years of the twentieth century. "Philippe Halsman: A Retrospective" is the first historical survey of his work.Halsman's career came to a dramatic halt in the summer of 1940 when Hitler's troops invaded Paris. Albert EinsteinHis wife daughter sister and brother-in-law who all held French passports immigrated to America but as a Latvian citizen Philippe Halsman could not obtain a visa. For several long months he waited in Marseilles along with many others who were forced to escape fascist Europe. Finally through the intervention of Albert Einstein who had met Halsman's sister in the 1920s Halsman obtained permission to enter the United States and he arrived in New York in November 1940 with little more than his camera.Halsman's big break came when he met Connie Ford a striking young model who agreed to pose in exchange for prints for her portfolio.Constance Ford When publicists at Elizabeth Arden saw Halsman's photograph of Ford against an American flag they used the image to launch a national campaign for "Victory Red" lipstick. A year later in the fall of 1942 Life asked Halsman to shoot a story on new hat design. To Halsman's delight his portrait of the model smiling through a feathery brim landed on the cover. One hundred more covers followed before the magazine ceased weekly publication in 1972.When Halsman began working for Life the magazine was only six years old and photojournalism was still a new field. Before the existence of Life and its competitors Americans learned about the world from newspapers radio and newsreels. But the new picture magazines published pages filled with bright dramatic photographs bringing Americans vivid information that no other media could match. Frank SinatraIn the spirit of a variety show or a world's fair magazines combined stories about international politics everyday life news events celebrities exotic scenery and humor to prove that "so much of the world so judiciously selected had never been seen before in one place." Today to understand the significance of those great magazines we need only look at the many forms of mass media that have come to replace them. Now we find photographs on television and billboards; in special publications devoted to news people fashion or sports; in newspapers; in museums and galleries; and on the Internet. And ironically the more places there are to see photographs the harder it is to attract viewers. But in 1942 when Philippe Halsman's portrait simply appeared on the cover of Life and immediately reached a large united audience.Surrealism:.In Paris Halsman studied the work of other artists and photographers especially the surrealists from whom he learned to make images that surprised his viewers. By including homely and ultimately disturbing details he gave his subjects memorable tension. Through subtle lighting sharp focus and close cropping he turned formal fashion shots into serious investigations of character. When Halsman posed NBC comedians against bare white paper eliminating all defining context their isolation made them look both frail and funny.Salvidor Dali Most important of all from the surrealists' exploration of the erotic unconscious Halsman learned how to combine glamour sex and wholesome energy in one portrait. This unusual ability made him Life's favorite photographer for sensual stars like Marilyn Monroe and Brigitte Bardot. Halsman's sympathy for surrealism also led to his long productive friendship with Salvador Dali. Halsman met Dali on assignment in 1941 and over the next three decades they became partners on many projects including a series of playful tableaux that had all the disturbing irrationality of dreams or a painting by Dali. Their most notable production was "Dali Atomicus" in which the artist his canvas furniture cats and water all appear suspended in air.Psychological Portraiture:.Over the course of his career Halsman enjoyed comparing his work to that of a good psychologist who regards his subjects with special insight. With his courtly manners and European accent Halsman also fit the popular stereotype at a time when Americans regarded psychology with fascinated skepticism. In fact Halsman was proud of his ability to reveal the character of his sitters. As he explained "It can't be done by pushing the person into position or arranging his head at a certain angle. It must be accomplished by provoking the victim amusing him with jokes lulling him with silence or asking impertinent questions which his best friend would be afraid to voice.".Marilyn MonroeIn the spring of 1952 Halsman put his signature technique to work when Life sent him to Hollywood to photograph Marilyn Monroe. Halsman asked Monroe to stand in a corner and placed his camera directly in front of her. Later he recalled that she looked "as if she had been pushed into the corner cornered with no way to escape." Then Halsman his assistant and Life's reporter staged a "fiery" competition for Monroe's attention. "Surrounded by three admiring men she smiled flirted giggled and wriggled with delight. During the hour I kept her cornered she enjoyed herself royally and I . . . took between 40 and 50 pictures.".In this widely familiar portrait Monroe wears a white evening gown and stands with her back against two walls one dark the other light her eyes half closed and her dark lipsticked mouth partly open. Yet Halsman deftly avoided any explicit representation of the true subject of the picture. Using the euphemistic language of the time Halsman's assistant admired the photographer's ability to make "suggestive" pictures of beautiful women which still showed "good taste" emphasizing "expression" rather than "physical assets." And then the assistant added "Halsman is very adept at provoking the expression he wants.".Jumpology:.In 1950 NBC asked Halsman to photograph many of its popular comedians. Milton Berle Ed Wynn Sid Caesar Groucho Marx Bob Hope Red Skelton and many others came to Halsman's studio where they performed while he captured their antics on film. A single session could generate two or three hundred pictures. When Halsman compared these comic images to more traditional portraits he found that comedians often jumped and always stayed in character. Desperation and good humor finally drove him to ask others to jump for his camera when the Ford Motor Company commissioned him to make an official family photograph in honor of the company's fiftieth anniversary. WindsorsHalsman spent a long tiring session with nine edgy adults and eleven restless children. Afterward Halsman's irrepressible humor inspired him to ask matriarch Mrs. Edsel Ford "May I take a picture of you jumping'" The astonished Mrs. Ford replied "You want me to jump with my high heels" Next her daughter-in-law Mrs. Henry Ford II requested a turn. The "jump" pictures had surprising charm and over the next six years Halsman asked many clients to jump for him. Van Cliburn Edward R. Murrow and Herbert Hoover declined Halsman's invitation but most people realized they had nothing to lose. Some gained considerably like the suddenly buoyant and likable Vice President Richard Nixon who jumped for Halsman in the White House. Halsman claimed the jumps revealed character that was otherwise hidden. "When you ask a person to jump his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears.".Halsman also pursued this project to discover something about himself. "I assure you that often before approaching the person my heart would beat and I would have to fight down all my inhibitions in order to address this request to my subject. At every time when the subject agreed to jump it was for me like a kind of victory." How did Halsman persuade so many to abandon their composure for his camera Somehow he managed to convince each one that the risk was all his own.Like many who escaped Hitler's Europe Philippe Halsman rarely discussed the past. He rightly insisted that his most important work took place in America and in many ways his adopted country became his subject. One typical review noted his patriotic flair praising Halsman's "unsanctimonious and immensely intense portrayal of American bounce." From a historian's perspective it seems clear that Halsman invented a glowing image of the nation as he saw it using light persuasion nerve imagination psychology and experience. This place and these faces are his creation.Halsman's perpetual quest for hidden truth also recalls his personal history as an artist and a refugee. Halsman knew that the effort to establish one's identity had significance far beyond the needs of the celebrity marketplace. "This fascination with the human face has never left me. . . . Every face I see seems to hide and sometimes fleetingly to reveal the mystery of another human being. . . . Capturing this revelation became the goal and passion of my life.". Paris: Flammarion, 1994. hardcover
1993Q-2080124331FLAMMARION 1993-12-07. Hardcover. New. New. In shrink wrap. Looks like an interesting title! FLAMMARION hardcover
1982WB16623Paris: Arthaud 1982. Hardcover. Very Good. Publisher's pictorial cloth. pp. 128. Photographs throughout. The 1982 reissue of this clever book. Inscribed by Halsman's wife Ivonne to whom the book was dedicated <br/><br/> Arthaud hardcover
2004180822New York: Howard Greenberg Gallery 2004. First edition. Softcover. Exhibition catalog for a show that ran February 6 through March 13 2004. Two portfolios bound dos a dos. Text by Mary Panzer. Includes with the covers over 30 black and white images. A very near fine copy in wrappers. An attractive catalog. Howard Greenberg Gallery unknown
18-2052New York NY: Howard Greenberg Gallery 2004. . 4to. 24 pp & 16 pp. Stiff printed wraps in 2-way binding. Very good. Includes verso fold-out portfolio catalog of 16 full page black and white plates. Catalog created on occasion of exhibit “Halsman / Dali†at the Howard Greenberg Gallery in New York from February 6 through March 13 2004. First edition. New York, NY: Howard Greenberg Gallery, 2004. paperback
200421032New York: Howard Greenberg Gallery 2004. First edition. Stiff Wraps. Orig. illustrated stiff wrappers. Fine. Unpaginated. 25 x 20.5 cm. Signed and inscribed by Morine Halsman. 16 photographic plates. Unpaginated text by Mary Panzer -- Exhibition catalogue February 5 - March 13 2004. Halsman met Dali in New York in 1941; photographs of Dali and their collaborative effort from 1942 through 1965. Howard Greenberg Gallery unknown
20161-3841776280Éditions universitaires européennes 2016. Paperback. New. 456 pages. French language. 8.66x5.91x1.03 inches. Éditions universitaires européennes paperback
2009835153NGV; ACC Distribution. New. 2009. Paperback. 0724103074 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 328 pages; 249 illustrations. -- with a bonus offer-- . NGV; ACC (Distribution) paperback
