1 172 résultats
1969N5042New York: Tudor 1969. Original Cloth w. Dust Jacket. Fine/Fine. Large 4to. 132pp. WITH AN ORIGINAL COLOUR LITHOGRAPH BY CHAGALL CREATED FOR THIS EDITION. A FINE COPY IN A FINE DUST JACKET <br/> <br/> Tudor hardcover
19742091502133538548Kyuryudo 1974. Soft Cover. Fine. Number of books: 1 Kyuryudo paperback
20052110502151005408Iwanamishoten 2005. Soft Cover. Fine. Volume: 1 Iwanamishoten paperback
19852083002117801577Asahishinbunsha 1985. Soft Cover. Fine. Number of pages: 276p Size: 19cm Asahishinbunsha paperback
19852091202132704126Asahi Sensho 270 1985. Soft Cover. Fine. The book is in fine condition. Asahi Sensho 270 paperback
19852091502133539127Asahishinbunsha 1985. Soft Cover. Fine. Number of books: 1 Asahishinbunsha paperback
19852111902158301319Asahi Shimbun Asahi Selection Book 1985. Soft Cover. Fine. Number of pages: 276 p Out of print Size: Size cm: 18.9 x 12.8 x 1.6 Number of books: 1 Asahi Shimbun Asahi Selection Book paperback
19722090202120802766Toshi shubbansha 1972. Soft Cover. Fine. Volume: 1 Toshi shubbansha paperback
2081402109701395Kashiwashobo N.A. Soft Cover. Fine. Number of pages: 238p Size: 20cm Kashiwashobo paperback
193811642<p>Verve. Paris. 1938 1939. FOLIO. 14.1 x 10.4 inches. Two issues bound in one hardback volume. Fully illustrated throughout with drawings paintings and photographs these 2 numbers contain original full colour lithographs by Chagall Miro Rattner Klee Matisse & Derain. The two issues have been bound into one hardbound volume and the binding has been beautifully hand painted in acrylic and oils with an abstract design including the volume title to both the boards and the spine by noted Neo-Expressionist American painter Gaylen Hansen. There is some rubbing to the edges and one small split to the outer edge of the front board without loss which has been strengthened to the inside with clear tape but generally the book is in very good condition. Included with the volume is a fine hardback copy of the fully illustrated book issued in 2007 to accompany the retrospective exhibition "Gaylen Hansen: Three decades of Paintings" at the Seattle Art Museum October 2007 - January 2008 and Salt Lake City Art Center February - April 2008.</p> Verve. Paris. 1938 1939 hardcover
199260229Jacques Boulan. Very Good. 1992. Hardback Slipcase. Please note that this is a heavy item and may incur extra shipping costs for international orders. ; Grey cloth slipcase some edges loose with fraying at corners; cloth folder small stain near titling on spine; folded title cover with loose sheets illustrated with one lithograph after Marc Chagall and eight original lithographs by Andre Verdet CD included. This is number 106 of a limited 125 copies with the publisher's signature at rear. Booklet 'Marc Chagall' by Andre Verdet 1956 Rene Kister pub. also laid in 30pp with illustrations. ; 11.75 x 2.25 x 14 inches; Unpaginated pages . Jacques Boulan hardcover
1984054455Dial Press / Doubleday 1984. 1st Edition 1st Printing. Hardcover. Near Fine/Very Good. 124 Pp. Black Cloth Spine Blue Boards And Endpapers. First Printing No Additional Printing Noted First Published 1993 In France. Light Usage No Marks. Very Good . Dust Jacket Priced $30.00 With Light Wear Short Edge Tears. <br/> <br/> Dial Press / Doubleday hardcover
1984mon0000067931Doubleday 01/09/1984 00:00:01. hardcover. Very Good. 1.5228 cent in x 30.7107 cent in x 22.8426 cent in. Has a gift inscription on the front free endpaper. Doubleday hardcover
199868842G. Hatje. New. 1998. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in German. 288 pp. With 165 ills. 112 col. . 31 x 24 cm. -- with a bonus offer-- . G. Hatje hardcover
194248674New York.: Pierre Matisse. 1942. Original publisher's pale yellow printed wrappers with folding flap titles to front cover in green later green board slipcase. 8vo. 230 x 154 mm. Title to front cover verso and interior of folding flap with text 'Europe' by James Thrall Soby page also to interior of wrapper with 'Catalogue' with artist title and date of each work leaf of white paper with the text 'America' by Nicola Calas recto verso with blank leaf with notes here with numerous signatures see below following fold-out spread with monochrome reproduction photograph by George Platt Lynes of the participating artists see also below recto and verso also with the text 'America' concluding on the inner rear wrapper. PROVENANCE: Margaret and Alfred Barr; acquired from Barr's estate by Thomas Walther; private collection Berlin. Margaret and Alfred Barr's presentation copy of the catalogue for the exhibition they had done so much to enable signed by all of the participating artists and by the gallerist Pierre Matisse.Pierre Matisse's presentation is in black ink to the foot of the blank 'Notes' leaf bearing the signatures of the participating artists: 'THIS IS A SPECIALLY SIGNED COPY FOR MARGARET AND ALFRED BARR / Pierre Matisse / NEW YORK MARCH 3d 1942'.The copy is signed in various colour inks by all of the participants: Marc Chagall blue ink Pavel Tchelitchew turquoise Ossip Zadkine red Eugene Berman purple Yves Tanguy umber Fernad Léger red Max Ernst blue André Masson red André Breton turquoise Amedée Ozenfant blue Kurt Seligmann umber Piet Mondrian blue / black Roberto Matta Echaurren sepia and Jacques Lipchitz green.It is significant that Margaret Scholari Barr known as Marga is listed first in the presentation by Pierre Matisse as from 1940 she had taken charge of the ongoing operations to help artists and writers fleeing Europe. Each individual required 'a visa from the State Department an affidavit of financial support an affidavit of moral sponsorship vouching that he or she was in imminent danger and would not be inimical to U.S. interests biographical sketches and letters of reference proving identities and the above and at least $400 for ocean passage'. In conjunction with Curt Valentin himself a beneficiary of the Barrs' help Kay Sage she married Yves Tanguy another beneficiary in 1940 Kay Boyle and the Emergency Rescue Committee. Although no exact list of all of those who benefited from the help of the Barrs and the ERC remains extant the majority of those who exhibited in 'Artists in Exile' did and the present catalogue represents a remarkable testament to their work their efforts and their humanity.The exhibition - perhaps an unlikely one given the range of participants and their differing outlooks temperaments and sympathies - was held at Pierre Matisse 41 East 57th Street New York from 3rd - 28th March 1942; each of the artists contributed one work undertaken after their arrival in the US those by Masson and Lipchitz were courtesy of the Buchholz Gallery.'Pierre Matisse did not run after publicity but there were times when publicity ran after him. That is what happened in March 1942 when the Pierre Matisse Gallery in New York opened a show called 'Artists in Exile'. The title came fraught with pathos. So did the timing . The word 'exile' had sharp teeth . As he wrote to his father . 'I stayed in town to hang the exiles' show today instead of tomorrow. I took this precaution because all the exhibitors are right here in town. You know what they are like. They'd insist on giving me advice and making sure that their own painting had a very goood place . They number fourteen in all and I got them together for a group photograph. As most of them didn't speak to one another when they were in France I was afraid there would be trouble when they were all thrown together . '. Pierre Matisse quoted by John Russell.'In no sense were they a band of brothers. But they did all agree to huddle together before the camera . Given the variety of age instinct outlook nationality and relative achievement that was in question the show was necessarily the equivalent of alphabet soup. It was not likely that the fourteen artists in question would ever again be in the same room at the same time. Not only were they a tight fit in the space available but solidarity was minimal. And yet for an uneasy quarter of an hour along with other unlikely conjunctions André Masson sat next to Piet Mondrian and Marc Chagall sat between Max Ernst and Fernand Léger. There was zero eye contact. Unsmiling they sat stiff and still and stared straight ahead.' James Russell.' . as the situation became increasingly desperate across the Atlantic i.e. in Europe in the 1930s European artists scholars and arts workers began reaching out to MoMA for help. Working in concert with the Emergency Rescue Commitee ERC a group of New York-based activists MoMA staff including director Alfred H. Barr Jr. and his wife art historian Margaret Scholari Barr who led the initiative at the Museum helped their peers in Europe secure the papers and funds necessary to immigrate to the US . Scholari Barr made 'rescue' operations her full-time occupation in these years . Artists including André Breton Marc Chagall Max Ernst and Piet Mondrian were able to relocate here through the aid of the Barrs and the ERC.' MoMA catalogue.'Sometimes doing more than the government was willing to do MoMA was the final hope for many. The Barrs took advantage of their contacts and MoMA’s reputation to turn the museum into a literal protector and defender of modern art.' Christina Eliopoulos.see Christina Eliopoulos' 'In Search of MoMA’s “Lost†History: Uncovering Efforts to Rescue Artists and Their Patrons' MoMA 2016; see John Russell's 'Matisse: Father and Son' New York 1999 pp. 201 - 203. Pierre Matisse. unknown
19991891024078<p>Lavishly produced using impeccable digital color separations and the finest printing this catalogue raisonne of Chagall's lithographs documents 1050 works each with complete identifying signature and edition information.</p> D.A.P./Distributed Art Publishers, Inc. hardcover
1937510540Verve 1937. First Edition. Paperback. FINE. Complete run of the first four issues of Teriade's legendary art magazine. Beginning with a stunning cover produced by Matisse for the first issue Verve would incorporate fresh artwork into its cover designed newly commissioned by artists such as Miro Picasso Chagall and other leading lights of the French art world. Each issue offered spectacular color lithographs printed by the Paris lithographers Mourlot. Early issues came in litho-printed card wrappers in boxes later volumes would be in paper-over board with litho covers. This choce allowed Teriade to feature the fresh lithographic artwork in the cover design but left the books themselves extremely fragile and succeptible to wear. Additionally the full-page lithographs have been continuous targets for art dealers looking to excise the plates. So condition seen here is quite rare with each volume preserved COMPLETE FINE with no signs of the wear and toning so commonly seen. 'The cover of Verve No. 1 is by Henri Matisse; it consists of three unmodulated colors--red blue and black--that the master cut directly from printers' ink specimen books. . Mattisse's cover for the first issue lithographed by Fernand Mourlot printers was an original work of art created expressly for the magazine--as would be practically all of the Verve's covers. . The painter took great pains to make sure that the cover would turn out exactly as he wished. . THe care Matisse lavished on what others might consider a minor undertaking was one of the hallmarks of Teriade's publications. How did he induce the greatest artists of this century to give the very best of themelves . Matisse and Teriade shared a common ideal. For both of them painting was life itself.' Michel Antonioz VERVE: The Ultimate Review of Art and Literature 35-36. Verve paperback
1937205359Paris: Verve 1937. First edition. Softcover. Volume One Number Three. Text in English with contributions by Rabindranath Tagore Paul Valery Henri Michaux Andre Malraux and others. Includes color illustrations of works by Pierre Bonard and numerous other color and black and white illustrations. Also features "The Four Seasons" series with original color lithographs by Marc Chagall Joan Miro Abraham Rattner and Paul Klee. A bright near fine copy in Pierre Bonnard illustrated wrappers with some soft creasing to the top right corner some other very minor wear and the former owner blindstamp of art critic John Arthur to the title page. A pleasing copy with an interesting provenance. Verve unknown
19501204071950. First Edition. Signed. CHAGALL Marc. Verve. Contes de Boccace. Paris: Éditions de la Revue Verve 1950. Folio original lithographic dust jacket over boards. $5800.First edition of this exceptional volume of 26 Chagall heliogravures accompanied by 26 tipped-in color prints from a medieval miniaturist boldly signed by Chagall on the half title. From the collection of Joseph Liverant a fellow Russian Jewish emigré and friend of Chagall.The art critic Stratis Eleftheriades under the nom de plume Tériade published the art journal Verve in Paris from 1937 to 1960. He commissioned famous artists of the day from Matisse to Picasso and Chagall to provide works for the journal with numerous lithographs appearing for the first time in his publications. This volume is particularly notable for the unusual medium for Chagall used: ""New washed drawings in India ink which are quite unrelated to anything he had done before. Using black diluted in every possible degree from onyx to the palest shade of gray he produced sheets that give an intensely colorful effect These drawings were a response to what he saw in his new environment and stemmed from the urge to render in a spontaneous fashion the overwhelming impact of the profusion and light. They also reveal paradoxically the increased importance of color as a medium of expression. In these drawings 'light' does not signify a diminution of the colorfulness but an advance into the zone from which it springs. One might say that the heart of the color is light and from this light Chagall created the colorfulness of his sheets. What this means is visibly demonstrated by the drawings he did at Tériade's suggestion for the number of Verve dedicated to Boccaccio's Decameron. What Chagall produced was a present-day counterpart to colored reproductions of the miniatures in a fifteenth-century manuscript of Boccaccio's work. For each of his drawings he drew inspiration from the miniature of the same scene and the old and new illustrations are reproduced side by side in the pages of Verve. In Chagall however everything attains a new meaning. A new logic links the objects of the anecdotic 'tale' and the plot of the love story gives rise to ardent desire and serene joy. What is more in Chagall's large black-and-white plates the light radiates in a far richer modulation of color than the full coloring of the miniaturist's precise magic-lantern pictures"" Meyer 499. From the collection of Joseph Liverant a fellow Russian Jewish emigré and close friend of Chagall. Liverant and Chagall both fled Europe in World War II Liverant to Canada and Chagall to the United States. After the war both acquired residences in Provence where shared social circles similar ages and a mutual love of Yiddish combined to forge a lasting bond of friendship between the two.About-fine condition. hardcover
19501203221950. First Edition. CHAGALL Marc. Verve. Contes de Boccace. Paris: Éditions de la Revue Verve 1950. Folio original lithographic dust jacket over boards. $1500.First edition of this exceptional volume of 26 Chagall heliogravures accompanied by 26 tipped-in color prints from a medieval miniaturist.The art critic Stratis Eleftheriades under the nom de plume Tériade published the art journal Verve in Paris from 1937 to 1960. He commissioned famous artists of the day from Matisse to Picasso and Chagall to provide works for the journal with numerous lithographs appearing for the first time in his publications. This volume is particularly notable for the unusual medium for Chagall used: ""New washed drawings in India ink which are quite unrelated to anything he had done before. Using black diluted in every possible degree from onyx to the palest shade of gray he produced sheets that give an intensely colorful effect These drawings were a response to what he saw in his new environment and stemmed from the urge to render in a spontaneous fashion the overwhelming impact of the profusion and light. They also reveal paradoxically the increased importance of color as a medium of expression. In these drawings 'light' does not signify a diminution of the colorfulness but an advance into the zone from which it springs. One might say that the heart of the color is light and from this light Chagall created the colorfulness of his sheets. What this means is visibly demonstrated by the drawings he did at Tériade's suggestion for the number of Verve dedicated to Boccaccio's Decameron. What Chagall produced was a present-day counterpart to colored reproductions of the miniatures in a fifteenth-century manuscript of Boccaccio's work. For each of his drawings he drew inspiration from the miniature of the same scene and the old and new illustrations are reproduced side by side in the pages of Verve. In Chagall however everything attains a new meaning. A new logic links the objects of the anecdotic 'tale' and the plot of the love story gives rise to ardent desire and serene joy. What is more in Chagall's large black-and-white plates the light radiates in a far richer modulation of color than the full coloring of the miniaturist's precise magic-lantern pictures"" Meyer 499. Interior fine expert repairs to original boards and wrappers. hardcover
26591Lakewood CO: Centipede Press. 2010. Limited edition. Limited edition. Signed by the author. Publisher's original quarter black cloth and red paper-covered boards with titles in silver to the spine in the Salvador Dalí illustrated dustwrapper. Red satin ribbon page marker. Max Ernst illustrated endpapers. Illustrated with six black and white wood engravings by Howie Michels and six colour plates by Marc Chagall. A fine copy the binding square and firm the cloth bright and fresh. The contents are clean throughout and without previous owners' inscriptions or stamps. Complete with the lightly rubbed dustwrapper that has a small scratch to the rear panel and is otherwise without fading loss or tears. Not price-clipped $95.00 on the barcode label fixed to the rear panel. Issued in an edition of 300 copies from which this example is numbered 176 and signed by Steve Rasnic and Melanie Tem in black ink on the colophon. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. Lakewood, CO: Centipede Press. 2010 hardcover
196353079In Collaboration with The Art Institute of Chicago. The Museum Of Modern Art New York 1963. First Edition; First Printing. Softcover. Very Good in wrappers. 1/2 inch open tear to spine crown.; Small 4to. In Collaboration with The Art Institute of Chicago. The Museum Of Modern Art, New York unknown
20-04888Swann Gallery 38353. Paperback. New. In shrink wrap. Swann Gallery paperback
000836London; 1961: Abelard-Schuman. First Edition. Folio. 46pp. Preface and eight drawings by Marc Chagall. Sutzkever a leading Yiddish poet of his generation. He evokes Siberia of his early childhood. He remembers it as a land of ice and mystery lit by the silver moon above the forests and the cold sun whose course followed that of his father's sledge. These poems inspired Marc Chagall to illustrate the poems and preserve the spirit of the poems. Their work represents a fusion of Slavic and the Jewish. Bound in light blue cloth spine lettering silver. A very good copy in unclipped beige pictorial dust jacket lettered and decorated in black closed edge tear to upper corner some soiling and a couple of small stains closed edge tear to rear panel. Abelard-Schuman unknown
17-3431New York : H.N. Abrams 1985. 4to. 280 pp. Hard cover. Very Good. Blue cloth covered boards. Dust Jacket Very Good. In protective Mylar wraps. Color and B&W plates throughout. ISBN: 0810907976 9780810907973.From the Library of Pasquale Iannetti with book loan card and embossed stamp. New York : H.N. Abrams, 1985. paperback