Walther, Ingo F. und Rainer MetzgerAntiquariat.de
2 454 résultats
1987123168Köln : Taschen, 1987. o.A. 95 S., mit zahlreichen Abbildungen; 4°; Orig.-Broschur;
1987130336Köln : Taschen, 1987. o.A. 95 S., mit zahlreichen Abbildungen; 4°; Orig.-Broschur;
In-4 (cm. 30), brossura editoriale a colori, pp. 95, con illustrazioni in bianco e nero e a colori. ISBN 3822804509. In buono stato di conservazione (good copy).
L16382Paris, colectia integral, 1928. Imprimerie Union. In folio, br. de 32 pages. En frontispice une illustration reproduite à pleine page de Marc Chagall représentant le visage de Ilarie Voronca à la pointe de la Tour Eiffel. E.O. ex. non justifié sur vélin, dos recollé.
52054Sagittaire.1927.E.O.Dessin de Chagall.In-8 br.Dédicace de l'Auteur à Jean Carrive.Etat moyen de la couverture.Traduit par Roger Vailland.
1970004634Bratislava, Pallas, 1970. -- Cloth -- 8°
198695947Zürich: Orell Füssli Verlag, 1986. 21 cm ; broschiert
1970159284-1Zürich, Orell Füssli ( 1970). 12 S. Mit 6 (2 farb.) Tafn. Original-Kartonband
1991106187Frankfurt am Main: Schirn-Kunsthalle, 1991. 28,5 cm ; kart.
1991118484Frankfurt am Main: Schirn Kunsthalle, 1991. 399 S. ; 28,5 x 24,5 cm ; kart. ;
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
grand in-8°, 142 pp., abdt illustre en couleurs, broche, couverture illustree à rabats. Bel exemplaire. [DV-7]
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
1985213500BBGenf, D. Lelong, Weber, (1985). 4°. Mit zahlr. (tls. farb.) Abb. 124 S. OLwd. m. farb. ill. OU. - Gutes Ex.
in-8°, 216 pages, ill. h.t.n., notes, broche, couverture illustree Bel exemplaire. [AR-1*]
17x18 cm, rilegatura piena tela editoriale, titolo al dorso, sovracoperta illustrata con leggere tracce d'uso; pp. 12, con 54 illustrazioni a colori applicate
Limited Edition, #1415/1500. Edge wear and scuffing to paper-covered boards. Dust jacket is tattered with several tears and rear blurb is detached. Two color plates; all other illustrations in black and white. 8 3/4"w x 11"h.
19451010721945. Venturi Lionello. MARC CHAGALL. 47 pp. text includes 2 tipped-in color plates 25 drawings in b&w and is followed by 64 b&w plates. 4to. cloth. New York Pierre Matisse Editions 1945. Edition limited to 1500 copies. hardcover books
1972170687Geneva Switzerland: Skira 1972. Later edition. Small hardcover. 122 pages. Text by Lionello Venturi. Includes over 50 tipped in color plates. An about very good copy with some foxing in a very good plus dust jacket with some minor wear. Skira unknown books
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
