Marc ChagallBiblio.com
Chagall, MarcAntiquariat.de
Arabische Nächte - 4 Erzählungen aus 1001 Nacht.
1987124441München : Prestel, 1987. 176 S., Ill. Leinen, gebundene Ausgabe, SU., Schuber.
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1990KFZZQ100813DEAGOSTINI 1990. Soft Cover. Fine. KFZZQ100813 DEAGOSTINI paperback
Litografia orig. a col. cm. 35x55. Tratta da "Derrière le Miroir"
1999BM15814Munich: Prestel 1999. Brand new with dust jacket in original shrink wrap. 161 pages. Size: 6.5"x9.5". Hardcover. Prestel Hardcover
1987BN154401Prestel München 1987. 1987. Hardcover. Arabische Nächte Vier Erzählungen aus 1001 Nacht <br/><br/>Arabische Nächte Vier Erzählungen aus 1001 Nacht Marc Chagall Prestel, München hardcover
1987124441München : Prestel, 1987. 176 S., Ill. Leinen, gebundene Ausgabe, SU., Schuber.
199942045München ; London ; New York : Prestel, 1999. 1. Aufl. 163 S. : Ill. 8°, Kartoneinband, schöner Zust.
2006ABE-9617144308100 PAGES FORMAT IN 4-SCULPTURE YVES KLEIN EN COUVERTURE-IVAN MESSAC-DASHA FURSEY-BERNARD RANCILLAC JAZZ AUTOUR DE MINUIT-YVES KLEIN LE GRAND BLEU-GEORG BASELITZ-NIKI ET JEAN STYLE BONNIE AND CLYDE MUSEE TINGUELY-CHAGALL EN TOUTE LUMIERE-PAT ANDREA TROIS ANS AVEC ALICE-(PRAR2)
1998R200041325DE FACTO ASBL. 1998. In-4. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 64 pages- nombreuses illustrations dans et hors texte. . . . Classification Dewey : 702-Ouvrages divers sur les beaux-arts et les arts décoratifs
6849MARC CHAGALL 1887-1985. Marc Chagall born Moishe Shagal was a Russian and French artist of Jewish ancestry. He is known for his artwork that blends surrealism Fauvism and Cubism to depict Jewish folklore and memories of his youth in Vitebsk. He was described by Picasso as having an unparalleled understanding of color and for decades he had been said to be the world's pre-eminent Jewish artist. His most famous works include I and the Village Paris Through the Window and La Marie The Bride.Signed Program. February 11 1967. New Haven Connecticut. A program signed Marc Chagall 1967 for his lecture at Yale University. While Chagall is primarily known as a painter he had a connection to the theater world because of his theatrical designs. The year prior to this lecture he had completed the murals The Triumph of Music and The Sources of Music for the new Metropolitan Opera House at Lincoln Center. He also designed the sets and costumes for the Mets production of Mozart's The Magic Flute which premiered in February 1967 the same month as his Yale lecture. Given Chagalls contributions to stage design and his mastery of color theory the school invited him to speak about the intersection of fine art stagecraft and the power of color. Chagall usually resided in France this program being rare example of him sharing his artistic philosophy with an American academic audience. This program is under a reproduction of his painting I and the Village. The program is professionally framed and in very fine condition. unknown
500228789Sans date.
17-5096New York NY: Hammer Galleries 1999. 4to. 24 pp. Softcovers. Very Good. Color Plates. New York, NY: Hammer Galleries, 1999. paperback
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
2013ABE-1621546814769132 PAGES-22 CM X 28,5 CM-EN COUVERTURE: EXPOSITION CHAGALL ENTRE DEUX FEUX-MARSEILLE: L'ART SAUVE DES EAUX, 18 PAGES-JULIEN SALAUD ET LA BETE HUMAINE, 4P-ANTOINE WATTEAU LE SOLO D'UN VIRTUOSE, 6P-ARTISTES SOUS INFLUENCES, 8P-EXPOSITION: CHAGALL AU COEUR DECHIRE, 8P-PONT AVEN L'ECOLE BUISSONNIERE, 4P-LES TRANSFIGURATIONS DE MAN RAY
1957ABE-793715141716 PAGES-EN UNE: "JEAN COCTEAU: LES HONNEURS SONT TERRIBLEMENT CONTAGIEUX"/SUITE P4-EN UNE: "VOICI L'EMISSION QUI A FAIT INTERDIRE MAX-POL FOUCHET A LA T.V."-CINEMA: "LA LOI DU SEIGNEUR (COURONNE PAR LES ACADEMICIENS DU JURY DE CANNES) PROPOSE LA PARFAITE DEFINITION DU PIRE ACADEMISME"/PHOTO GARY COOPER-DIALOGUES DES CARMELITES A L'OPERA DE PARIS FRANCIS POULENC A TUE LE LYRISME QUI TRIOMPHAIT A MILAN/PHOTO-EN DERNIERE PAGE: L'OEUVRE GRAVE DE CHAGALL EST L'EXPRESSION UNIVERSELLE DU REVE/PAR ALAIN JOUFFROY
17-0028Chicago IL : R.S. Johnson Fine Art 2018. 4to. 114p. Softcover. Good very minor tearing on spine minor marking and creasing. B&W and color prints throughout. From the Collection of the Art Historian Peter Selz 1919-2019. Chicago, IL : R.S. Johnson Fine Art, 2018. paperback
17-0657Chicago IL : R.S. Johnson Fine Art 2018. 4to. 114p. Soft Cover. Very Good. Illustrated paper wraps. B&W and color prints throughout. Scarce. Chicago, IL : R.S. Johnson Fine Art, 2018. paperback
19731341973 1973 TUDOR NEW YORK 1973
196336906Paris: Fernand Mourlot 1963. In ausgezeichnetem Erhaltungszustand. 32 x 24 cm 12.5 x 95 inches. Original color lithograph by Marc Chagall. Edition of 5000 unsigned and unnumbered from Original Lithograph 1963. Published by Fernand Mourlot Paris 1963. Printed by Mourlot Paris. Sheet: 32 x 24 cm 12.5 x 95 inches. A joyful original Chagall circus print full of the luminous color and fantasy his work is loved for. Marc Chagall 7 July 1887 28 March 1985 was one of the most celebrated and beloved artists of the 20th century. Born Marc Zakharovich Shagal in Vitebsk Belarus then part of the Russian Empire he trained in Saint Petersburg before moving to Paris in 1910 where he became part of the vibrant avant-garde of Montparnasse. Drawing on Jewish folk tradition Russian culture and the imagery of his Belarusian childhood Chagall developed a uniquely dreamlike visual language infused with lovers floating above villages fiddlers on rooftops animals angels and mystical biblical scenes. Associated with Fauvism Cubism and Surrealismyet belonging to nonehe was the quintessential 'School of Paris' master. His monumental stained-glass windows ceiling paintings including the Paris Opéra and tapestries brought his vision to public spaces worldwide. Chagall's work is held at MoMA in New York the Tate in London the Centre Pompidou in Paris the Guggenheim and the Musée National Marc Chagall in Niceinaugurated in 1973 and dedicated to his biblical message cycle. He remains one of the most sought-after names in 20th-century prints with original lithographs consistently coveted by collectors worldwide.This original color lithograph was produced during Chagall's most prolific printmaking period printed at the celebrated Mourlot studio in Paris under the supervision of master lithographer Fernand Mourlot. The Mourlot studio was Chagall's primary printmaking partner from 1950 onwards and its impeccable technical standards ensured that each impression faithfully conveyed the luminosity and color of the original stone drawings.This original color lithograph sheet: 32 x 24 cm 12.5 x 95 inches depicts 'Auftreten im Zirkus'. Published in 1963 Edition of 5000 by Fernand Mourlot Paris this work is a fine example of Chagall's graphic production of the period printed at the celebrated Mourlot studio in Paris under the direct supervision of Fernand Mourlot. Each color was applied from a separate lithographic stone resulting in the luminous layered palette that makes Chagall's prints instantly recognizable. The circus was one of Chagall's most enduring obsessions a metaphor for the artist's own world of dreamlike fantasy and poetic escape. His circus lithographswith their acrobats clowns and performers floating against vivid color fieldsare among the most joyful and decorative of all his prints perennially popular with collectors. In excellent condition. Colors vivid and unfaded. No tears creases or foxing. Ready to frame. Mourlot 392 Fernand Mourlot unknown
1931014415Paris Grasset 1931 In-8 Broché Ed. originale
197813096München, Haus der Kunst, 1978. 124 S., 2 Bll. mit zahlr. teils ganzseit., teils doppelblattgr. Textabb. 8 separate farb. Tafeln. 8°. (Katalog:) OKart. (kl. Gebrssprn.) zusammen mit den 8 separaten farb. Reproduktionen in 4° OPp.-Kassette (kl. Gebrssprn., leicht gebräunt).
19255629Köln: Kölnischer Kunstverein 1925. First Edition. A rare work from an early Chagall exhibition. Pink soft cover catalogue of an exhibition held in April 1925 at the Gemälde-Galerie of Kölnischer Kunstverein in Cologne. The pink covers are a little faded and has a small area of loss to the bottom of the spine. The spine has been reinforced with archival tape. Inside a small area of loss to the top of one plate has been visibly repaired. There is archival strengthening to the end papers. 18 pages with four b/w plates. Covers age toned at edges. A few German newspaper clippings have been lightly tipped into the rear of the catalogue. Also tipped into the rear is a 12 page booklet "Statut des Kolnischen Kunstvereins" Statutes of the Cologne Art Association. Overall though in decent condition. 220 x 140 mm 8¾ x 5½ inches. Conforms to FirstSearch / WorlcCat OCLC: 61568348. . Première édition. Un ouvrage rare issu d'une des premières expositions de Chagall. Catalogue à couverture souple rose d'une exposition organisée en avril 1925 à la Gemälde-Galerie du Kölner Kunstverein à Cologne. Les couvertures roses sont légèrement décolorées et présentent une petite zone manquante au bas du dos. Le dos a été renforcé à l'aide de ruban adhésif d'archivage. À l'intérieur une petite partie manquante en haut d'une planche a été visiblement réparée. Les pages de garde ont été renforcées à l'aide de matériel d'archivage. 18 pages avec quatre planches en noir et blanc. Les bords de la couverture sont jaunis par le temps. Quelques coupures de journaux allemands ont été légèrement collées à l'arrière du catalogue. Un livret de 12 pages « Statut des Kolnischen Kunstvereins » Statuts de l'Association artistique de Cologne a également été collé à la fin. Dans l'ensemble l'ouvrage est toutefois en bon état. 220 x 140 mm 8¾ x 5½ pouces. Conforme à FirstSearch / WorldCat OCLC : 61568348. Kölnischer Kunstverein paperback
19255629Köln Kölnischer Kunstverein 1925 Première édition. Un ouvrage rare, issu d'une des premières expositions de Chagall. Catalogue à couverture souple rose d'une exposition organisée en avril 1925 à la Gemälde-Galerie du Kölner Kunstverein à Cologne. Les couvertures roses sont légèrement décolorées et présentent une petite zone manquante au bas du dos. Le dos a été renforcé à l'aide de ruban adhésif d'archivage. À l'intérieur, une petite partie manquante en haut d'une planche a été visiblement réparée. Les pages de garde ont été renforcées à l'aide de matériel d'archivage. 18 pages, avec quatre planches en noir et blanc. Les bords de la couverture sont jaunis par le temps. Quelques coupures de journaux allemands ont été légèrement collées à l'arrière du catalogue. Un livret de 12 pages, « Statut des Kolnischen Kunstvereins » (Statuts de l'Association artistique de Cologne), a également été collé à la fin. Dans l'ensemble, l'ouvrage est toutefois en bon état. 220 x 140 mm (8Ÿ x 5œ pouces). Conforme à FirstSearch / WorldCat OCLC : 61568348.
19701086231970. Signed. CHAGALL Marc. Autograph letter signed. Zurich September 9 1970. Single sheet of Dolder Grand Hotel airmail-weight stationery measuring 6 by 8-1/4 inches; pp. 2 with original matching hand-addressed envelope. $2200.Extraordinary 1970 autograph signed letter written entirely in Yiddish from Marc Chagall to acclaimed Yiddish writer and Jewish activist S.L. Shneiderman thanking him for sending a book on Ilya Ehrenburg; expressing his hopes that they will see each other in the near future; and explaining that he is in Zurich for an event related to having made the stained glass windows for the Fraumunster Church.The letter written on a sheet of Dolder Grand Hotel airmail stationary entirely in Chagall's hand and dated ""9/Sept 1970"" and accompanied by a hand-addressed matching envelope reads in full translated: ""Dear friend Schneiderman A thousand years have gone by and I remember youand your Yiddish writing stylebut we seldom see each other. Thank you for your book about poor Ehrenburg and also the attached article about me not a public/published one. I will read your book. You can imagine that since that terrible epoch for us Jews we can never forget. I hope that someday I will see you. I send regards to you and to all the good Jews in America. With love Marc Chagall. P.S. I am here for the opening/conference since I made Biblical vitrages stained glass windows for the Fraumunster Church in Zurich."" This letter was written just before friction began to emerge between Shneiderman and Chagall. While Chagall had grown into an acclaimed artist in Europe much of that fame was dependent on working with non-Jewish entities such as churches and even on drawing depictions of events in the New Testament. Increasingly the Christian world began to embrace Chagall and to interpret his work as having ecumenical or even Messianic undertones. Chagall continued in his artistic endeavors and failed to respond to some of the religious-based commentary. Shneiderman felt that this was intolerable publicly criticizing Chagall's failure to meet with Jewish representatives in the community he worked in and his new alignment with Christian and secular authorities. While their relationship did not completely sour and they continued to correspond their relationship grew strained. At the time this letter was penned Shneiderman had just completely a book on Ilya Ehrenburg a famous Soviet-Jewish writer and cultural figure. Highly regarded as a translator journalist poet novelist and travel writer Ehrenburg is probably best known for his Black Book a powerful work detailing the genocide of Soviet Jews by the Nazis during the Holocaust. His book The Thaw on liberalization after Stalin also had a powerful influence and gave a name to an era. Sadly Ehrenburg's reputation was quickly destroyed by antisemites and conspiracy theorists after the war who seized upon an article he wrote called ""Kill!""published while the Soviets were losing the war and the Germans were deep inside Soviet territoryin which Ehrenburg entreated soldiers to kill at least one German a day. Postwar he has often been blamed for the sacking of Germany by Russian troops though he condemned their actions. He died horribly of prostate and bladder cancer still a committed communist. The recipient of this letter was the famous Yiddish writer and journalist Samuel ""S.L."" Shneiderman. Continuing his distinguished early career as a war journalist Shneiderman is best known today for raising awareness about the plight of the Warsaw Ghetto after his arrival in the United States in 1940 and for his dedication to preserving the history of the Jews in Poland throughout his life. His works on the Holocaust and the terrible fate of the Jews remain the best known of his works. Shneiderman and his wife Eileen were also avid collectors of Yiddish-language books and their collection is now housed at the University of Maryland.Slight soiling to envelope letter fine. unknown
01-08921974. 1 ALS from Chagall’s wife Vera on behalf of Chagall to the Swiss handmade papermaker Fred Siegenthaler regarding paper. Stamped and ahnd addressed envelope. La Colline stationery. 1974. unknown
dola1052Geneva: 1975. Limited to 1250 copies. Exhibition Catalogue. 4to. 20 plates some colour. price list laid in. wrs. mylar dw. Fine copy. dola1052 Geneva: 1975 unknown
