Picasso

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Vicente HUIDOBRO - Joseph SIMA - Pablo PICASSOLivre Rare Book

Gilles de Raiz

Bakst, Leon; Andre Levinson (Preface by); Maurice de Brunoff (Ed); PicassoBiblio.com

L’Oeuvre de Léon Bakst pour la Belle au Bois Dormant SIGNED

192237572Paris: Maurice de Brunoff 1922. Limited First edition. Paperback. g to g. 1/500. Folio. 8 21 3pp text 54 leaves plates. Uncut. Original glassine on decorative and printed dust-jacket over blind wrappers. Book housed in its original decorative green paper covered slipcase with gold lettering and decoration on spine and along joints. Raised bands. Limitation page signed by both Léon Bakst and Editor Maurice de Brunhoff. Color illustration pasted on title page. Stunning lithographic frontispiece portrait of Bakst after a drawing by Picasso. Decorative head- tailpiece and initial. In 1921 the opportunity arose for Sergei Diaghilev the renown Russian ballet impresario and founder of the Ballets Russes to present Tchaikovski's "La Belle au Bois Dormant" at the Alhambra Theatre in London using the notes that the Ballet Master Nicholas Sergeyev had kept from pre-Revolutionary Russia. It was to be a production of great magnificence designed by Léon Bakst and the first time the typically Russian full-length ballet in five scenes would be performed in England. Petipa’s choreography preserved through the use of Stepanov notation was restaged by Nicolas Sergueev stage manager for the Maryinski Theatre. Bronislava Nijinska younger sister to Nijinski and also a dancer and choreographer adjusted several enchaînements and supervised the whole show. Olga Spessivtseva was Aurora Pierre Vladimirov the Prince and Lydia Lopokova alternated with Bronislava Nijinska in the role of the Lilac Fairy. Stanislav Idzikowski proved to be a brilliant Blue Bird. Carlotta Brianza who had created the title role of Sleeping Beauty in 1890 in Saint Petersburg played Carabosse this time. The superb scenery and costumes were designed by Léon Bakst. This stunning signed limited first edition contains the complete 54 mounted color plates depicting the exotic sumptuous and richly colored costumes and sets designed by Bakst for this memorable London performance. His ingenious designs in conjunction with Diaghilev’s radical and provocative choreography helped revitalize ballet and lay the framework for modern interpretive dance. Each of the mounted color plates measures 15 1/4 x 11" image appr. 10 1/2 x 6 3/4" and is protected with a captioned tissue guard. One of 500 copies of which this is No.358. Gold lettering and decoration partly faded on slipcase. Water staining on boards. Glassine age-toned and chipped at tail of spine. Creasing along dust-jacket's spine. Wrappers intact. Book block separating. 11 plates loose. Moderate and sporadic creasing on tissue-guards. Text in French. Slipcase and glassine in overall fair to good dust-jacket in good wrappers and interior in good plates in very good condition. Maurice de Brunoff paperback

Eric Chaim Kline - Bookseller · États-Unis5 000,00 $US≈ 4 230,50 €

Teriade, ed; Henri Matisse, Pablo Picasso, Marc Chagall, Joan Miro, James Joyce, Georges Bataille, Georges Braque, Pierre BonnarBiblio.com

VERVE VOLUME 1: ISSUES 1-4 4 Volume Complete Set: No. 1: December 1937; No. 2: Spring 1938 March-June; No. 3: October - December 1938; No 4: January - March 1939;

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

Arches Bookhouse · États-Unis4 950,00 $US≈ 4 188,20 €

PICASSO, PABLO (+) BOECK, W (Introduction).Biblio.com

Pablo Picasso - Linocuts. - PICASSO'S FAMOUS LINOCUTS

196361834London Thames and Hudson 1963. Folio-oblong 340 x 400 mm. In the original clothbinding with black printed Picasso-drawings on front board. Housed in the original slipcase. Slipcase with some wear and stains otherwise very nice and clean. 14 pp. 45 linocuts by Picasso. The uncommon and exquisitely printed â€œLinocutsâ€ by Picasso which marked the beginning a new period for him as an artist. The prints were made by carving away part of the surface of a sheet of linoleum then inking and printing the remaining surface. Picasso began creating linoleum cuts to give color a more prominent role in his graphic work having previously considered it a secondary medium. His linoleum cuts emerged from a desire to adapt previous artistic concepts to a new medium and he quickly achieved original results that were not secondary to his pervious works. Inspired by memories of bullfighting from his youth in Arles and Nimes Picasso focused on this theme in his linoleum cuts produced in the fall of 1959. Despite not having seen bullfights in Spain for many years he felt their influence after the town of Vallauris allowed bullfighting under revised rules in 1954. â€œJust how and when Picasso became attracted by the linoleum technique is not known. Perhaps it was like the instance of the year 1957 when he capriciously finished his â€œLâ€™ ArlÃ©sienne with pigeon feathers picked up from the floor of his home â€œLa Californie.â€ It must be assumed aware as we are of Picassoâ€™s working methods that his interest in linoleum technique was derived from some insignificant yet real incident as well as from a response to a deep artistic need. The smooth and supple drawings in India ink and lithograph pencil for the â€œTauromaquiaâ€ which set the tone for the subsequent linoleum cuts reveal a difference something remarkably new and fresh. The ink drawings particularly point the way to heavy and unmodeled designs which are more crisp and more succinct their similarity with a silhouette-like effect is certainly significant. When he began the series of linoleum cuts the artist was already prepared with a wide range of procedures that would adjust his subjects to the flat extended areas that are inherent in this medium. Although Picasso had made only a few woodcuts in the past he immediately adopted a resolute and robust approach to the new technique and interpreted in the widest possible way the rules of carving such an easily yielding material. Formal principles that embody lines and surfaces as well as pictorial and decorative elements are freely applied to create prints that are sometimes produced from a combination of several individual color blocks or more often from a single linoleum block that was cut and recut. Others browns and blacks reminiscent of Greek vase painting became the dominating color scheme permitting a limited range of color variations. As usual Picasso intuitively developed techniques which exhausted the medium.â€ From the introduction to the present work hardcover

Herman H. J. Lynge & Søn A/S · Danemark30 000,00 DKK≈ 4 029,00 €

Picasso, PabloBiblio.com

Pablo Picasso: 347 graphische Blätter aus dem Jahre 1968

19681243431968. Berlin: Akademie der Künste 1969. Square 8vo unpaginated. Black and white photo reproductions of artworks throughout. Text in German. Original pink illustrated wrappers; a very good copy very lightly worn at extremities one small spot on the upper wrapper; inside flap and endpapers with shadows from previous tape and two small remnants a few numbers handwritten on the rear endpaper. § Inscribed by Picasso "To Walter Kohner - old friend" and dated 6.7.69. The catalogue of an exhibition of drawings and prints created by Picasso between March 16 and October 5 1968 in Mougins. "The sheets to which the artist gave no title are all dated and numbered in the order in which they were created. In this chronological order they are also shown in the exhibition so that the viewer is drawn into the dramatic tension of this work process in a unique way from page to page and from day to day - sometimes six or seven graphics were created in one day." Introduction translated The exhibition was staged in three locations in Germany between June 1 and October 12 1969. The introduction to the catalogue was written by Boris Blacher and short essays were contributed by Friedrich Ahlers-Hestermann and Felix Andreas Baumnn. Provenance: Kohner family. The name of the recipient is close to illegible however the family records that Picasso inscribed the book to Walter Kohner a theatrical agent who worked alongside his brother at the legendary Paul Kohner Agency on Hollywood Boulevard representing stars including Greta Garbo and Ingrid Bergman. Walter Paul and a third brother Frederick the novelist screenwriter and author of the "Gidget" books were born in Czechoslovakia but emigrated to California as the Nazis gained sway in Europe. Walter's childhood sweetheart Hanna remained in Europe and miraculously survived internment in four concentration camps including Auschwitz before reuniting with Walter at the end of the war. Their own account of their remarkable story was published in 1984. In 1953 Hanna told their story on This is Your Life - the first non-celebrity ever to appear on the show. unknown

John Windle Antiquarian Bookseller · États-Unis4 750,00 $US≈ 4 018,98 €

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