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1984TH233286Thames & Hudson London 1984. 1st Edition. HARDCOVER. From the collection of Ruth Lynam the photographer fashion writer and noted balletomane and has a slip of paper signed in black ink by Yves Saint Laurent pasted to the half title leaf no other marks or inscriptions. This is the UK edition of the book published to accompany the Yves Saint Laurent retrospective exhibition at the Metropolitan Museum of Art New York 14 December 1983 - 2 September 1984. Large heavy 4to. gilt embossed black cloth gilt lettering to spine 192pp numerous plates in colour and b/w etc. __CONDITION : A well preserved near FINE clean and tight unmarked copy pages very slightly tanned hint of shelf rub to cover bottom edges in a VERY GOOD complete Dust Jacket very slightly creased and nicked along the top edge head of spine panel slightly chipped looks fine in its removable transparent protector. . NOTE: Depending on destination this item may require an extra payment for insurance. If so orders made by card will be completed only after you have approved any such extra cost. . . . . . . . . . . . . To see more of our Costume fashion etc type DBBCOSTUME in the Keywords search box __We always ship in PROTECTIVE CARD PARCELS Thames & Hudson, London hardcover
1975013823Paris Libération - Bazooka production 1975 En feuilles
1953237361953 Paris, Berggruen, Mourlot, brochés in-8 allongés, 1953-1990, couvertures illustrées, certaines lithographiées, tirages limités.
323708San Francisco: Alan Wofsy vd. Titles in English and French; Spanish and Catalan. 12 vols. 4to. Cloth. Fine in fine dust jackets. Titles in English and French; Spanish and Catalan. 12 vols. 4to. Alan Wofsy unknown
36072Paris: La Bibliothèque Française 1945. Portfolio. 1st edition. Loose sheets as issued in later custom clamshell box with original portfolio cover mounted on front. 4to.<br> One of 3200 Numbered Copies. 111 plates of drawings the first 100 relating to Buchenwald originally drawn on stolen paper plus 6 portraits and 5 aquarelles in color. Captions in French English and Russian. 26 cm. Title page and preface in French. Title translates as "111 Drawings Made in Buchenwald 1944-1945."<br> Very early 1945 publication from the year of liberation. <br> Boris Taslitzky began painting at the age of fifteen and attended the academie Montparnasse and the École des Beaux-Arts in Paris between 1925 and 1933. In 1933 he joined the Association of Revolutionary Writers and Artists A. É. AR where he became general secretary of the section of Painters and Sculptors and then in 1935 he joined the Communist Party.<br> In 1936 during the presentation of Quatorze Juillet by Romain Rolland Taslitzky participated in the exhibition that brought together Picasso Léger Matisse Braque Jean Lurcat Laurens and Pinion in the lobby of the Alhambra Theatre.<br> Taslitzky was captured in June 1940 escaped in August and joined the Resistance. He was arrested again in November 1941 sentenced to two years in prison and then on July 31 1944 he was deported to Buchenwald where he manages to make some two hundred drawings showing life in the camps. "If I go to hell I will make sketches. Besides I have experience I've been there and I've drawn! . " he later said. His mother died at Auschwitz .<br> In 1946 Taslitzky exhibited his works which were inspired by the Resistance and Deportation winning the Prix Blumenthal. He was later awarded the Military Cross and Military Medal and in 1997 he received the insignia of Chevalier of the Legion of Honour under the Resistance and Deportation. He was both witness and actor in the story of French Resistance and the Holocaust.<br> For more on Taslitzky see for example https://boris-taslitzky.fr/fortune-critique/02fortune-critique-1970-2004.ht m <br> SUBJECTS : Concentration camps -- Pictorial works. Buchenwald Camp de Guerre mondiale 1939-1945. Prisonniers et déportés. Camps allemands. Buchenwald. Album. Concentration camps. Pictorial works. Wear to original illustrated cover which has been mounted on front of box but no damage to illustration. Moving early and important. Holo2-125-44. Paris: La Bibliothèque Française unknown
1964310000Paris: Maeght 1964. #38 of 350 copies on vélin de Rives. With 5 original lithographs including one b&w double-page by Picasso Cr. 124; Bloch 1847 and one each in color by Miró Cramer 87 Tal-Coat Ubac and Pallut; with illustrated wrappers and 8 other illustrations after Braque including etched frontispiece "Trois oiseaux sur fond violet"; plates by additional artists including Man Ray Marc Chagall and others. Folio. Loose as issued in illustrated wrappers. In chemise and paper over boards slipcase. Fine with a few smudges to slipcase. #38 of 350 copies on vélin de Rives. With 5 original lithographs including one b&w double-page by Picasso Cr. 124; Bloch 1847 and one each in color by Miró Cramer 87 Tal-Coat Ubac and Pallut; with illustrated wrappers and 8 other illustrations after Braque including etched frontispiece "Trois oiseaux sur fond violet"; plates by additional artists including Man Ray Marc Chagall and others. Folio. With original lithographs by Picasso Miró and others. Maeght unknown books
51-5761Palma de Mallorca: Las Ediciones de los Papeles de son Armadans 1962. Folio. 25 x 35cm. Original burlap binding.158pp. plus index limitation statement and colophon. Illustrated with reproductions of 32 Picasso pastel drawings. On Guarro paper with Picasso-designed "sun" and "sheaf" watermarks. Text in Spanish.Camilo José Cela Spanish 1916-2002 was a poet novelist member of the Royal Spanish Academy and Royal Senator in the Spanish parliament. He won the Nobel Peace Prize for literature in 1989. This book a collection of fables presents a collaboration between Cela and his friend Picasso.Light wear to boards with rubbed corners; light wear and toning to page edges occasional minor mark light foxing along top edge; a near fine copy.A collection of fables by the Spanish writer who won the Nobel Prize in 1989 the Cervantes Prize the Premio Planeta etc. Published in Palma de Mallorca in an edition of 2135 copies with 32 color drawings by Picasso. Of these 2000 were numbered 1-2000: this copy is numbered 417 and signed by the author. Bound in straw-coloured roughly woven hessian that was specially made for this edition. Printed on ‘papel Picasso’ – used here for the first time – made with double watermarks a sun and a sheaf or a bunch of flowers loosely bound with a ribbon both designed by Picasso. Palma de Mallorca: Las Ediciones de los Papeles de son Armadans, 1962 hardcover
19641742Paris: Mourlot Press 1964. First edition. Soft cover. FIRST EDITION one of 2000 copies on Velin d'Arches out of a total edition of 2200 of this lavishly illustrated exhibition catalog from the Smithsonian Institution. With 18 original lithographs most in color by Chagall Picasso Miro Beaudin Esteve Matisse Guiramand Florsheim Cathelin Brasilier Brianchon Cocteau Minaux Jenkins Calder Kito Giacometti and Manessier. Prints from the Mourlot Press. Exhibition Sponsored by the French Embassy Circulated by the Traveling Exhibition Service of the National Collection of Fine Arts Smithsonian Institution. Paris: Mourlot Press 1964. Quarto original plain wrappers original dust jacket with lithograph by Chagall. Just a hint of toning to spine. Text in English. A FINE COPY. Mourlot Press paperback books
05-00191945. Wool tapestry after the painting. 97 x 120 cm. 38 x 47.5 inches. Picasso Project no. 45-012. 1945. unknown
1956692231956 Paris, Editions Joseph Forêt, 1956 , Deux plaquettes in-8 en feuilles au format 17 x 25 cm, ss pp, En feuillets, très bon état, recueil sous une chemise imprimée " tête-bêche" de deux superbes lithographies originales de Jean Cocteau,
1971mon0003131073Marlborough / Saidenberg. 1971T. paperback. Good. 0.4000 11.7000 8.1000. Marlborough / Saidenberg. paperback
1939785Editions Ambroise Vollard, Paris 1939. Petit in-4 (250 x 195 mm) en feuilles sous couverture illustrée à rabats. 43 GRAVURES ORIGINALES D'ARISTIDE MAILLOL : (une vignette de couverture), frontispice, (vignette de titre), 15 gravures en hors-texte et 27 dans le texte. Table des gravures et colophon illustré d'une vignette. Tirage à 230 exemplaires, celui-ci étant l'un des 170 numérotés sur vélin vergé de Montval au filigrane dessiné par Maillol. Imprimeurs : Henri Jourde pour le texte et Roger Lacourière pour les gravures. Seul livre illustré de pointes-sèches par Maillol et le dernier ouvrage édité par Ambroise Vollard qui allait se tuer dans un accident de voiture quelques semaines après la publication.
19521607150006Paris decembre 1952: Mourlot 1/1/1952. Poster. Very Good. Woodcut lithographic poster by Picasso. 65 x 47 cm. 1000 total on Cranson Paper in Different Colors Mourlot - Paris pub. Ref: Mourlot 68 - Czw 77 The poster is subtitled "Maison de la Pensee Francaise/ 2 Rue de L'Elysee-VIII/ A Partir du 6 Decembre. It is titled "The Goat" in the Catalogue Raisonne. The Maison de la Pensee is where Picasso held his first ceramics exhibition and his largest exhibition of sculptures and drawings in 1951. In the bottom left corner is small text that reads "Mourlot-Paris". The artist's signature is printed in the stone. Included in the Catalogue Raisonne "Picasso In His Posters: Image And Work" by Luis Carlos Rodrigo catalogue number 015 on Pages 1697-1698. See our pictures. Paris decembre 1952: Mourlot unknown
1932016152Paris Galerie Georges Petit 1932 In-4 Broché, couverture rempliée
19502843Paris Chez l'auteur 1950 In-8 (28,5 x 23 cm.), 78 pp. broché. Edition tirée à 1114 exemplaires. Exemplaire de passe (non numéroté) avec la gravure en frontispice tirée en 2 états (sur vergé au trait noir en frontispice, et à part en blanc sur fond noir).
240513Editions Jeanne Bucher. Paris 1942 In-8 ( 195 x 140 mm ) de 76 pages, broché. 4 gravures au burin, zincographies retravaillées en taille-douce reproduites à pleine pages comprises dans la pagination : un portrait de Dora Maar, deux danseuses et une femme assise. Dos légèrement fragile sinon bon exemplaire de l'édition en grande partie originale ( le poème "Non vouloir" avait originellement paru seul en 1940 ) dont le tirage est limité à 426 exemplaires numérotés. Celui-ci est le N°292, un des 400 numérotés sur vélin bouffant.LE PREMIER « TEXTE RÉSISTANT » QUI NE FUT PAS PUBLIÉ CLANDESTINEMENT, selon Louis PARROT ( LIntelligence en guerre, 1945 ). Le recueil est dédié à Paul ELUARD.
19781032521978 6 Paris, Libération et Bazooka Production, janvier 1978-juillet 1978, collection complète.Six fascicules format journal 405x290mm, 32p., en feuilles, impression en couleurs.Directeur de la publication Alain Bizot, participation de Olivia Clavel, Loulou Picasso, Kiki Picasso et Lulu Larsen, avec le concours de Libération ou Serge July, alors directeur du journal écrira le 12 août 1977 (pp.12-13) : « Bazooka fout la merde ».Le groupe a également publié de nombreuses page d’illustration dans le même journal toujours dans un esprit de provocation c’est la première génération de l’après guerre dont la culture dominante est celle de l’image et non du texte.Défauts et manques au dos n°0.Contre-cultures 1969-1989 L'Esprit Français p.256-257. (103252)
1990138PARIS. PHILIPPE LEBAUD ÉDITEUR - CLUB DU LIVRE - SPADEM ET HÉRITIERS DE PICASSO. 1990. GRAND IN-FOLIO (63 X 42 X 8 CENTIMÈTRES ENVIRON) DE 36 PAGES + 31 PLANCHES, SOUS EMBOITAGE TOILE BLEUE DE L'ÉDITEUR, ILLUSTRÉ D'UNE REPRODUCTION EN COULEURS DE PICASSO SUR LE PLAT SUPÉRIEUR, TITRE EN BLANC. ILLUSTRÉ DE 42 ÉTUDES PRÉLIMINAIRES EN NOIR ET EN COULEURS, REPRODUITES EN FAC-SIMILÉ, RÉPARTIES SUR 31 PLANCHES SOUS PASSE PARTOUT. SANS LA NOTICE DE 36 PAGES COMMENTANT CHAQUE ILLUSTRATION. PREMIER TIRAGE LIMITÉ A 1967 EXEMPLAIRES NUMÉROTÉS DE 1 À 1937 ET DE I À XXX POUR LES COLLABORATEURS, CELUI-CI PORTANT LE NUMÉRO 1864. PETIT DEFAUT SANS GRAVITE AU NIVEAU D’UN ANGLE INTERIEUR DE L’EMBOITAGE, SINON BON EXEMPLAIRE.
19901657PARIS. PHILIPPE LEBAUD ÉDITEUR - CLUB DU LIVRE - SPADEM ET HÉRITIERS DE PICASSO. 1990. GRAND IN-FOLIO (63 X 42 X 8 CENTIMÈTRES ENVIRON) DE 36 PAGES + 31 PLANCHES, SOUS EMBOITAGE TOILE BLEUE DE L'ÉDITEUR, ILLUSTRÉ D'UNE REPRODUCTION EN COULEURS DE PICASSO SUR LE PLAT SUPÉRIEUR, TITRE EN BLANC. ILLUSTRÉ DE 42 ÉTUDES PRÉLIMINAIRES EN NOIR ET EN COULEURS, REPRODUITES EN FAC-SIMILÉ, RÉPARTIES SUR 31 PLANCHES SOUS PASSE PARTOUT. ACCOMPAGNÉ D'UNE GRANDE NOTICE DE 36 PAGES COMMENTANT CHAQUE ILLUSTRATION. PREMIER TIRAGE LIMITÉ A 1967 EXEMPLAIRES NUMÉROTÉS DE 1 À 1937 ET DE I À XXX POUR LES COLLABORATEURS, CELUI-CI PORTANT LE NUMÉRO 706. DEFAUTS, SURTOUT EXTERIEURS : FROTTEMENTS, TACHES A L’EMBOITAGE ET RENFORT A UN ANGLE. TOUT PETIT PRIX COMPTE TENU DES DEFAUTS SIGNALES.
19901901PARIS. PHILIPPE LEBAUD ÉDITEUR - CLUB DU LIVRE - SPADEM ET HÉRITIERS DE PICASSO. 1990. GRAND IN-FOLIO (63 X 42 X 8 CENTIMÈTRES ENVIRON) DE 36 PAGES + 31 PLANCHES, SOUS EMBOITAGE TOILE BLEUE DE L'ÉDITEUR, ILLUSTRÉ D'UNE REPRODUCTION EN COULEURS DE PICASSO SUR LE PLAT SUPÉRIEUR, TITRE EN BLANC. ILLUSTRÉ DE 42 ÉTUDES PRÉLIMINAIRES EN NOIR ET EN COULEURS, REPRODUITES EN FAC-SIMILÉ, RÉPARTIES SUR 31 PLANCHES SOUS PASSE PARTOUT. ACCOMPAGNÉ D'UNE GRANDE NOTICE DE 36 PAGES COMMENTANT CHAQUE ILLUSTRATION. PREMIER TIRAGE LIMITÉ A 1967 EXEMPLAIRES NUMÉROTÉS DE 1 À 1937 ET DE I À XXX POUR LES COLLABORATEURS, CELUI-CI PORTANT LE NUMÉRO 511. QUELQUES DEFAUTS EXTERIEURS, QUELQUES TACHES BRUNES SUR LE PLAT SUPERIEUR DE LA NOTICE. TOUT PETIT PRIX COMPTE TENU DES DEFAUTS SIGNALES.
19902971PARIS. PHILIPPE LEBAUD ÉDITEUR - CLUB DU LIVRE - SPADEM ET HÉRITIERS DE PICASSO. 1990. GRAND IN-FOLIO (63 X 42 X 8 CENTIMÈTRES ENVIRON) DE 36 PAGES + 31 PLANCHES, SOUS EMBOITAGE TOILE BLEUE DE L'ÉDITEUR, ILLUSTRÉ D'UNE REPRODUCTION EN COULEURS DE PICASSO SUR LE PLAT SUPÉRIEUR, TITRE EN BLANC. ILLUSTRÉ DE 42 ÉTUDES PRÉLIMINAIRES EN NOIR ET EN COULEURS, REPRODUITES EN FAC-SIMILÉ, RÉPARTIES SUR 31 PLANCHES SOUS PASSE PARTOUT. ACCOMPAGNÉ D'UNE GRANDE NOTICE DE 36 PAGES COMMENTANT CHAQUE ILLUSTRATION. PREMIER TIRAGE LIMITÉ A 1967 EXEMPLAIRES NUMÉROTÉS DE 1 À 1937 ET DE I À XXX POUR LES COLLABORATEURS, CELUI-CI PORTANT LE NUMÉRO 799. QUELQUES DEFAUTS EXTERIEURS : FROTTEMENTS, TACHES A L’EMBOITAGE. PETIT PRIX COMPTE TENU DES DEFAUTS SIGNALES.
101Vallauris, Galerie Madoura, 7 calendriers à spirales [2001, 2002, 2003, 2005, 2006, 2007, 2008], 4 rectangulaires, 3 oblongs, 31 x 21,5 cm, numérotés, E.O. Très bel état. L'atelier de céramique Madoura fondé à Vallauris par Suzanne Douly Ramié (1905 -1974) et Georges Ramié (1901-1976) est l'éditeur exclusif des œuvres céramiques de Pablo Picasso (1881-1973).Les 7 calendriers présentent 91 photographies en couleur des céramiques de Picasso : poteries, vases, assiettes, plats et d'autres oeuvres. Chaque oeuvre est légendée avec son tirage et son année de création. Edition bilingue anglais français. Sur la couverture, les souhaits du fils des fondateurs: « Alain Ramié, avec ses meilleurs souhaits. Alain Ramié, with his best wishes. »Calendriers adressés aux clients de l'atelier et très rarement mis en vente.L’arrivée de Picasso à Vallauris dans les années 1940 a bouleversé la conception de la production de céramique en modifiant les références traditionnelles des potiers : plus de 3000 oeuvres originales de l'artiste furent produites dans cet atelier. Jean Cocteau, Victor Brauner, Marc Chagall ou encore Henri Matisse ont également travaillé dans cet atelier. Le fils de Suzanne et Georges Ramié, Alain Ramié, éditeur de ces calendriers, a fermé les portes de l'atelier Madoura en 2007.
1936028494New York / Los Angeles: Merle Armitage / Lynton Kistler 1936. 1st Edition 1st Printing. Hardcover. Near Fine. Original Signed Lithograph By Pasquale Giovanni Napolitano. 60 Pp. Beige Morocco Blindstamped In Similar But Not Duplicative Design As The Regular Clothbound Issue But In A Larger Format 6 9/16" X 5 3/32" Which Preserves More Of The Original Lithographic Drawing We Also Have Available Separately A Full Page Printing Of The Lithograph Signed And Annotated By Napolitano Which Image Is Abbreviated Even In This Large Paper Copy.There Is A Stated Limitation Of 112 Copies This Copy Numbered 116 One Of Armitage's Copies Of A Small Overage In The Print Run. Designed By Merle Armitage Printed By Adcraft Under Supervision Of Lynton R. Kistler. Frontispiece Lithograph Portrait Of Picasso By Napolitano Pulled By Hand From Stone By Lynton Kistler And Signed In Pencil By Napolitano. Text Printed In Bodoni 12 Pt. Additionally Inscribed By Armitage "A Special Leather Bound Copy For Napolitano Merle Armitage 1936". A Near Fine Copy Slight Rubbing At Corners Of Binding. A Possibly Unique Armitage Printing In This Larger Format. <br/> <br/> Merle Armitage / Lynton Kistler hardcover
192427069Paris: Union des artistes russesFrançois Bernouard 1924. Fine. Union des artistes russes François Bernouard Paris 1924 24.50 x 29 cm broché The program is illustrated by V. Barthe wrapper and includes hors-texts by Chatzman Manet a reproduction of his Olympia Picasso Vassilieff Fotinsky and Ganovsky a spatial composition. Appearing at this event were: Olga Koklova and the Ballets Suédois of Juger Friis and Jean Borlin the dance of the lobster crab and crocodile with costumes by Marie Vassilieff and Fernand Léger the Petrograd Puppet Theatre with costumes and puppets by Goncharova and music by Bohslav Martinou and Vernon Duke three-dimensional poems by Iliazd and Katabadze as well as futurist poems from Vazry a dance by Thamara Svirskya to Satie's Gymnopédies Japanese Sports by Foujita a Spectacle on a Star from Tzara a new system of fantastical projections from Larionov and universal Foot Ball with multicolored balloons by Fotinsky and Bogoutsky. The rooms were decorated by Barthe Pougny Tchelitcheff Chazman Lanskoy Weinberg Geo Charles Chana-Orloff Alexeieff Maner-Katz and Frenkel. A rare and attractive copy. Union des artistes russesFrançois Bernouard unknown
193989995Paris: Paul Rosenberg 1939. Fine. First presentation at the Paul Rosenberg Gallery in Paris of an artwork foreshadowing the bull of Guernica: The Negro Sculpture before the Window. Paul Rosenberg Paris 1939 11 x 13.5 cm Une feuille pliée 4 pp. Rare first edition of the catalogue for Picassos final exhibition at the Galerie Paul Rosenberg in Paris held from 17 January to 18 February 1939 at 21 rue La Boétie. The front wrapper is illustrated with a black-and-white photograph of the exhibitions centrepiece: La sculpture nègre devant la fenêtre now known as Buste de Minotaure devant une fenêtre Private Collection; see Zervos vol. VIII p. 360. Painted on 19 April 1937 the work is widely regarded as a precursor to the bull of Guernica executed only a few weeks later. An excellent well-preserved copy. The plaquette lists the 33 works exhibited arranged by year of execution- 1936 1937 and 1938. The verso carries the notice of the next exhibition Centenary of Cézanne dated 20 February 1939. These two events were followed only by a final show devoted to Georges Braque before the gallery closed and Paul Rosenberg left France for permanent exile in the United States. The event met with considerable success as reported by the American collector and sculptor Meric Callery to Alfred H. Barr the first director of the Museum of Modern Art in New York: ""R's Rosenberg present show of Picasso is surprising in that it is so pretty colorful and gay. They have had over 600 people per day to see it."" Making Modernism Michael C. FitzGerald 1996 The adjectives pretty colourful and gay may seem surprising given both Picassos style and the political context of 1939. Indeed the exhibition - comprising chiefly still lifes painted between 1936 and 1938 in the Tremblay-sur-Mauldre studio - appears at first sight to contrast sharply with the tragic contemporary events. From 1937 onwards the Nazis began confiscating over 20000 modern artworks to mount the notorious Entartete Kunst Degenerate Art exhibition. Circulated throughout Germanys major cities it culminated in June 1939 in a large-scale auction to finance the war preceded by the burning of more than 5000 paintings in the courtyard of Berlins main barracks. Fully aware of the ongoing tragedy Paul Rosenberg took measures to save as many works as possible organising in the same year the first retrospective of Picasso at the Museum of Modern Art where Guernica was displayed and preserved. In 1940 he took permanent refuge in New York opening his celebrated gallery on 79th Street while some 2000 works he could not take with him were looted by the Nazis. Belying its seemingly innocuous appearance the exhibition of recent works by the foremost representative of so-called Degenerate Art held by a Jewish dealer constituted a genuine act of resistance to the rise of Nazism. Yet it was above all through a single work prominently displayed in the main salon and reproduced on the catalogues front that Rosenberg and Picasso transformed the still-life exhibition into a profoundly political statement. Later known as Buste du Minotaure devant une fenêtre this transitional work as noted by the art historian Vérane Tasseau is highly symbolic: The bull does not stand for fascism but for brutality and darkness Picasso remarked in the autumn of 1944 during an interview with the young painter Jerome Seckler for the American Marxist journal New Masses. Seckler had hoped to elicit from him the assertion that the late 1938 series of still lifes with bull heads was a political statement in continuity with Guernica."" This first bulls head in the still-life series gradually evolved over the course of 1938 into a curious zoomorphic human visage. It is nevertheless still titled in the catalogue La sculpture nègre devant la fenêtre. Although this title was not retained in subsequent monographs it establishes a remarkable link between two major themes in Picassos oeuvre: th Paul Rosenberg unknown
