BALZAC, Honoré de - PICASSO, Pablo - BONET, PaulLivre Rare Book
1 399 résultats
19313114Paris, Ambroise Vollard Éditeur, 1931. Un volume in-4 (32 x 24 cm). Remarquable reliure "sculptéee de Paul Bonet en plein box bleu nuit et décor polychome en relief, chemise et étui (signée et datée de 1944). - 12 EAUX-FORTES ORIGINALES EN HORS-TEXTE et 1 EAU-FORTE pour la "table des eaux-fortes" GRAVÉES PAR PABLO PICASSO. - UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dessins de l'artiste gravés sur bois par Georges Aubert et tirés en in-texte. Une "préface" de 16 pages de dessins composés de points et de traits dessinés par Picasso en 1924 également gravés sur bois par Aubert. Tirage : 340 exemplaires (65 Japon + 240 vélin de Rives + 35 H.C.). Celui-ci 1 DES 65 EXEMPLAIRES SUR JAPON IMPÉRIAL, LES SEULS SIGNÉS AU PINCEAU PAR PICASSO et monogramés à la plume par Vollard, avec UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dans une extraordinaire reliure "sculptée" de Paul Bonet, datée 1944 : "box bleu corbeau, un grand caisson ovale occupe presque chaque plat, encadrant un grand motif abstrait sculpté et couvert de veau de différentes couleurs vives" (Carnets, n°692), couverture conservée, chemise, étui. Bonet n'a réalisé qu'une poignée de ces fameuses reliures sculptées qui sont très recherchées. Celle-ci étant l'une des plus réussies et des plus élégantes. —— ENGLISH DESCRIPTION: Paris, Ambroise Vollard Éditeur, 1931. Illustrated with 12 original etchings by Pablo Picasso (and 1 for the plate "Table des eaux-fortes") and numerous woodcuts by G. Aubert after the drawings by Picasso. One of 65 NUMBERED ON JAPAN PAPER SIGNED BY PICASSO AND VOLLARD with an EXTRA SUITE of the 12 original etchings on Rives paper. Only the 65 numbered on japan paper are signed by Picasso and Vollard. Mint condition. Outstanding "sculptural" binding by Paul Bonet, dated 1944: "raven blue box, a large oval box occupies almost each cover, framing a large abstract motif carved and covered with calfskin in different bright colors" (Carnets, n°692), cover preserved, folder, case.
195918109New York: Pierre Matisse 1959. FIRST EDITION. Complete with 22 pochoir reproductions after gouaches by the artist on Arches wove paper with the title page text in French by André Breton table of contents and justification signed by the artist in blue ink and the author in red ink. Complete with 2 original lithographs sheet size 17 ½ x 14†image: 12 x 9 3/4†hand-numbered and signed by Miró in pencil at lower margin each framed. The pochoirs are laid into their original paper folders all in the original illustrated portfolio housed in its beige linen box illustrated in black by Miró on front cover and spine; box has been repaired. First edition of this luxurious publication. No. 109 of 150 copies which include the 2 signed and numbered lithographs the total edition was 384. Miró began the series of gouaches reproduced in Constellations on September 21 1940 in Varengeuville Normandy where he was exiled from Francoist Spain. He created ten of the gouaches before the invasion of France by German troops pushed him to flee the country with his wife and daughter. He completed the twenty-third and final gouache of the series on September 12 1941. The village where he stayed was subject to a blackout and that fact prompted Miro's most luminous and affecting series of paintings the Constellations. <br /> <br /> Miró was originally in discussions with MoMA to exhibit Constellations but it was ultimately with the New York gallery owner Pierre Matisse that the complete series of 22 gouaches would be exhibited Miró having wished to keep the twenty-third in early 1945. It was not until 1959 when Matisse decided to publish reproductions. André Breton had been inspired by the series and wrote poems to accompany each work of art. Of the 384 copies produced only the first 150 included the 2 additional signed and numbered lithographs. <br /> <br /> In his preface to this edition Breton emphasized the historical significance. With the background of war and the occupation of France these works symbolized the triumphal “resistance†of art and the spirit of man in the face of the menace. They became the first new works from Europe to be exhibited in America following the ending of hostilities.<br /> <br /> The 22 works are arranged in the chronological order of their creation thus respecting one of the instructions given by the artist at the time of the New York exhibition. This arrangement was so important to Miró that as early as 1957 he insisted that each one indicate the date and place it was created. This information is reproduced on the back of the gouaches with a facsimile drawing. Pierre Matisse unknown
1969185242Paris: Maeght éditeur 1969. Printed by Morsang Paris. Edition of 75. Etching aquatint with carborundum in colours and embossing on Arches paper. Signed in pencil by Miro lower right numbered lower left. Sheet size: 105.6 x 68.3 cm. Framed size: 121.5 x 84.5 cm. Presented in a handmade gold leaf and black gesso frame with acrylic glazing. Excellent condition. Dupin Engravings vol II 497. unknown
19762091202133206173Le Vent D'Arles 1976. Soft Cover. Fine. Volume: 1 Le Vent D'Arles paperback
1975103<p><i>"Never as in this book it has better bounced invented danced deepened and created without heaviness a monumental work measure of the accuracy of a desire and a friendship "</i> Jacques Dupin.</p><p>Rare first edition of the last text of Prévert who died 10 days before its publication illustrated by Miro.</p><p>One of the most important books of Miró.</p><p>"<i>Jacques Prévert having died before the end of the printing of the book a facsimile of his signature has been reproduced next to the handwritten signatures of the illustrator and the publisher</i>."</p><p>"<i>In these Adonides the verve the faconde the uninterrupted finding of Prévert here they are reduced to fragile bursts to moving calls. But written by his hand in black ink on white Arches paper raised by dry-stamped figures. On these handwritten reliefs Miró returns several times with the point the etching the aquatint and ends up with forty-five engravings which are neither illustrations nor illuminations but rather a parallel writing with the semantic and symbolic thickness of a palimpsest day after day raised. A complex work a work of disarming simplicity. A very vibrant drawing pure colors in flat tints in halos in vaporization. An engraved reading of the text which does not hesitate to cross it to question it to extend it beyond the margins. A setting in movement in space of an extreme strength and restraint. Never as in this book has he better bounced invented danced deepened and created without heaviness a monumental work measure of the accuracy of a desire and a friendship</i> " Jacques Dupin Miró p. 428.</p><p>There were 200 copies printed on Arches vellum numbered from 1 to 200 as well as offprints numbered from I to XXV and a few nominative copies. All copies are signed by the author the artist and the publisher. The first off-text etching is numbered and signed by Miró.</p><p>The text of the unpublished poems of Prévert are reproduced in facsimile of the author's handwriting. It is accompanied by 46 original compositions by the artist including an etching and aquatint on double page signed by the artist at the head of the book and 45 other etchings and aquatints accompanied for the most part by dry-stamped motifs.</p><p>"<i>All reflection made by these times of misfortune the mirror broke</i>" Abonides Jacques Prévert.</p><p>A very nice copy in perfect condition preserved as issued in a beautiful blue cloth case of the publisher.</p> Maeght paperback
1975131<p><i>" Never as in this book did he rebound invent dance deepen and create without heaviness </i><i>a monumental work measure of the accuracy of a desire and a friendship"</i> Jacques Dupin.</p><p>Rare first edition of Prevert's last text illustrated by Miro. A beautiful copy of a stunning copy preserved as issued.</p><p>Cover with an embossed form 46 etchings and aquatints in color including a double signed by Miró and numbered 14/200 in frontispiece blue canvas nesting 4 pieces of colored canvas printed on the back.</p><p><b>Rare first edition of Prevert's last text illustrated by Miro.</b></p><p>One of Miro's major books.</p><p><i>" In these Adonids Prevert's verve the way the uninterrupted discovery they are reduced to fragile bursts to disturbing appeals. But written by his hand in black ink on white arches raised by figures stamped dry. On these handwritten reliefs Miró returns several times to the point to the etching to the aquatint and ends up at forty-fourfive engravings which are neither illustrations nor illuminations but rather a parallel writing with the semantic and symbolic thickness of a palimpsest raised day by day. A complex work a work of disarming simplicity. A very vibrant drawing pure colors in aplats halos vaporization. An engraved reading of the text which does not hesitate to cross it to challenge it to extend it beyond the margins. A movement in space of extreme force and restraint. Never as in this book did he rebound invent dance deepen and create without heaviness a monumental work measuring the accuracy of a desire and a friendship"</i> Jacques Dupin Miró p. 428.</p><p>200 numbered copies on Velin d'Arches were printed some hors commerce I to XXV and a very few nominative copies. Each of these copies signed by the author the artist and the editor. The first aquatint was signed and numbered by Miró.</p><p>The text of Prévert's unpublished poems is reproduced in facsimile of the author's writing. It is accompanied by 46 original compositions by the artist including a double-page etching and aquatint signed by the artist at the head of the book and 45 other etchings with etching and aquatint mostly accompanied by dry-stamped motifs.</p><p><b>A beautiful copy of a stunning and moving book preserved as issued.</b></p> Maeght hardcover
1979WRCLIT59621Barcelona 1979. Original etching with aquatint and intaglio printed in colors on paper. 53 x 106.5cm 20.9 x 41.9 inches with full margins. Fine. An hors commerce copy signed in pencil in the lower right margin and denoted "H.C." at the lower left in addition to a published issue of ninety-nine numbered copies. Shipped unframed. unknown books
19303884Paris, Éditions Surréalistes, Corti, 1930. Un volume petit-in-4 (235 x 185 mm), broché, couverture de papier rose imprimée. Édition originale tirée à 215 exemplaires. CELUI-CI L'UN DES 15 SUR INGRES VERT, ROSE ET BLEU AVEC UNE EAU-FORTE ORIGINALE DE SALVADOR DALI EN FRONTISPICE (N° 18). Seuls ces exemplaires et les 15 ex. de tête sur japon la contiennent. Le volume est signé au colopon par René Char. Bien complet du "Prière d'insérer" imprimé sur papier couché rouge. Artine est le second ouvrage comportant une gravure de Dali entré dans le groupe surréaliste en 1929. - ENGLISH DESCRIPTION: René CHAR. ARTINE. Paris, Éditions Surréalistes, Corti, 1930. A small quarto volume (235 x 185 mm), paperback, printed pink paper cover. First edition, limited to 215 copies. THIS IS ONE OF 15 COPIES ON GREEN, PINK, AND BLUE INGRES PAPER WITH AN ORIGINAL ETCHING BY SALVADOR DALI AS A FRONTISPIECE (No. 18). Only these copies and the 15 deluxe copies on Japanese paper contain it. The volume is signed in the colophon by René Char. Complete with the "Please Insert" printed on red coated paper. Artine is the second book to include an engraving by Dalí, who joined the Surrealist group in 1929. A perfectly preserved copy. References: Michler-Löpsinger, 3 - Cahiers de l'Herne, 20 - Monod, I-2603 - PAB, René Char, 4. Additional photographs available on request.
193848651Paris.: Editions Sagesse. 1938. Full tan polished calf by Pierre-Lucien Martin with his signature gilt to front turn-in and dated 1970 front and rear board with large abstract geometric onlays of crème caramel polished calf turquoise suede doublures and free endpapers smooth spine with title gilt t.e.g. original grey handmade paper wrappers with titles in black to front cover preserved matching wool-lined calf-backed paper board chemise with gilt title to spine and calf-edged slipcase. 8vo. 210 x 174 mm. Leaf with manuscript text by Paalen recto manuscript poem verso leaf with original etching as frontispiece by Miró printed in red on irregularly trimmed yellow paper and signed and numbered from the edition of 75 in pencil printed title three leaves with Paalen's verse leaf with justification recto. Sonja Sekula's copy of 'Sablier Couché' presented by Paalen with a manuscript poem Miró's superb signed frontispiece and bound by Pierre-Lucien Martin.From the edition limited to 75 numbered copies on Arches paper signed and numbered in ink by Alice Paalen on the justification and signed and numbered by Miró on the etched frontispiece.Paalen's presentation is in black ink to the initial blank: 'Celui qui a inspiré ce poèmea disparu comme / une vague disparait dans la mer après s'être élevée haut dans la lumière notre rencontre / a été celle de deux vagues venant en sens contraires / qui s'él`event et se à l'éxtrème de leur élan / à vous qui coulez sur la même pente que moi / Sonia que j'attendais Alice Paalen signed in blue / grey ink'; at the foot of the page Paalen quotes: ''Rendez-vous de rivière eau se recevant des nuages / et des sources eaux qui me lie à ton sort . '.The following page features Paalen's poem 'Mercure éteint' in blue ink. 'Mercure Eteint' was published in Paalen's 1941 collection 'Noir Animal'; here Paalen has dated the poem 'Mexico San Angel / Nuit du 29 mai 1940'. The lines quoted at the foot of the presentation i.e. 'Rendez-vous de rivière . ' is from 'Les Appelants' which also features in 'Noir Animal'. A shortened version of the same quotation appears in a copy of 'Noir Animal' given by Paalen to André and Jacquéline Breton and their daughter Aube.The Sonia of Paalen's enigmatic presentation is the painter Sonja or Sonia Sekula 1918 - 1963 the Swiss-born New York-based Abstract Expressionist painter like Paalen she was also a poet and friend to the Surrealists in exile. Sekula knew Paalen in the 1940s - she remained married to Wolfgang Paalen until 1947 - and the pair had a short-lived but passionate affair: 'During a visit to the Onslow Fords in Morelia Alice had met and fallen in love with the Swiss artist Sonja Sekula who had exhibited in the group show '31 Women' at Peggy Guggenheim in 1943 and was now associated with the 'Indian Space' group in New York around Peter Busa. The two lived an open love affair . ' see Andreas Neufert's biography of Wolfgang Paalen. The presentation detailed above is also listed with the additional detail that Alice and Sonja's relationship had ended by August 1945.Alice Paalen 1904 - 1987 née Phillipot and later Rahon her mother's maiden name Surrealist poet and painter married the Austrian Surrealist Wolfgang Paalen in 1930. She participated in Surrealist activities during the early 1930s and had a significant liaison with Picasso before the publication of her first collection of poetry in 1936 A Mème La Terre the same year that she went to India with fellow poet and Surrealist Valentine Penrose. Further collections followed including the present volume Sablier Couché with the two poems 'Sablier Couché' and 'Muttra' and Noir Animal 1941 before she turned her attention to painting and changed her surname to Rahon. Many of Paalen's presentations feature quotations from her own poems as here.Cramer 5; see Andreas Neufert's 'Paalen: Life and Work Vol. 2 Under the Volcano: The DYN Project and Exile in Mexico 1939 - 1959' Norderstedt 2023 pp. 198 - 199. Editions Sagesse. unknown
19751733421975. MIRO Joan. Càntic del Sol. By Saint Francis of Assisi translated into Spanish by Josep Carner with a prologue by Marià Manent. 44 ff. With 35 etchings with aquatint printed in colour all after original designs by Joan Miró. Oblong folio 367 x 516 mm loose as issued in original yellow cloth chemise and slipcase bearing red embossed signature of Miró. Barcelona: Editorial Gustau Gili 1975. "In 1975 Gustau Gili in Barcelona published Càntic del sol a collection of writings by St. Francis of Assisi selected and introduced by the poet Marià Manent and illustrated with thirty-three etchings and aquatints by Miró. On this occasion the texts referred to concepts that were identical to some of Miró's current themes: the moon the sun the stars etc. These elements constitute a number of compositions on their own whilst in others they spring from a gesture a line in response to more intangible concepts such as wind and rain" Rosa Maria Malet preface to Joan Miró: The Illustrated Books. Only edition limited to 273 copies all signed by Miró in pencil on the colophon of this mystical and intense work by Miró illustrated with bold and vibrant colours heightened with aquatint. The box is very slightly soiled but the book is immaculate. Cramer Joan Miró: The Illustrated Books No. 196. hardcover
19661567-BParis, Tériade Éditeur, 1966. In-plano (750 x 550 mm) en feuilles. Feuillet de titre, table des planches. LA SUITE COMPLÈTE DES 13 LITHOGRAPHIES ORIGINALES EN COULEURS ET NOIR DE JOAN MIRÓ POUR UBU ROI + LA SUITE COMPLÈTE DES 13 LITHOGRAPHIES EN NOIR retravaillées par l'artiste . (feuilles: 750 x 550 mm environ, sujets: 630 x 410 mm environ), chaque épreuve titrée au crayon au verso de la feuille. Tirage: 75 exemplaires sur grand vélin d'Arches, celle-ci hors-commerce non signée (Mourlot 392-430 ; Cramer 108) Chaque composition en noir a été intensément retravaillée par Miró qui y a ajouté estompes et ombres, épaissi les traits de certains sujets. La vision grotesque et surréaliste de l'artiste, impliqué corps et âme dans ce cycle sur Franco et contre tous les fascismes, y apparait encore avec plus de force et d' évidence. Très rare. Excellent état de conservation.
1968188282Paris: Maeght éditeur 1968. A variant image was also printed in reverse titled polytheme. Printed by Arte Adrien Maeght. Edition of 75. Drypoint and cement imprint on Mandeure rag paper right edge deckled. Signed in pencil by Miro lower right numbered lower left. Sheet size: 104 x 75 cm. Framed size: 126.3 x 93.6 cm. Presented in a handmade gold leaf frame with acrylic glazing. Excellent condition. Presented in a handmade gold leaf frame with conservation acrylic glazing. Dupin 451 unknown
193991467Paris: 1939. Modern artists rally support for the children of the Spanish Civil War First edition one of 101 numbered copies signed by Spender Aragon and each of the nine contributing artists including Miró and Kandinsky. This work was sold to benefit the Spanish Republican Children's Fund. A further 12 copies were printed for contributors. The text consists of Spender's poem "Fall of a City" printed in the original English and in the French translation of Aragon. The artists each of whom has signed their contribution are Joan Miró Wassily Kandinsky John Buckland-Wright Stanley William Hayter Josef Hecht Dalla Husband Roderick Mean Dolf Rieser and Luis Vargas. Many were strongly influenced by the horrors of the Spanish Civil War. Miró although never an explicitly political artist was asked on Franco's death in 1975 what he had done to resist the dictator. He responded "Free and violent things". He was exiled in Paris during the civil war made propaganda images for the republican cause and in January 1937 painted the haunting Still Life with Old Shoe which his biographer Jacques Dupin called "Miró's Guernica" Adams. While it is unclear who commissioned the work the typography was completed by Gonzalo More of New York and the plates were printed by Atelier 17 and Henri Hecht. A sister portfolio Solidarité was published the year before to benefit the same cause. Octavo. With 9 loose engravings on full-sheet Montval handmade paper with deckled edges each signed in pencil lower right by the artist with the original tissue guards. Text in English and French. Original wrappers printed in black. With original card chemise slipcase lacking. Housed in a green morocco-backed clamshell box by the Chelsea Bindery. Chemise split to spine wrappers and contents in excellent condition. Cramer Miro 81. Tim Adams "Joan Miró: A Life in Paintings" The Guardian 20 March 2011. unknown
19751485101975. MIRÓ Joan. Adonides. By Jacques Prévert. 2 59 10 pp. Illustrated with an original Miró coloured etching with aquatint signed and numbered by Miró in pencil and 44 etchings with aquatint printed in colours most of them with blind-stamping throughout. Folio 403 x 355 mm loose in a wrapper of Auvergne paper with blind-stamped image on front and back laid into blue cloth box blue green red and yellow cloth labels on spine in a cloth folding box. Paris: Maeght Editeur 1975. The Prévert text is written in the author's script throughout with Miró's amorphous and euphoric colour objects scribbles and imagery splashed across every page in around and on top of the text. "Some of the poems are reproduced inside a frame etched and pulled dry based on copperplates engraved in 1947 by Miró in the Atelier 17 in New York" Dupin Miró Engraver p. 200. The book also contains two blind-stamped original Miró images Dupin 878 & 879. A very fine copy of this felicitous Miró title. Limited to 225 copies signed by Miró Prévert and Maeght on the colophon; this being one of the 200 with the large hors texte etching signed by Miró laid in at the front. Cramer Miró Illustrated Books 203. Dupin Miró Engraver III 878-925. hardcover
19391435Paris, NRF, Gallimard, 1939. in-4 (260 x 200 mm) broché, toutes marges, 70 pages, couverture imprimée rempliée. ÉDITION ORIGINALE TRÈS RARE de ce recueil contenant : "Trois chevaux aigus. Nous sommes. Nulle rupture. À l'ombre de ma porte. Poème perpétuel. L'or et l'eau froide. Trois poèmes inachevés. Les vainqueurs d'hier périront". Tirage : 5 Japon nacré + 15 vergé d'Arches. Celui-ci l' un des 15 ex. numérotés sur vergé d'Arches (n°12), SIGNÉ PAR PAUL ÉLUARD ET MAX ERNST, ACCOMPAGNÉ DE 4 SUPERBES LITHOGRAPHIES ORIGINALES À PLEINE PAGE TIRÉES EN NOIR SUR VERGÉ DE HOLLANDE DE MAX ERNST (seuls les 20 premiers exemplaires en grand papier contiennent ces lithographies). - Note bibliographique et historique : Max Ernst avait prévu une série de douze lithographies, mais seules quatre d’entre elles furent publiées dans l’édition de luxe à petit nombre. Un an plus tôt, en 1938, désapprouvant ses positions trotskystes, Éluard avait rompu avec Breton : À sa suite Max Ernst quitte le groupe surréaliste outré d’avoir à subir l’exigence de « saboter la poésie de Paul Éluard par tous les moyens » (in Centre Georges Pompidou, Paul Éluard et ses amis peintres, 1982, p.109).
19385288Sablier couché 1938 with a signed and numbered etching by Miro` Leroux binding.Joan Miro Alice Paalen. Editions Sagesse 1938. Limited numbered edition in 75 copies with one original red etching in frontespice by Miro` signed and numbered in pencil Lacourière Paris<br /> Signed in justification page by Alice Paalen with a dedication in pen by the author to Pierre Mabille. Complete and in excellent condition bounded in artistic binder signed by Leroux with light wood chemise and matching slicase. The original gray handmade paper cover is well preserved inside. Editions Sagesse hardcover books
19282448<p>Paris Edition Jeanne Bucher. 1928. Drawings in color by Joan Miró. 8 color pochoirs after drawings by Miró colored by Jean Saudé on Arches paper. 4to published in a folio of 14pp. One of the limited edition of 300. Enclosed in the ORIGINAL LINEN FOLIO in pearl grey background with black numbers and green sun. Interior lined with black paper. 11 5/8 x 10 5/8 x 5/8. Housed in a new black clam shell case. Signed and dedicated by Lise Hirtz to Jane de Margerie. RARE. Miro created one of the most imaginative books for children and far beyond its time. Joan Miró was studying art in Barcelona and moved to Paris in 1919 He was introduced to a surrealists group in 1924 by his neighbor Andre Masson who shared his studio. He found among these artists the inspiration necessary for his work. But it was his humor that dominated his creations especially the black humor of the surrealists.</p><p> In August 1927 Paul Eluard sent Miro the poems by Lisa Hirtz born Ann - Marie Meyer a friend of Breton. She was married to Paul Deharme 1898-1934 one of the pioneers of Radio France. In October 1927 Miró completed the gouaches a part of which would be executed for the 8 plates of this book. Jeanne Bucher 1872-1946 completed the book in 1928. The artistic involvement of the editor was an integral part of the work of preserving the creation of the avant-garde. Lisa Hirtz published Une Petite Pie in Pierre Chareau's gallery where she had opened her bookstore in 1925. Her interest in children's books was inspired by her grandson Pierre. Eight gouaches were executed by Miro for the colored plates which were then colored by the pochoir process by Saudé. Edition is limited to 300 copies. On Arches. </p><p> Ref: Jean Bucher Un Galerie d'avant garde 1925-1946 Skira 1994. Eluard and his Painter Friends. Sante George Pompideau 1992. Cramer. Joan Miró Catalogue Raisonné des Livres Illustrés no. 1. Johnson. Artists' Books in the Modern Era p. 98. Andel. Avant-Garde Page Design 1900-1950 p. 330.</p> Éditions Jeanne Bucher hardcover
195647790Paris.: Editions Albin Michel. 1956. Original publisher's printed wrappers with titles in red to front cover and spine front cover with repeated reproduction in relief in pink of a drawing by Ambroise Paré. 8vo. 202 x 135 mm. Half-title with 'Du Mème Auteur' verso leaf with Miro's original colour lithograph as frontispiece verso title with justification verso and Péret's text illustrated with reproductions on glossy paper throughout two leaves with 'tables' and final leaf with achevé d'imprimer. A very good copy of Péret's 'Anthologie de l'Amour Sublime' with Miro's signed colour lithograph.From the édition de tête limited to 37 numbered copies on vélin du Marais with the original colour lithograph signed and numbered by Miro as frontispiece with this one of seven hors commerce copies numbered in Roman numerals; an ordinary edition without the frontispiece was also issued.Miro's original colour lithograph printed by Mourlot Paris is numbered from the edition of 40.Also included inserted loose is a card for 'Editions Jean-Jacques Pauvert' to be filled out and sent in order to receive the 'Catalogue Illustré'.Cramer 35; Miro Lithographe 175. Editions Albin Michel. unknown
19401730601940. HUGNET Georges. Complete set of all four "butterfly books" each in original wrappers as issued; oblong 16mo. 95 x 145 mm in a cloth folding box. Paris: The Author 1940-1941. Each of these four pamphlets was clandestinely printed at the beginning of the German occupation and distributed only among close friends of the artist and poet Georges Hugnet 1906-1974 an active figure in Dada and Surrealist circles. The first in this series "Non vouloir" is one of only 20 copies printed on verge antique from an edition of just 26 total it is printed in red and features a reproduction of an illustration by Miró on the title-page verso and is inscribed by "a CecileEluard de tout coeur Georges Hugnet". The second in the series "Pablo Picasso" is one of 200 copies printed in brown with black zincographs by Picasso engulfing the text throughout. The third is "Marcel Duchamp" from an edition of 200 copies printed in blue features a single print tipped onto the title-page verso of the "Moustache and Beard of L.H.O.O.Q." -- arguably the cornerstone of Dadaism -- in which Duchamp's original metal stencil was applied in graphite on paper by pochoir. "Like the smile of the Cheshire Cat Duchamp's graffiti additions to the Mona Lisa now hover in space" d'Harnoncourt & McShine p. 304. "The stencil was originally made for the addition of those details to the reproduction of L.H.O.O.Q. in The Box in a Valise" Bonk p. 241. The final one "Au 'depens des mots'" is one of an edition of 200 printed in gold with black accents on the title-page. Inscribed "a ma petite CecileEluard de tout coeur Georges Hugnet". Each of the butterfly books is a rare survival; together they form an outstanding group much like the artists themselves. A rare survival in immaculate condition. Goeppert Pablo Picasso: The Illustrated Books 35. Schwarz The Complete Work of Marcel Duchamp 483. Johnson Artists' Books in the Modern Era 1870-2000 115. Naumann 5.33 p. 143. hardcover
19282448<p>Paris Edition Jeanne Bucher. 1928. Drawings in color by Joan Miro. 8 color pochoirs after drawings by Miró colored by Jean Saudé on Arches paper. 4to published in a folio of 8pp. One of the limited edition of 300. Enclosed in the ORIGINAL LINEN FOLIO in pearl grey background with black numbers and green sun. Interior lined with black paper. 11 5/8 x 10 5/8 x 5/8. Housed in a new black clam shell case. Signed and dedicated by Lise Hirtz to Jane de Margerie. RARE. Miro created one of the most imaginative books for children and far beyond its time. Joan Miro was studying art in Barcelona and moved to Paris in 1919 He was introduced to a surrealists group in 1924 by his neighbor Andre Masson who shared his studio. He found among these artists the inspiration necessary for his work. But it was his humor that dominated his creations especially the black humor of the surrealists.</p><p> In August 1927 Paul Eluard sent Miro the poems by Lisa Hirtz born Ann - Marie Meyer a friend of Breton. She was married to Paul Deharme 1898-1934 one of the pioneers of Radio France. In October 1927 Miro completed the gouaches a part of which would be executed for the 8 plates of this book. Jeanne Bucher 1872-1946 completed the book in 1928. The artistic involvement of the editor was an integral part of the work of preserving the creation of the avant-garde. Lisa Hirtz published Une Petite Pie in Pierre Chareau's gallery where she had opened her bookstore in 1925. Her interest in children's books was inspired by her grandson Pierre. Eight gouaches were executed by Miro for the colored plates which were then created by Saudet. Edition is limited to 300 copies. On Arches. </p><p> Ref: Jean Bucher Un Galerie d'avant garde 1925-1946 Skira 1994. Eluard and his Painter Friends. Sante George Pompideau 1992. Cramer. Joan Miró Catalogue Raisonné des Livres Illustrés no. 1. Johnson. Artists' Books in the Modern Era p. 98. Andel. Avant-Garde Page Design 1900-1950 p. 330.</p> Éditions Jeanne Bucher, Paris hardcover books
19282419<p>Paris Edition Jeanne Bucher. 1928. MIRO JOAN 1893-1983. HIRTZ LISE. IL ETAIT UNE PETITE PIE THERE WAS ONCE A SMALL MAGPIE Drawings in color by Joan Miro. A folio of 8pp. of pochoir prints. Enclosed in the ORIGINAL LINEN FOLIO in pearl grey background with black and green letters and lined with black paper. 11 5/8 x 10 5/8 x 5/8. RARE. Enclosed in a black linen contemporary clam shell box. Her first publication was as Lisa Hirtz: Il était une petite pie There was a little magpie with 8 pochoirs by Joan Miró in 1928. She was the editor of Le Phare de Neuilly which frequently published articles relating to surrealism. Miro created one of the most imaginative books for children and far beyond its time. Joan Miro was studying art in Barcelona.He moved to Paris in 1919 he was introduced to a surrealists group in 1924 by his neighbor Andre Masson who shared his studio. He found among these artists the inspiration necessary for his work. But it was his humor that dominated his creations especially the black humor of the surrealists. In August 1927 Paul Eluard sent Miro the poems of Lisa Hirtz born Ann - Marie Meyer a friend of Breton. She was married to Paul Deharme 1898-1934 one of the pioneers of Radio France. Her first publication was as Lisa Hirtz: Il était une petite pie There was a little magpie with 8 pochoirs by Joan Miró in 1928. She was the editor of Le Phare de Neuilly which frequently published articles relating to surrealism. In October 1927 Miro completed the gouaches a part of which would be executed for the 8 plates of this book. Jeanne Bucher 1872-1946 completed the book in 1928. The artistic involvement of the editor was an integral part of the work of preserving the creation of the avant-garde. Lisa Hirtz published Une Petite Pie in Pierre Chareau's gallery where she had opened her bookstore in 1925. Her interest in children's books was inspired by her grandson Pierre. Eight gouaches were executed for the colored in plates which were created by Saudet. Edition is limited to 300 copies. Printed on Arches. Signed and dedicated by Lise Hirtz to Jane de Margerie. Jean Bucher Un Galerie d'avant garde 1925-1946 Skira 1994. Eluard and his Painter Friends. Sante George Pompideau 1992</p> Lisa Hirtz, Pierre Chareau's gallery. books
19282419<p>Paris Edition Jeanne Bucher. 1928. MIRO JOAN 1893-1983. HIRTZ LISE. IL ETAIT UNE PETITE PIE THERE WAS ONCE A SMALL MAGPIE Drawings in color by Joan Miro. A folio of 8pp. of pochoir prints. Enclosed in the ORIGINAL LINEN FOLIO in pearl grey background with black and green letters and lined with black paper. 11 5/8 x 10 5/8 x 5/8. RARE. Enclosed in a black linen contemporary clam shell box. Her first publication was as Lisa Hirtz: Il était une petite pie There was a little magpie with 8 pochoirs by Joan Miró in 1928. She was the editor of Le Phare de Neuilly which frequently published articles relating to surrealism. Miro created one of the most imaginative books for children and far beyond its time. Joan Miro was studying art in Barcelona.He moved to Paris in 1919 he was introduced to a surrealists group in 1924 by his neighbor Andre Masson who shared his studio. He found among these artists the inspiration necessary for his work. But it was his humor that dominated his creations especially the black humor of the surrealists. In August 1927 Paul Eluard sent Miro the poems of Lisa Hirtz born Ann - Marie Meyer a friend of Breton. She was married to Paul Deharme 1898-1934 one of the pioneers of Radio France. Her first publication was as Lisa Hirtz: Il était une petite pie There was a little magpie with 8 pochoirs by Joan Miró in 1928. She was the editor of Le Phare de Neuilly which frequently published articles relating to surrealism. In October 1927 Miro completed the gouaches a part of which would be executed for the 8 plates of this book. Jeanne Bucher 1872-1946 completed the book in 1928. The artistic involvement of the editor was an integral part of the work of preserving the creation of the avant-garde. Lisa Hirtz published Une Petite Pie in Pierre Chareau's gallery where she had opened her bookstore in 1925. Her interest in children's books was inspired by her grandson Pierre. Eight gouaches were executed for the colored in plates which were created by Saudet. Edition is limited to 300 copies. Printed on Arches. Signed and dedicated by Lise Hirtz to Jane de Margerie. Jean Bucher Un Galerie d'avant garde 1925-1946 Skira 1994. Eluard and his Painter Friends. Sante George Pompideau 1992</p> Lisa Hirtz, Pierre Chareau's gallery.
19551911Paris, Maeght, 1955. Un volume in-folio en feuilles, couverture illustrée d'une gravure en couleurs à l'aquatinte et carborundum, vernie par l'artiste lui-même, étui-chemise éditeur décoré de collages de papiers de couleur. - 20 EAUX-FORTES ORIGINALES DE GEORGES BRAQUE : 16 gravures hors-texte exécutées en 1932 pour Ambroise Vollard, et 4 gravures réalisées en 1953 : la couverture en 5 couleurs vernie au pinceau par l'artiste, le frontispice en 2 couleurs, la tête de chapitre et le cul-de-lampe. - Tirage à 150 exemplaires numérotés sur Auvergne et signés par l'artiste. Celui-ci le n° 23 signé par Braque. Tirage unique - Conservé en parfait état. - Note historique : En 1931, Braque illustre la Théogonie du poète grec Hésiode (VIIe siècle av. J.-C) pour le marchand, éditeur et passionné de gravure, Ambroise Vollard. Le récit, consacré à la naissance de l’univers et à l’origine des dieux, est considéré comme l’un des grands textes de la mythologie grecque. Entre 1932 et 1935, l’artiste exécute une série de seize eaux-fortes qui seront publiées par Maeght en 1955 : ligne noire imprimée sur fond blanc pour les gravures et, en négatif, ligne blanche découpée sur fond noir pour les plâtres peints et gravés que Braque crée en parallèle. Comme les figures mythologiques et les natures mortes de l’époque, ces œuvres possèdent un style curvilinéaire et propice à la métamorphose. (The Artist and the Book 38). --- ENGLISH DESCRIPTION: GEORGES BRAQUE (1882-1963). THEOGONIA - the complete set of twenty (20) etchings, title paper, text in Greek by Hesiod, justification, and index of plates on Auvergne paper, watermark Montval, 1932-1955, one of the 150 (n. 23), signed in pencil on the the justification, published by Maeght Editeur, Paris, 1955, in mint good condition, loose (as issued), with paper wrappers, within black paper-covered boards and slipcase, with collage design on front and back, title, artist's and author's name on spine. Overall: 18 x 13 7/8 in. (457 x 352 mm.) Condition : near mint, a beautiful copy with the editor decorated slipcase in near mint condition too.
1928198044Paris: Edition Jeanne Bucher 1928. Limited Edition. Hardcover. Fair in boards. Binding cracked after 2nd FEP. Shelfwear on front/rear panels. Bottom front corner bumped.; Number 82 of 300 limited edition copies. Edition Jeanne Bucher hardcover
196927506Tirage de tête sur vélin gris avec la lithographie originale de Joan Miro, signée. Paris, G.L.M., (janvier) 1969. 1 vol. de (140 x 190 mm) de 25 p., [2] et 1 f. Maroquin taupe, titre doré en long, couvertures et dos conservés, étui bordé (reliure signée de Leroux, 1976). Édition originale. Un des [6] premiers exemplaires sur vélin gris (n° vi).
