marc chagall (Oltre 14.000 risultati)

Bible and lithograph volumes: 448 x 348 mm. (17 5/8 x 13 1/2"); "VERVE" text volume: 358 x 270 mm. (14 1/8 x 10 3/4"). Three works in four volumes. Text from the French Geneva translation of 1638. BIBLE BOUND IN DRAMATIC BLACK MOSAIC MOROCCO DESIGNED BY RENÉE HAAS (stamp-signed on front turn-in, dated 1972 on rear turn-in), covers with onlaid "flames" in shades of plum, marigold yellow, cherry red, and olive green, the design invoking a stained-glass window of the biblical Burning Bush, smooth spine with "BIBLE" in very large gilt lettering, burgundy suede endleaves, all edges gilt; original paper wrappers and WITH HAND-PAINTED BINDING DESIGNS BOUND IN at rear. Housed in chemises of black half morocco with woodgrain covers, the chemise spines with large gilt lettering matching their enclosed volumes, the whole in matching slipcases. The Eaux-Fortes and Designs for the Bible bound in black half morocco with woodgrain covers, matching the chemises of the Bible volumes proper, the two accompanying volumes in their own matching slipcases. WITH 384 IMAGES IN THE FOUR VOLUMES. THE TWO-VOLUME BIBLE WITH 105 ETCHINGS BY CHAGALL, the "VERVE" volumes WITH 105 PHOTOGRAVURE REPRODUCTIONS OF THE ORIGINAL ENGRAVINGS, PLUS 174 ADDITIONAL IMAGES: 96 photogravure reproductions of further "Designs for the Bible" executed in various media, 43 additional color lithographs (including one color title page, and the original color wrappers), and 35 black & white lithographs (the black & white lithographs printed back-to-back with color lithographs). The Artist & the Book 53; Strahan, "The Artist and the Book in France," pp. 160, 164, 327. â A VERY FINE COPY with only the most trivial imperfections (occasional faint offsetting from etchings, one double page color lithograph with meticulously repaired insignificant tears), ENTIRELY BRIGHT, FRESH, AND CLEAN INTERNALLY, AND IN SPARKLING AS-NEW BINDINGS. In a magnificent binding by an eminent female designer and accompanied by additional volumes containing a profusion of Chagall's biblical images, this is a spectacular copy of one of the great illustrated works of the past century. Between the very striking oversized bindings and the proliferation of inimitable images in the Bible and its accompanying volumes, the set makes a captivating, almost overpowering effect. The story of the Chagall Bible begins in 1931, when the artist was approached by Ambroise Vollard about undertaking a commission to illustrate Holy Scripture. Chagall accepted, and departed for Palestine, impelled to see the Holy Land before he tried to depict scenes that held such meaning for him as a Russian Jew. According to W. J. Strahan, the etchings he produced should be praised for "the bold way he treads on the delicate ground of Holy Scripture, avoiding the sentimental and yet preserving the Hebrew imagery. . . . Fundamentally it is the artist's deep understanding, as a Jew, of his tribal history, allied to his aesthetic skill, that has produced this masterpiece." In addition to his life-changing trip to the Holy Land, Chagall also steeped himself in the art of engraving, studying, in particular, the work of Rembrandt. The resulting series of 105 biblical engravings is considered one of Chagall's most important works, and it ranks among the best examples of etching produced in the 20th century. Besides demonstrating Chagall's technical mastery of the art of engraving, his illustrations here speak to us on emotional and spiritual levels. As the great art historian Meyer Shapiro eloquently explains, "Almost every image reveals to us an aspect of its sensitivity: veneration, sadness, joy, translated by the melody of the forms and the range of shades specific to each composition." He also notes that "If we had nothing of Chagall but his Bible, we would consider him one of the great modern artists." After the publication of Chagall's Bible in 1956, Tériade (who took over the project after Vollard's death in 1939), issued reproductions of the 105 etchings for a special double edition of VERVE magazine (nos. 33/34), which also included 30 new lithographic illustrations, including wrapper and title (18 in color and 12 in black & white), which the artist composed especially for this supplementary work. In 1960, Tériade published another issue of VERVE (nos. 37/38), containing biblical images Chagall had executed between 1958-59; these included 96 black & white reproductions of Chagall etchings and 48 additional lithographs, including the wrapper (25 in color, 23 in black & white). The color lithographs provide a wonderful foil to the black & white etchings, and reveal the full powers of a visionary artist who was considered to be one of the most versatile and influential creators of the 20th century. The original Chagall Bible was issued unbound, and many copies remain in that condition--a fact that makes our splendidly bound copy even more desirable. Renée Haas was born in Paris in 1920, and studied classics at the Sorbonne and at Columbia University in New York. She returned to France after World War II, first studying painting and then engraving before taking a binding course from Marguerite Fray. This, she decided, was her métier--but only the design aspect. As Flety notes, she employed very fine professionals, including René Desmules, Jean-Paul Miguet, and Renaud Vernier, to execute her bindings. We get a glimpse of her process in the gouache maquettes bound in here, two showing the different color schemes for each volume, and the binder's pattern sheet for cutting the onlays, with annotations in pencil and pen. Alexandre Loewy, the great publisher and bookseller of artists' books, was an early supporter of Haas, exhibiting her designs at his bookstore in 1957 and helping her to find commissions. Thanks to this introduction, she came to design bindings for some of the greatest artists' books of the 20th century, including three for copies of Matisse's "Jazz" (one of which sold at auction for $140,0.

Pas de couverture. Condizione: Très bon. Edition originale. "RARE COLLECTION de 1000 Affiches d'Exposition de Galeries d'Art originales" dont 260 entoilées et gravées entre 1950 et 1980 en litho, la majorité par MOURLOT, Alphonse CHAVE, MAEGHT / Les artistes exposés sont PICASSO, Marc CHAGALL, Henri MATISSE, Fernand LÉGER, Raoul DUFY, Max ERNST, VAN DONGEN, DALI, VAN GOGH, TOULOUSE-LAUTREC, Maurice UTRILLO, LORJOU, LURÇAT, Edvard MUNCH, MIRO, Yves BRAYER, Georges BRAQUE, Alberto GIACOMETTI, MOLNÉ, Bernard BUFFET, Paul COLIN, Léonor FINI, Marie LAURENCIN, Jean COCTEAU, Jean MARAIS, Raymond MORETTI, Jacques PRÉVERT, CARZOU, CLAVÉ, Rudolph POLDER, André GILL, DAUMIER, Gustave DORÉ, Jacques VILLON, Georges LEMMEN, TOBIASSE, George CATLIN, CALDER, DERAIN, MAN RAY, A. BONNEFOIT, KANDINSKY, ROHNER, Paolo BONI, ALECHINSKY, Robert COMBAS, RAZZIA, VENARD, AMBROGIANI, SAVIGNAC, FOLON, DUBOUT, Hervé MORVAN, Pierre-Laurent BRENOT, Jules CHÉRET, Jean-Gabriel DOMERGUE, PANAMARENKO, Jean TINGUELY, Etc., Etc., Etc. / La totalité est en très bon état voir parfait / Collection visible sur rendez-vous près d'Avignon (Téléphone: 04 90 38 56 82).

Condizione: Fine. Number of books: 1.

First edition, first printing, number 8 of 150 copies signed by all the contributors, with each print numbered and signed by the respective artist and Robert Rey. This copy with an additional suite of 46 sheets with colour separations of Picasso's print housed in separate wrappers, lettered in black. The print titles included are: Braque, "Nature morte au huitres"; Brianchon, La neige a auteuil; Chagall, La sirène; Desnoyer, Liseuses au bord de mer; Dufy, Le casino de la jetée a Nice; Laurencin, Portrait de femme en rouge; Matisse, Nature morte au magnolia; Picasso, La cassarole Émaillée; Utrillo, Le jardin de Montmagny; Van Dongen, Tête de femme; Vlaminck, Les blés dans la perche; and Waroquier, Dolori sacrum. Folio. Unbound sheets printed on Van Gelder Zonen wove paper in white wrappers, front cover lettered in red. With glassine dust jacket, and the publisher's blue morocco clamshell box. All contained in the original card packing box. 12 colour woodcuts after each of the artists printed on Van Gelder Zonen wove paper with one edge untrimmed. Sheet sizes: 46.5 x 36 cm. Two short closed tears to front wrapper and glassine, light scattered foxing, otherwise a bright, unfaded set.

Condizione: Fine. Number of books: 1 book.

First edition, first printing, number 29 of 150 copies signed by all the contributors, with each print numbered and signed by the respective artist and Robert Rey. This copy with an additional suite of 46 sheets with colour separations of Picasso's print housed in separate wrappers, lettered in black. The print titles included are: Braque, "Nature morte au huitres"; Brianchon, La neige a auteuil; Chagall, La sirène; Desnoyer, Liseuses au bord de mer; Dufy, Le casino de la jetée a Nice; Laurencin, Portrait de femme en rouge; Matisse, Nature morte au magnolia; Picasso, La cassarole Émaillée; Utrillo, Le jardin de Montmagny; Van Dongen, Tête de femme; Vlaminck, Les blés dans la perche; and Waroquier, Dolori sacrum. Folio. Unbound sheets printed on Van Gelder Zonen wove paper in white wrappers, titles to front cover in red. With glassine dust jacket. Housed in the publisher's blue morocco clamshell box, titles to front cover and spine gilt. All contained in the original card packing box. 12 colour woodcuts after each of the artists printed on Van Gelder Zonen wove paper with one edge untrimmed. Sheet sizes: 46.5 x 36 cm. Closed tear to front wrapper and glassine, hinge of clamshell box split, minor foxing in places otherwise a bright unfaded set.

Etching, aquatint, drypoint and collage in colours, 2008, on handmade paper, signed in pencil, numbered from the edition of eight, 122.7 x 92.5 cm. (48¼ x 36½ in.).

First edition of Apollinaire's first collection of poems, signed by him and Pablo Picasso. Octavo, bound in three quarter morocco with gilt titles and raised bands to the spine, patterned endpapers, frontispiece portrait of the poet by Pablo Picasso. Association copy, inscribed by both Apollinaire and Pablo Picasso on front free endpaper, "A A P.N. Roinard son admirateur Guillaume Apollinaire" and "et pour Robert Valançay Picasso Paris Janvier 1940 et I." Apollinaire has also made five corrections to the text in ink on pages 71, 77, 92, 110 and 189. The recipient of Apollinaire's inscription, Paul-Napolà on Roinard, was a French libertarian painter and poet whom Apollinaire befriended in 1903 and considered "one of the most powerful precursors of the new poetry." Apollinaire dedicated his poem Le Brasier (included in the present volume on p. 129) to Roinard. The recipient of Picasso's inscription, Robert Valançay, was a poet, translator and literary critic who worked with and admired many of the artists and poets of the surrealist group. He published two major volumes of poetry but was most appreciated and sought after for his translations. He was considered the official translator of Max Ernst and Hans Arp. In near fine condition. Original wrappers bound in. A remarkable association copy, linking four major figures of the literary and artistic avant-gardes of the 20th century. French poet, playwright, short story writer, novelist, and art critic Guillaume Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. At the turn of the 20th century, he became one of the most popular members of the artistic community of Paris (both in Montmartre and Montparnasse). His friends and collaborators in that period included Pablo Picasso, Henri Rousseau, Gertrude Stein, Max Jacob, Andrà Salmon, Andrà Breton, Andrà Derain, Faik Konitza, Blaise Cendrars, Giuseppe Ungaretti, Pierre Reverdy, Alexandra Exter, Jean Cocteau, Erik Satie, Ossip Zadkine, Marc Chagall, Marcel Duchamp and Jean Metzinger. He is credited with coining the term "Cubism" in 1911 to describe the emerging art movement, the term Orphism in 1912, and the term "Surrealism" in 1917 to describe the works of Erik Satie.

2 vols. Folio. (388 x 286 mm). Half-title and title for each vol. half-title of vol. I with justification verso and Gogol's text illustrated with 96 original etched plates and 22 etched initials by Marc Chagall, 'Table', engraved 'Table' on 11 leaves recto only for the placement of the engravings and final leaf with achevé d'imprimer and colophon. Loose as issued in original publisher's printed wrappers with titles in black to front covers, chemises with labels to spines, without slipcase. Marc Chagall's masterful illustrations for Gogol's 'Dead Souls'. From the edition limited to 370 numbered copies signed by Chagall, with this one of 50 from the édition de tête, however this example is without the extra suite printed on Japon Nacré. The 96 prints for Gogol's masterpiece were executed between 1927 and 1930 for Vollard but Tériade was the first to publish them. [Cramer 17].

Hardcover. Condizione: Very Good. Limited Edition. The complete portfolio published in 1971 by Erker-Presse. This portfolio includes 22 poems by Jean Cassou in facsimile which he wrote while he was a prisoner of war during WWII. The poems are accompanied with 22 lithographs and etchings by Max Bill, Alexander Calder, Giuseppe Capogrossi, Marc Chagall, Otto Dix, Piero Dorazio, Max Ernst, Etienne Hajdu, Hans Hartung, Wifredo Lam, Andre Masson, Joan Miro,Ernst Wilhelm Nay, Serge Poliakoff, Giuseppe Santomaso, Pierre Soulages, Dorothea Tanning, Antoni Tapies, Mark Tobey, Maria Helena Vieira da Silva, Fritz Wotruba und Ossip Zadkine. All of the prints besides the Chagall one are signed and numbered by the artists. This edition is limited to 115 copies and is loose as issued in chemise and slipcase. Inscribed by Illustrator(s).

Condizione: Used - Good.

8vo. Manuscript: 16 pages on 4 bifolia. Letter: 1 page. In French. To Jacques Guenne, editor of "L'Art vivant". A moving autobiography in which Chagall recalls his childhood in the Tsarist Empire and his early years of artistic training: "My father, with blue eyes and hands covered with calluses, worked, prayed and kept silent all his life. I too was silent. I did not know what I was going to do. I had delicate hands and I sought a daintier occupation, and the most important thing, which would not make me turn away from the sky and the stars [.] In my province I have never heard the words art, the artist. But one day a comrade came to see me and, seeing my drawings, exclaimed: 'But you are a true artist'. What's an artist?, I asked". He also recalls his arrival in Paris in 1910 and his reaction to the works of the major artists of the second half of the 19th century: "At the Louvre I was afraid of Delacroix, Courbet, Manet, and soon my studio was full of paintings". He describes the evolution of his style, of his aesthetic ideas: "Everything around me, from the impressionists to the cubists, seemed too realistic [.] What tempted me the most was the invisible or so-called illogical side of form and spirit, without which the external truth was not complete for me, without resorting to the fantastic" (transl.). - Some stains, tiny marginal tears, a few small holes in the first leaft, but overall in fine condition.

Hardcover. Condizione: Very Good. 1st Edition. Complete book with 24 original color woodcuts by Marc Chagall accompanying a collection of poems written by the artist from 1930 to 1964, with the exception of an older poem Le Jardin written in 1909. Limited edition in 238 copies, of which this one is n. 105 of 200 printed in Rives wove paper with a watermark designed by the artist. Signed in pencil by Chagall on Justification page. Loose as issued, collected in Auvergne paper wrappers, and guarded in the original cloth chemise and matching slipcase. Complete and in very good condition. Ref Cramer 74. Signed by Illustrator(s).

Kyiv: Kooperativn farlag "Kultur-lige", 1922. XXIII pp.: ill., 5 ills. 34,5x25,5 cm. In original illustrated wrappers. Wrapper is restored from the edges without loss of the image or the text. p. I-XIV have a trace of rust going through them, at the outer margins - also restored. Few stains are also on the last page of the book. Otherwise good. Overall a well-restored and preserved copy of this extremely fragile large-format edition. First and only edition. One of 4500 copies. Extremely rare as a complete copy with 5 illustrations on separate leaves.;; It is 2 more than illustrations in a copy of the Yale University. Elegies for Jewish communities devastated during pogroms that were caused by the Russian Civil War. They were written by Yiddish poet David Hofstein and were published at Kultur Lige which gained the leading position in Jewish social and cultural life. The association enlisted practically all the Yiddish cultural, political, scholarly figures of any fame that lived in Ukraine and Belarus. Cover design and seven illustrations were produced by Marc Chagall. In the 1910s, he had exhibited his works at shows of avant-garde artists and gained recognition. Then, he began illustrating Yiddish books with ink drawings. In 1921, Chagall worked as an art teacher in a Jewish labor school-colony «III International" in Malakhovka (suburban of Moscow), which housed young refugees orphaned by pogroms. While there, he created a series of illustrations for the poetry cycle 'Grief' written by David Hofstein, who was another teacher at the Malakhovka shelter. In 1922, Chagal left the USSR, together with his family. Conceived as a topical and expressive publication, the book combines poetry, graphics and typography into one aesthetic whole. In the front cover design, a two-head human was crossed out by red lettering, meanwhile one of the faces was wiped out. Poems were printed like a column, stairs, a circle, a wobbling river flow. Between them, grotesque illustrations mourn consequences of the pogroms, mixing drawings and letterings. David Hofstein (1889-1952) was one of the Kiev triumvirate of Yiddish poets, along with Leib Kvitko and Peretz Markish. In 1922, he also emigrated and lived in Berlin, where he contributed to the Jewish press. In 1925, Gofshtein left for Palestine, worked in the Tel Aviv mayor's office, and wrote in Hebrew and Yiddish. There he participated in the opening of the Jewish University, but a year later he returned to Soviet Ukraine. He taught at the directing department of the Jewish faculty at the Theater Institute in Kyiv. During the Great Patriotic War, he was a member of the Jewish Anti-Fascist Committee - and was murdered on the same night with them. The back cover states that the book was published with funds from the Jewish Public Committee and that all profits from the sale would go to help starving Jewish orphans. Thus, the book also was a symbol of Jewish charity. Worldcat shows paper copies located in LoC, Yale and Indiana Universities, Yivo Institute, NYPL, MoMA.

Couverture rigide. Condizione: Très bon. Paris, Genève, Éditions des Trois collines, 1948.In-folio de (2) ff.bl., 147 pp., (1) f., (3) ff.bl., avec 32 planches en couleurs comprises dans la pagination, reproduisant un tableau de chaque artiste. Relié en box noir orné sur le dos des prénom et nom de l'auteur ainsi que du titre de l'ouvrage répété neuf fois en petites capitales poussées à l'oeser alternativement vert métallisé et bleu métallisé, séparés par un point à l'oeser rouge ; doublures et gardes de papier gris, tête dorée, tranches lisses, couverture illustrée. Etui. Reliure de Pierre-Lucien Martin, 1965. 342 x 242 mm. --- Édition originale des 44 poèmes de Paul Eluard consacrés à Picasso, Marc Chagall, Juan Gris, Jacques Villon, Fernand Léger, Georges Braque, Giorgio de Chirico, Paul Klee, Max Ernst, Joan Miro, Yves Tanguy, André Masson, André Beaudin, Man Ray, René Magritte, Salvador Dali, Balthus, Léonor Fini, Oscar Dominguez, Félix Labisse, Fautrier, Dubuffet, Chastel, etc., illustrée de 64 reproductions dont 32 en couleurs, d'?uvres de 32 peintres. A l'occasion de la sortie de ce livre, une exposition des ?uvres qui y sont reproduites fut organisée à la Galerie du Pont Royal.Un des 44 exemplaires numérotés (n°XX) sur vélin pur chiffon, seul tirage sur grand papier, comportant chacun un manuscrit autographe signé d'un des poèmes et une épreuve de la gravure originale sur cuivre de Raoul Ubac qui a été reproduite en couverture. Le poème autographe du présent exemplaire est consacré à Juan Gris (1 page et demie in-folio), poème qui figure page 24 du livre. /// Paris, Genève, Editions des Trois collines, 1948.Folio [342 x 242 mm] of (2) bl.ll., 147 pp., (1) l., (3) bl.ll., with 32 plates in colour included in the pagination, reproducing a painting from each artist. Bound in black box decorated on the spine with the name and firstname of the author as well as the title of the work repeated nine times in capital letters alternatively in metallic green and blue, separated by a red dot; grey paper doublures and endleaves, top-edge gilt, illustrated wrapper. Slipcase. Binding by Pierre-Lucien Martin, 1965 --- First edition of Paul Eluard's 44 poèms dedicated to Picasso, Marc Chagall, Juan Gris, Jacques Villon, Fernand Léger, Georges Braque, Giorgio de Chirico, Paul Klee, Max Ernst, Joan Miro, Yves Tanguy, André Masson, André Beaudin, Man Ray, René Magritte, Salvador Dali, Balthus, Léonor Fini, Oscar Dominguez, Félix Labisse, Fautrier, Dubuffet, Chastel, etc., illustrated with 64 reproductions including 32 in colours, of works of 32 painters. On the occasion of the publication of this book, an exhibition of the works reproduced in it was organized at the Galerie du Pont Royal. One of the 44 numbered copies (n°XX) on vellum « pur chiffon » paper, only large-paper issue, each comprising a signed autograph manuscript of one of the poems and a proof of the original copper-engraving by Raoul Ubac which has been reproduced on the cover. The autograph poem of the present copy is dedicated to Juan Gris (1 page and a half folio), poem that figures page 24 of the book.

Lithograph portrait of "the father of modern physics", Albert Einstein by well-known artist Hermann Struck. Signed by Einstein, "Albert Einstein 1923" and Struck, "Herman Struck 138/150". In fine condition. Matted and framed, the entire piece measures 19.75 inches by 15.5 inches. An exceptional piece. Hermann Struck was a German Jewish artist known for his etchings. In 1908, Struck published "Die Kunst des Radierens" ("The Art of Etching"), which became a seminal work on the subject. His students included Marc Chagall, Lovis Corinth, Jacob Steinhardt, Lesser Ury and Max Liebermann. Struck did commissioned portraits of Albert Einstein, Ibsen, Nietzsche, Freud, Herzl, Oscar Wilde among others.

First edition. A rare, inscribed presentation copy from Max Ernst to James Stern. Publisher's black buckram, decorated in gilt to a design by Max Ernst. Illustrated with 19 original photograms by Max Ernst, each with a glassine guard, with the title printed in red. Black endpapers. Housed in a bespoke quarter morocco solander case. A very good copy, the binding square and firm with rubbing and fraying at the spine tips and corners. The contents are entirely complete, clean throughout and without inscriptions or stamps. This work is a fragment from Crevel's novel Babylone. The 19 photograms of Ernst's frottages were completed with the collaboration of Man Ray in his studio after days of trials, with Ernst's rubbings on transparent paper serving as the negative. Ernst had developed his frottage technique as a visual counterpart to the Surrealist ideal of "automatic writing," and the dark visions he produces here perfectly capture the darkness of Crevel's own vision, here translated by Kay Boyle. A fine and strikingly original production. Inscribed by the artist in black ink on the front blank "To Jimmy and Tania / Stern / amitié / Xmas 1941 / Max Ernst". One of 200 copies printed on 'finest Bristol Paper'; there was also an edition of 50 on Hollande paper signed by both the author and the artist; and five special copies, each containing four of the original artworks. Whilst the signed edition appears sporadically in commerce, presentation copies by Ernst are genuinely rare (rarebookhub traces not a single example in the last 50 years, although a colleague was able to locate a defective example, lacking all but two of the nineteen photograms, offered in 1985). Anglo-Irish writer James Stern's friendship with Max Ernst began in Paris during the 1930s, but at the time of this inscription they were both living in New York. Ernst had arrived in the city with his patron, and soon to be wife, Peggy Guggenheim, after she had helped him to escape from Nazi-occupied France. In New York, they formed part of a growing community of exiled European artists and writers, including friends such as Marcel Duchamp and Marc Chagall. Stern had also moved to the city in 1939, becoming a fixture of such artistic and literary circles; as Malcolm Cowley once remarked to him, "My God, you've known everybody, his wife, his boyfriend, and his natural issue!" This position was reflected through Stern's extensive correspondence with a multitude of leading cultural figures of the period (now largely held in the James Stern Archive at the British Library). Notably, Arthur Miller dedicated 'A View from the Bridge' to Stern, and, when Peggy Guggenheim came to write her memoir, 'Out of this Century: Confessions of an Art Addict' (in which she painted a harsh portrait of Ernst, her then ex-husband), Stern was one of the trusted friends to whom she turned for advice. (Minkoff, George: A Bibliography of The Black Sun Press A41; Roth, Andrew: The Book of 101 Books. Seminal Photographic Books of the Twentieth Century, 2001, p.66). Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

Etch bust of Albert Einstein done by well-known artist Hermann Struck. Signed by both Einstein and Struck, numbered 49/150. In fine condition. Double matted and framed, the entire piece measures 12.25 inches by 15 inches. An exceptional piece. Hermann Struck was a German Jewish artist known for his etchings. In 1908, Struck published "Die Kunst des Radierens" ("The Art of Etching"), which became a seminal work on the subject. His students included Marc Chagall, Lovis Corinth, Jacob Steinhardt, Lesser Ury and Max Liebermann. Struck did commissioned portraits of Albert Einstein, Ibsen, Nietzsche, Freud, Herzl, Oscar Wilde among others.

Condizione: Very Good. First edition. CATALOG FOR THE LANDMARK ARTISTS IN EXILE EXHIBITION, SIGNED BY ALL 14 ARTISTS, INCLUDING ANDRÉ BRETON, MARC CHAGALL, MAX ERNST, AND PIET MONDRIAN. On March 3, 1942, an historic exhibition of fourteen émigré artists opened at the Pierre Matisse Gallery in New York City. Pierre Matisse, distinguished modern art dealer, gallery owner, and son of Henri Matisse, exhibited some of the greatest European and American artists of the twentieth century, many for the first time. This special exhibit, appropriately titled Artists In Exile, represented cutting edge European avant-garde art and featured a single work from each artist, created after their arrival in the United States. We have on offer a rare Artists in Exile exhibition catalog which features a group photo by George Platt Lynes and the signatures of all 14 of the artists in colored inks: Eugene Berman, André Breton, Marc Chagall, Max Ernst, Fernand Leger, Jacques Lipchitz, André Masson, Roberto Matta, Piet Mondrian, Amdeé Ozenfant, Kurt Seligmann, Yves Tanguy, Pavel Tchelitchew, and Ossip Zadkine. There are only a handful of signed copies, each one uniqueã ¡the artists used different colored pens and placed their signatures in different locations. Artists in Exile highlighted the growing presence of modern artists in New York, who despite their differences in style, generation, and nationality, joined together to showcase their art. Pierre Matisse, for his part, created a welcoming gallery environment. Despite American political rhetoric which celebrated democratic freedom, America in the 1930s and 1940s was economically, socially, politically and culturally isolated and not a welcome refuge for the huddled masses. In contrast, the Pierre Matisse Gallery served as a creative gathering space for these new arrivals who energized the American art world. Each of these artists worked in modern styles which had been denounced and destroyed by the Nazis and labeled Entartete Kunst (Degenerate Art) in the 1930s. After the fall of France in 1940 these artists fled Europe, many of them were Jewish. The artists featured in this exhibit had successfully escaped Nazi, fascist and totalitarian regimes, some with the help of the Emergency Rescue Committee (ERC) in Marseille. From 1940-1941 American journalist Varian Fry, of the ERC, worked with art dealers like Pierre Matisse, collectors like Peggy Guggenheim, and museum directors like Alfred H. Barr Jr. (first director of the Museum of Modern Art) to rescue European artists in the greatest danger of Nazi persecution. The ERC helped at least 1,500 refugees escape from France and provided aid to over 2,000 others. Many artists who escaped because of the ERC's efforts arrived in New York City, the American art capital. The early 1940s was a turbulent time with so many of Europe's most prominent modern artists relocating to America. Many of the exiled artists helped to reshape the American art world. Max Ernst, for example, showed Jackson Pollock how to drip paint onto a flat canvas. The Artists in Exile exhibition, therefore, was a celebration of the talent and contributions of these fourteen artists who were introduced to the New York art scene by Pierre Matisse, a leading modern arts enthusiast. George Platt Lynes, a well-known commercial and fashion photographer of this period, had the difficult task of herding egos for the Artists in Exile exhibition group photograph. While the public viewed this show as a symbol of artistic unity, creating that illusion was a testament to Platt Lynes and to Pierre Matisse's commitment to showcasing these accomplished artists. Matisse admitted "I get all these people in the studio for the Artists in Exile show and while the photographer (Platt Lynes) fixed his camera, all these people who hated each other were walking around trying not to greet one another. Breton didn't like Modrian, Leger didn't like Chagall, Chagall and Ernst didn't like each other. They all wound up in the picture next to the one they.

Die schönste moderne Ausgabe von Shakespeares Komödie "The Tempest" mit 50 Orig.-Lithographien von Marc Chagall. Eines von 250 numerierten Exemplaren, im Druckvermerk von Chagall signiert. Tadellos in der Erhaltung. - Mourlot 846-895.

4to. 2 pp. On the letterhead of Hotel du Cap d Antibes". Russian. With envelope. To the newspaper editor Mark Weinbaum (1890-1973) in New York for Nowoje Russkoje Slowo": [ ] I won t forget you Russians ,there [ ] Thank you for sending me the neswpaper with the fantastic article of Sedych" (Andrej S., journalist and literature critic; from 1973 after Weinbaum deceased editor in chief of the Nowoje Russkoje Slowo"). Also thank you for the attention Ju. Stukalich" (the writer Jurka Stukalich) on the letter". I was very touched by it. I kindly ask you to to give him the enclosed letter [ ] I am receiving Sunday newspapers and you image the interest in it. May God allow that we will see each other again [ ]" [translation]. - Mark Weinbaum knew and corresponded with many of the most important figures in the Russian immigration. Among his close friends were Ivan Bunin, Mark Aldanov, Boris Zaitsev, Aleksei Remizov, Savelii Sorin, Serge Koussevitsky, and Marc Chagall. He served on the staff of Russian language newspapers Russkoe Slovo, Russkii Golos, and Novoe Russkoe Slovo. From 1925 until his death he was editor in chief of Novoe Russkoe Slovo and was later president of the Literary Fund.

Couverture souple. Condizione: Très bon. In folio en feuilles. 9 lithographies en couleurs dont une en double page, 2 lithographies en noir de Marc Chagall. Très bel exemplaire du plus recherché numéro des numéros de la revue, tirage limité à 2500 exemplaires. M93-103 "Chagall les livres Illustrés" N° 24. Bel exemplaire enrichi d'un envoi de Vava Chagall.

Couverture illustrée. Condizione: Très bon. Marc CHAGALL (illustratore). Ed. limitée. - TITLE : De Mauvais Sujets. - WITH : 10 original color etchings by Marc Chagall. - SIGNATURE : Handsigned by Chagall (illustrator), Paulhan (author) and Leal (editor). - LIMITED : to 112 copies. - SIZE : 13" x 18". - PAPER : Arches vellum. - YEAR : 1958. - PUBLISHER : Bibliophiles de l'Union Francaise, Paris. - REFERENCES : Kornfeld 106 to 115 (Chagall engraved works), Cramer 35 (Chagall illustrated books). - CONDITION : Very good condition, small defects to the case. ASK FOR EXTRA PICTURES. Signé par l'illustrateur.

A striking portrait of the father of psychoanalysis by German-Jewish artist Hermann Struck, signed in pencil by both sitter and artist in the lower margin, numbered lower right 13/150. Freud praised the work as a flattering but "charming idealization", noting Struck's quiet erasure of signs of encroaching age. Struck (1876-1944) drew this portrait from life in 1914; the etching is monogrammed and dated in the plate lower left "HS [star of David] 1914", following the artist's convention. Writing to Struck in November 1914, Freud appeared wryly pleased with the flattering likeness: "This is how I should like to look, and I may even be on the way there, but it seems to me I have got stuck halfway. Everything that is shaggy and angular about me you have made smooth and rounded. You have put my parting on one side. Furthermore my hairline runs across the temple in a rather concave curve. By rounding it off you have greatly improved upon it. Very likely this correction was intentional. In a word, I feel the etching to be a great honor. Each time I look at it I like it better" (Letters, p. 306). This particular example is from the deluxe issue of the Köpfe 1920 portfolio, with the date "1920" added faintly underneath Struck's etched monogram. The portfolio comprises a series of twelve portrait etchings of notable figures. It was published in a numbered edition of 150, with each print signed by its respective artist. Those numbered 1-50 form the deluxe issue, with each print bearing the additional signature of the sitter. Six of the etchings are by Struck (portraits of Albert Einstein, Wolfgang Heine, Arno Holz, Lovis Corinth, and Max Reinhardt, in addition to Freud) and one apiece by the artists Eduard Einschlag, Bed ich Feigl, Ivo Hauptmann, Ernst Oppler, Robert Friedrich Karl Scholtz, and Walter Zeising. After studying at the Berlin Academy of Fine Arts, Struck became part of the Berlin Secession movement, specializing in etching and publishing a seminal textbook, Die Kunst des Radierens (The Art of Etching, 1908). His pupils included Marc Chagall, Lovis Corinth, and Max Liebermann. In addition to Freud, Struck captured the likenesses of other leading figures such as Albert Einstein, Friedrich Nietzsche, Oscar Wilde, Henrik Ibsen, and Theodor Herzl. He was one of the founders of the orthodox-Zionist Misrachi party in Germany and in 1922 emigrated to Palestine. Ernst L. Freud, ed., Letters of Sigmund Freud, 1992. Etching on watermarked laid paper. Image size: 14.2 x 10.2 cm. Sheet size: 28.3 x 22.8 cm. Framed size: 420 x 350 mm Margins lightly foxed, lower left margin with small paper repair and washed, lower right corner faintly creased, otherwise a very good impression.

Limited edition, one of 250 copies from a total edition of 270, signed by the artist on the justification page, on Arches; folio; 50 original lithographs after Chagall, of which 31 are hors-texte, printed by Mourlot, loose as issued in the original printed wrappers; housed in the original cream vellum portfolio box with title in gilt to cover and spine, a fine copy. A fine example of this limited edition of Shakespeare's The Tempest with 50 original lithographs after Chagall. At the age of 88, Chagall produced this evocative interpretation of The Tempest. The illustrations add a new dimension to a much-loved text and combine Shakespeare's themes of magic and illusion with his own otherworldly images. Just as The Tempest was one of Shakespeare's final plays, this wonderful series of lithographs marks a 'farewell' to Chagall's frenetic creative output for such large-scale projects. Cramer (Les Livres illustrés), 97.

Soft cover. Condizione: Very Good. 1st Edition. Numbers 1-3. Each is quarto 26x17 cm., wrappers, 80, 80, 83 pp. No. 1 released in 3000 copies, No. 3 notes 2000. Cover design by Mark Chagall, who also provided a statement in No. 1. A literary-artistic journal, Shtrom was an organ of the Kultur-Lige which moved from Kyiv to Moscow in 1921. While not an official state publication, it is the first Yiddish serial to appear in the USSR. Poetry and prose by Peretz Markish, der Nister (Pinchas Kahanowitz), David Hofshtein, Naum Auslander (Nokhem Oyslender), David Bergelson, Itsik Kipnis, N. Daniel, and Shmuel Nisn-Gordiner, inter alia. Shtrom aspired to be international in scope, drawing on Yiddish writers worldwide, but over time it published writers of the Soviet Union. The last 3 numbers came under Party control, and it failed to maintain sufficient financial support to continue. OCLC traces only a holding in microfiche (Harvard), but MOMA has 1-4. Refs: Shneer: Yiddish and the Creation of Soviet Jewish Culture, 2004; Tradition and Revolution, p. 151; MOMA 372).

Couverture rigide. Condizione: Très bon. In folio (43x34 cm), in leaves under cover and publisher case (parchment covered with gold printing on the front and spine). With 50 original lithographs in black (31 full page). This nice copy have an original drawing by Marc Chagall dedicated "Pour Jean JANSEM et Simé en bon souvenir", hand signed by the artist and dated 1976. Limited dition of 270 copies, all on Arches vellum and hand signed at the justification page. In very good condition with fresh interior. REFERENCES : "Marc Chagall, illustrated book" Cramer n°97 & "Marc Chagall the lithographs" Mourlot 846-895 ------------------------------------------------------------------------------------ ---------------------------------------------------------- FRANÇAIS : In folio format 43 x 34 cm. En feuilles sous couverture et emboitage de l éditeur. Avec 50 lithographies originales en noires de Marc Chagall, dont 31 pleine page. Exceptionnel exemplaire accompagné d'un dessin de l'artiste dédicacé à Jean JANSEM et Simé, signé par l'artiste et daté 1976. Tirage limité à 270 exemplaires sur vélin Arches, tous signés au colophon. Très bon état, intérieur frais. Bibliographie : "Marc Chagall, les livres illustrés" Cramer n°97 & "Marc Chagall les lithographies" Mourlot 846-895.

Couverture souple. Condizione: Très bon. 1ère édition. In-4 (26 x 19,5 cm), broché, couv. imprimée en vert et noir, sous emboitage à fenêtre ajourée de Patrice Goy et Carine Vilaine,4 ff. n. ch. (blanc, faux-titre, frontispice, titre), 183 pp., 1 f. n. ch. Edition originale constituée de sept nouvelles, chacune écrite par un auteur différent : Jean Giraudoux (L'Orgueil), Paul Morand (L'Avarice), Pierre Mac Orlan (La Luxure), André Salmon (L'Envie), Max Jacob (La Gourmandise), Jacques de Lacretelle (La Colère) et Joseph Kessel (La Paresse). Illustré de 15 eaux fortes originales en noir de Marc Chagall dont un frontispice à pleine page et 14 hors-texte. Tirage limité à 300 exemplaires. Un des 44 ex. num. imprimés sur Hollande comportant une suite en bistre des illustrations sur feuillets volants et une planche libre à l'eau-forte également tirée en bistre. Seuls les exemplaires de tête (1 ex. unique sur Japon avec triple suite et manuscrits, 15 ex. sur Japon avec deux suites et 44 ex. sur Hollande avec une suite) comportent la planche libre additionnelle. Bel exemplaire broché. Livre d'occasion.

Paris, Simon Kra, 1926. 1 vol. (195 x 260 mm) de 4 f. (blanc, faux-titre, frontispice, titre), [183 p.] et [1] f. Broché, couverture imprimée en vert et noir, sous chemise et étui (A. Devauchelle). Édition originale. Tirage limité à 300 exemplaires.Un des 44 exemplaires sur hollande (n° 56 ), avec une suite en bistre des 15 eaux-fortes originales de Marc Chagall, et une planche libre à l'eau-forte, que seuls les exemplaires de tête (japon et hollande, soit les 60 premiers) contiennent. 7 nouvelles, chacune écrite par un auteur différent : Jean Giraudoux (L'Orgueil), Paul Morand (L'Avarice), Pierre Mac Orlan (La Luxure), André Salmon (L'Envie), Max Jacob (La Gourmandise), Jacques de Lacretelle (La Colère) et Joseph Kessel (La Paresse). Très bel exemplaire.

Original Lithografie auf Japon nacré. Unten rechts handsigniert und links nummeriert. Exemplar 19 von 50. Bei Fernand Mourlot in Paris gedruckt, 1975. Original lithograph on Japon nacré. Signed by hand lower right and numbered left. Copy 19 of 50, printed by Fernand Mourlot in Paris, 1975. 26 x 33 cm. 44 x 56 cm. Prima erhalten. Well preserved. Sorlier 744 & Lithograph V. In Schöner Silber Leiste eingerahmt. Framed in a beautiful silver moulding.