Lydis mariette illustrator (40 risultati)

Hardcover. Condizione: Very Good. ***Please Read*** No marks on text - My shelf location - k-27-c*. Lydis, Mariette (illustratore).

Hardcover. Condizione: Fine. Very Good Slip Case. Heritage Press Fine/Very Good Slip Case James, Henry (author); Lydis, Mariette (Illustrator); VanDoren, Carl (intro). Tan cloth with silver lettering and large screw on front. Silver lettering on spine. Grey slip case with light wear rinforced with clear library tape both ends. OVER SIZE HEAVY ITEM. No Exp.…

Hardcover. Condizione: Fine. None. With The Heritage Club Sandglass laid in. In a near-fine slipcase.

Hardcover. Condizione: Brand New. 192 pages. 8.25x5.75x0.75 inches. In Stock. Mariette Lydis (illustratore).

Hardcover. Condizione: Near Fine. Very Good Slipcase. Reprint. The Limited Editions Club 1937 Reprint Near Fine/Very Good Slipcase NOT signed. UNSIGNED. Nice reprint with summary by Limited Editions Club laid inside. Light tanning to spine o/w Fine. Slip case reinforced with clear library tape is tanned. HEAVY ITEM 2.14 Size: 11 3/4 x 9 x 1 inches. No Exp.…

Hardcover. Condizione: Brand New. 192 pages. 8.25x5.75x0.75 inches. In Stock. Mariette Lydis (illustratore).

First edition, a charming children's book with a Gallo-Roman setting, illustrated throughout by Lydis. 8vo (260 × 210 mm), pp. 32, colour illustrated throughout. Original cloth backed glazed boards. A very good copy.

Mariette Lydis contributed the charming cover image for the catalogue for the annual January 'white' linen sale at the iconic Parisian department store Au Bon Marché. The catalogue is illustrated throughout with household linens, lingerie, dresses and children's clothes. 4to (266 × 190 mm), pp. 48, illustrated throughout, numerous loose insertions, coupons and order forms, one supplementary sheet with fabric samples. Stapled in original colour-printed wrappers with cover illustration by Lydis, complete with the original mailing sleeve. Staples rusted, but very good. …

Soft cover. Condizione: Very Good. 1st Edition. Pictorial white wrappers. Small folio. 97pp. Housed in custom binder of morocco and marbled boards. Copy #1586 of 2100 numbered copies. Illustrated with 8 full-page color lithographs by Mariette Lydis. Inscribed by both author and illustrator. A work of poetry by the Argentinian poet with illustrations by noted Austria painter and illustrator Mariette Lydis. Lydis moved to Paris in the 1920s where she gained a reputation as a painter and lithographer. She was commissioned to illustrate various books and poetry anthologies, and participated in her first exhibition at the Galerie Bernheim. She became a member of the Salon du Autonne and was a fixture in the Avant-Garde movement of Paris. She fled France in 1940 and settled in Buenos Aires where she lived for the rest of her life. A very good copy with some light soiling and edgewear to the wrappers and some browning to the spine. The text is very good and clean. The binder is very good with some light scuffing to the sides of the spine.…

137 pages. 32 x 24 cm. Limited edition, copy 169 of 250 of a total edition of 311. Full page black and white illustrations by Lydis. Lydis was known for her lithographic depiction's celebrating lesbian and bisexual relationships. She was influenced greatly by Foujita whom she befriended during her time in France. Text in French. Slight nick to backstrip at front cover joint head. Orig. printed stiff wrappers, text uncut and unopened laid-in. Near fine.…

A smartly printed edition of John Gay's long lived The Beggar's Opera, signed by illustrator Mariette Lydis. Signed limited edition, no. 535 of 1500; tall 4to (35 x 25 cm); signed to limitation page by illustrator, illustrated with 15 lithographs by Mariette Lydis; publisher's blind stamped cloth, gilt lettered motif to boards, gilt lettering to spine, top edge gilt and others uncut, a fine copy; 122, [2] pp. …

A scarce and substantial brochure for a charity gala, to which Mariette Lydis contributed eight full-page illustrations (some for adverts) mainly of young girls or women. Other artistic contributors include Marie Laurencin, Raoul Dufy and Vertès and there are further contributions from Jean Cocteau, Daisy Fellowes, Arthur Honneger, Pierre Mac-Orlan, François Mauriac, André Maurois and Colette. Lydis is the largest single contributor. The Bal des petits lits was an annual fundraising event for the benefit to sick and disadvantaged children and attracted the patronage of leading artistic figures each year. Square quarto (230 × 190 mm), 70 leaves including a foil front endpaper and an acetate overlay, numerous illustrations and adverts, many in colour, some photographic. Spiral bound in stiff wrappers (original plastic comb spine). An excellent copy. …

First edition. A striking early Lydis production. Each plate is accompanied by an exotic love lyric by Schwabach (publisher, author and patron of Expressionism) 'Die verliebten Billete des Prinzen Salamu'. The 18 plates reproduce Lydis' orientalist miniatures in collotype and lithograph with gold and silver. The Müller firm had been established at Potsdam 1919 by Irmgard Kiepenheuer and Hans Müller. Kiepenhauer was an important figure in the artistic world of Weimar Berlin, hosting a cultural salon in Potsdam and being in personal contact with the most important contemporary artists - including many from the Bauhaus in Weimar. The firm issued several influential portfolios showcasing artists such as Max Beckmann, George Grosz, Erich Heckel, Ernst Ludwig Kirchner, Oskar Kokoschka, Max Pechstein, Christian Rohlfs, and Karl Schmidt-Rottluff. One of 1100 copies (of which 100 were signed). Square 8vo (195 × 165 mm), ff. [21] each a double leaf folded along fore-edges (Japanese style), with 18 lithograph and collotype plates in colour with gold and silver, mounted within windows, the text on versos. Original publisher's decorative boards. Covers slightly darkened in places, with a few spots. A good copy.…

First edition. Each plate is accompanied by an exotic love lyric by Schwabach (publisher, author and patron of Expressionism) 'Die verliebten Billete des Prinzen Salamud'. The 18 plates reproduce Lydis' orientalist miniatures in collotype and lithograph with gold and silver. The Müller firm had been established at Potsdam 1919 by Irmgard Kiepenheuer and Hans Müller. Kiepenhauer was an important figure in the artistic world of Weimar Berlin, hosting a cultural salon in Potsdam and being in personal contact with the most important contemporary artists - including many from the Bauhaus in Weimar. The firm issued several influential portfolios showcasing artists such as Max Beckmann, George Grosz, Erich Heckel, Ernst Ludwig Kirchner, Oskar Kokoschka, Max Pechstein, Christian Rohlfs, and Karl Schmidt-Rottluff.A regular copy of a total edition of 1100 copies (of which 100 copies were signed). Several different publisher's bindings exist. Square 8vo (195 × 165 mm), ff. [21] each a double leaf folded along fore-edges (Japanese style), with 18 lithograph and collotype plates in colour with gold and silver, mounted within windows, the text on versos. Original decorative boards (slightly browned). A very good copy.…

A gorgeous livre d'artiste with a subtly-erotic 17th-century text and EIGHT ORIGINAL LITHOGRAPHS BY MARIETTE LYDIS. The lithographs depict the amorous and sexual longing of a thick-lipped, doe-eyed young woman. Edition limited to 523 numbered copies, all printed on very fine Arches wove paper. Folio. Loose as issued in original wraps, chemise, and slipcase. FINE AND BRIGHT. A pristine copy. …

A gorgeous livre d'artiste with a subtly-erotic 17th-century text and EIGHT ORIGINAL LITHOGRAPHS BY MARIETTE LYDIS. The lithographs depict the amorous and sexual longing of a thick-lipped, doe-eyed young woman. Edition limited to 523 numbered copies, all printed on very fine Arches wove paper. Folio. FINELY BOUND IN FULL VIOLET MOROCCO. Original wraps and backstrip bound in. Slight sunning to spine, else FINE AND BRIGHT. …

First edition, tirage de tête, copy number 6 of 30 copies on Japon (total edition 1100). A witty appreciation of Joseph Delteil, in the form of an ironic literary hagiography by his friends. Novelist and critic Joseph Delteil was associated primarily with the Surrealists, but he was an early admirer of the work of Mariette Lydis and also her lover for part of 1928. It was Delteil who observed that Lydis 'paints with her breasts', a remark which proved to be a controversial subversion of Renoir's claim to 'paint with my prick' (Gluzman, 'Desire, Mystery, Devotion: On Mariette Lydis's Trajectory', ISFLAA NY, 'From the Desk of.' 22 November 2024). 4to (227 × 160 mm), pp. 97, [5], portrait frontispiece. Original wrappers. A fine copy.…

A novel by Montherlant beautifully illustrated with 12 LOOSE HORS-TEXTE ORIGINAL COLOR LITHOGRAPHS BY MARIETTE LYDIS. From a total edition of 382 numbered copies, this is ONE OF ONLY 20 COPIES PRINTED ON IMPERIAL JAPANESE PAPER, WITH A SECOND SUITE OF THE 12 LITHOGRAPHS, PRINTED IN BLACK. Loose as issued in original wraps, board chemise and slipcase. Tiny traces of wear to slipcase, else FINE AND BRIGHT. Mariette Lydis (illustratore).…

First edition with the Lydis illustrations. One of a total edition of 131 copies, this one of the 115 on papier de Rives). The illustrations, many in the style of illuminated miniatures or icons are transformed through brilliant pochoir colouring executed in the workshop of master colourist Jean Saude, reproducing the artist's signature on each.These verse litanies, after the traditional catholic Marian litany, are entirely the creation of Armand Godoy and were first published (unillustrated) in 1930. Symbolist poet Godoy was born in Havana in 1880 and spent the first part of his life in Cuba and Peru, working in banking and the tobacco trade, before emigrating to France in 1919 with the express intention of becoming a poet 'dans la langue de Baudelaire'. Much influenced by the Parnassians and the symbolists he was also a major collector of books, manuscripts and prints, amassing an unrivalled collection of Baudelaireiana. Among his numerous small-scale published works in French is his translation of Poe's Raven - Le Corbeau d'Edgar Poe (Émile-Paul frères, 1929, with a frontispiece by Lydis). Square 4to (250 × 210 mm), ff. 15 (text, on blue and pink paper) plus 26 ff. plates and illustrations, including some printed on translucent calque paper, some printed in colours, and some photographs (several printed on 'papier metallisé'). Minor paper adhesion to surface of a couple of the photographs. Pictorial wrappers, original plastic comb binding and transparent plastic covers. A few leaves at the beginning with slight loosening, but all secure. Wrappers slightly soiled at the edges. A very good copy of a item that that has proved fragile.…

First edition of Mariette Lydis's first book, number 70 of 100 copies on thick handmade paper and bound in bright yellow 'duvetine' cloth (the limitation notice mentions copies are either in 'duvetine' or in Chinese silk), complete with rare original box. Though described on the title as Chinese stories by Balàzs illustrated by Lydis, in fact the illustrations came first, with the 16 fables added in response - so the book is in effect a series of pictures 'illustrated' with text. Its genesis lay with Lydis (then Marietta Pachoffer-Karñy) and her friend, the Viennese progressive educationalist Eugenie Schwarzwald, who approached the Hungarian emigré poet and aesthetician Balàzs (who had composed the libretto for Bartók's Bluebeard's Castle in 1911) to write a text so that a book could be published. In order to have it ready for Christmas he had to write the sixteen tales in just three weeks, producing a series of strange and sometimes chilling tales true to the striking orientalism of the images. It was a great success - Thomas Mann extolled it as 'a beautiful book' in a press review, while a modern critic writes: 'Not surprisingly [Balàzs] stuck to his favorite theme - human alienation. In these fables, Balàzs suggested that men could only unite with women in the utopian world of dreams and longing'. (Congdon, Exiles and Social Thought: Hungarian Intellectuals in Germany, 2014, p. 104). Der Mantel der Träume has more recently been published in English as The Cloak of Dreams (Princeton, 2010).The sixteen illustrations and fables are: Der Mantel der Träume; Li-Tai-Pe und der Dieb; Die Sonnenschirme; Der ungeschickte Gott; Die Opiumraucher; Der Floh; Das Alte Kind; Die Gottesräuber; Li-Tai-Pe und der Frühling; Die Ahnen; Der Mondfisch; Die Freunde; Die Rache des Kastanienbaumes; Tränenblick; Das Lehmkind and Der Sieger. The 20 illustrations are from watercolour miniatures and reproduce dates (Lugano 1921-2) and the artist's initials 'M.P.K' [for Marietta Pachoffer-Karñy, from her first marriage in 1910 to Austrian businessman Julius Koloman Pachoffer-Karñy, who died April 1922]. 4to (270 × 205 mm), pp. [8], 110, [2], including 20 mounted colour-printed plates (each c. 105 × 120 mm). Original yellow cloth ('duvetine'), title to upper cover and dragon motif to spine, in red. An excellent, bright copy in the original box. Contemporary bookseller's label (Hans Dommes, Köln).…

First edition with Lydis's illustrations, complete with the 14 additional erotic plates to complement the 42 plates bound in (some of which are equally 'libres'). Number 209 of 900 copies on Arches (after 56 Japon copies each with an additional drawing), total edition 956. 3 vols, large 8vo (240 × 180 mm), pp. 217, [1]; 198, [2]; 185, [3], plus 56 coloured plates (42 bound in, 14 'planches libres' separate and loose in portfolio). Original wrappers preserved in contemporary blue morocco, gilt, with monograms 'BR' and marbled paper covered slip cases, quarter morocco portfolio with matching paper (ties frayed). A handsome copy.…

One of a small number of copies only for private circulation, with the two erotic plates of young girls by Lydis, illustrating the first Folastrie of Ronsard's 1553 collection Livret de Folastries. 8vo (218 × 164 mm), pp. 35, [11] including 4 etched plates (2 designs, each in 2 states, black and sanguine) and front and rear blanks. Stitched as issued in the original wrappers, slipcase. head and foot of spine slightly bumped, but still a very good copy. [Carteret, III, p. 313. Worldcat lists the Dutch Royal Library copy only (where the place of publication is suggested as Buenos Aires). No copy in the Bibliothèque nationale, one additional copy at Edinburgh.].…

First edition for the Société des Cent Femmes and with the Lydis illustrations, of an erotic collection first published in 1908. This is copy 83 for Madame André Boivin. Marguerite Burnat-Provins was considerably ahead of her time with this sensuous text of female desire and description of the nude male body, using language that male poets had historically used to describe female nudes.The women's bibliophile circle, Société des Cent Femmes amies des livres was founded in 1927. This was a subscription society, producing a series of well-printed books between 1927 and 1968, usually with woodcut or engraved illustrations, limited to 130 copies only. The club was limited, as the name denotes, to 100 women at any one time and founding member included the comtesse de Noailles, Madame Funck-Brentano and the Princesse Ghika (née Hazel-Marie Paliner-Singer). It was one of two major women's bibliophilic clubs founded in the 1920s, the other being Les Cent Une founded in 1926, who also commissioned a book from Lydis. 4to (260 × 200 mm), pp. [8], 123, [3], including 25 etched plates by Lydis. Initials printed in red. Uncut and loose in original wrappers, as issued, original slipcase. The latter slightly rubbed, and frayed but an excellent copy. [Worldcat lists no copies outside continental Europe.].…

First edition with the Lydis illustrations. One of a total edition of 131 copies, this one of the 115 on papier de Rives). The illustrations, many in the style of illuminated miniatures or icons, are transformed through brilliant pochoir colouring executed in the workshop of master colourist Jean Saude, reproducing the artist's signature on each.These verse litanies, after the traditional catholic Marian litany, are entirely the creation of Armand Godoy and were first published (unillustrated) in 1930. Symbolist poet Godoy was born in Havana in 1880 and spent the first part of his life in Cuba and Peru, working in banking and the tobacco trade, before emigrating to France in 1919 with the express intention of becoming a poet 'dans la langue de Baudelaire'. Much influenced by the Parnassians and the symbolists he was also a major collector of books, manuscripts and prints, amassing an unrivalled collection of Baudelaireiana. Among his numerous small-scale published works in French is his translation of Poe's Raven - Le Corbeau d'Edgar Poe (Émile-Paul frères, 1929, with a frontispiece by Lydis). Folio (280 × 225 mm), pp. [212], plus 48 pochoir coloured plates. Some spotting, more evident on endpapers and some text leaves, but occasionally present on a few plate margins. Uncut and loose, as issued, in original paper wrappers. Chemise and slipcase. [Worldcat lists copies at Princeton and Bridwell only outside continental Europe (to which we add the Edinburgh copy.].…

First edition with illustrations by Mariette Lydis. Le Livre de Goha le simple, by two Egyptian Jewish authors, first appeared in 1919 (Calmann-Lévy) but this 1926 deluxe illustrated edition formed part of the Collection de chefs-d'oeuvre series. It was an important commission for Lydis. Goha the Fool was immensely popular, having narrowly missed the 1919 Goncourt prize (which went to Proust that year). 'It is possible to see the beginning of Levantine literature rooted in the realities of the Middle East and influenced by European culture in Goha le Simple ? This sad and cynical love story, which employs the prototype of Goha, the hero of many Middle Eastern tales describes the lives of the common folk of Cairo before the spread of Western cultural influence' (Mongrels or Marvels: the Levantine Writings of Jacqueline Shohet Kahanoff, ed. Starr & Somekh, 2011). Lydis's illustrations, evidently reduced from larger drawings are striking mostly depicting women of all ages and classes. This is one of 1000 copies on Rives (after 100 on Hollande and 100 on Annam). 2 vols, 8vo (187 × 120 mm), pp. vi, 402, [2], plus 26 heliogravure plates, tinted by hand. Original coloured wrappers, preserved in contemporary red half calf, wood veneer boards, by Creuzevault. Slightly rubbed and faded. A very good copy.…

First edition with the Lydis illustrations, of Colette's coming-of-age novel (first published in 1900-3 with debatable contribution from her then-husband, Willy). This is copy number 47 of 100 on Lafuma with plates in 2 states, after copies on Japon and Hollande, of a total edition of 1585 copies on different papers. Though not called for copies on Lafuma, this copy has four original drawings bound as frontispieces, each signed by the artist. Three of them are of Claudine herself, the fourth, a delightful cat.There was mutual admiration (and perhaps more) between Colette and Lydis, the former having written an admiring note on the artist for the programme of the 1934 Bal des petits lits blancs, which Lydis had illustrated. 4 vols, large 8vo (230 × 170 mm), pp. 239, [3]; 186, [4]; 174, [4]; 160, [4], plus 48 plates each in two states (one monochrome, one colour), plus four original drawings, signed (bound as a frontispieces to each volume) Uncut in contemporary orange half morocco by Semet & Plumelle, spines gilt, matching slipcases. A handsome copy.…

The earliest portrait of Leopold Bloom. Mariette Lydis published this image in the first issue of the journal 900 with the fragment of Ulysses in the French translation by Auguste Morel. It is dated 1925 in the lower corner. No earlier illustration of Bloom is known (nor indeed any earlier illustration of Ulysses) and it predates Joyce's famous but inept sketch of him made in Paris in 1926. Lydis's Bloom was introduced (by us) in The James Joyce Broadsheet (issue 121, February 2022) and discussed in the Times Literary Supplement 6167 (11 June 2021).Joyce was nominally a joint editor of the radical literary review 900 with Massimo Bontempelli. Mariette Lydis was Bontempelli's lover at this period having separated from her second husband, Jean Lydis in 1925. Mariette knew Joyce and sketched his portrait the following year in Paris. 8vo (192 × 130 mm), pp. 203, [13] (including adverts), the Ulysses fragment on pp. 107-131, illustrations. Original yellow wrappers. Contemporary bookseller's stamp to upper cover (Les Arts et le Livre, Paris). Slightly dust-stained and with creasing to the spine, upper cover detached, but still a good copy of this fragile journal. [Slocum & Cahoon, A Bibliography of James Joyce (953), D25 (p. 113).].…

Paris: Printed for members of the Limited Editions Club by G. Govone, 1937. Small folio, 121 pp. Illustrated with lithographs. Blue cloth with gilt decoration and lettering to backstrip. Occasional foxing but generally a very good copy in a stained and lightly worn original slipcase. § Limited to 1500 copies, signed by the illustrator, Mariette Lydis.Preface by A. P. Herbert. Printed in Lyon by Count Giuseppe Govone on the presses of Audin & Cie. Signed.…

Potsdam (Berlin), Müller & Co, n.d. (1924), 1st ed., (21) double-leaves (bound as a block-book, Jpaanese style), 18 lithograph and collotype plates in colour with gold and silver, by Mariette Lydis, each mounted behind 'passepartout-windows', the accompanying text on opposite leaves, printed out of the Tiemann-Kursuv in 1100 copies (1000), original gilt and decorate boards designed by Mariette Lydis, square octavo (19, 5 x 16,5 cm), original plain board protective slipcase. = Croft/ Jones, Cat. Mariette Lydis (2025), 3: "Each plate is accompanied by an exotic love lyric by Schwabach (publisher, author and patron of Expressionism) 'Die verliebten Billete des Prinzen Salamud'. The 18 plates reproduce Lydis's orientalist miniatures in collotype and lithograph with gold and silver.".…

First edition with the Lydis illustrations, of Colette's coming-of-age novel (first published in 1900-3 with debatable contribution from her then-husband, Willy). This is copy number 88 of 100 on pur fil Lafuma with plates in 2 states, after copies on Japon and Hollande, of a total edition of 1585 copies on different papers. There was mutual admiration (and perhaps more) between Colette and Lydis, the former having written an admiring note on the artist for the programme of the 1934 Bal des petits lits blancs, which Lydis had illustrated. 4 vols, large 8vo (230 × 170 mm), pp. 239, [3]; 186, [4]; 174, [4]; 160, [4], plus 48 plates each in two states (one monochrome, one colour). Uncut in contemporary dark blue morocco with red borders, lettered on the spines to read 'CLAUDINE' across the 4 volumes. Original matching slipcase.…