Sergei diaghilev (24 risultati)

Paperback. Condizione: Good. Good Condition. Five star seller - Buy with confidence.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. In collaboration with Walter Nouvel. dj w/lite wear and toning, in mylar; blue c w/ gilt sp;ikne titles; lite foxing of end papers; 382 clean, unmarked pages/index. 33 b/w Illus (illustratore).

Condizione: Very Good.

Condizione: Very Good. 10 pages, illustrated in colour. An authentic standalone article, extracted from a larger volume. Not a reprint or reproduction, but an original work in its own right. Preserved in a modern card cover, prepared for practicality - an unassuming but serviceable presentation that favours function over finery. Size: Quarto. Category: Apollo Arts Magazine; Cosmo Books : 29 years on ABE, 47 years taking care of customers. A bookseller you can rely on. Softcover (Booklet - Unbound Pages).…

Paperback. Condizione: Very Good. 333 pp; Book has previous owner's bookplate, 1/2 inch tear at base of spine, slightly cocked, dark navy covers, plastic of spine starting to separate at corners just a bit due to age, pages unmarked. A nice, clean, tight and attractive book.

Condizione: Good. Originele geïllustreerde hardcover, 8vo.

Condizione: Near Fine. Schoten: BAI, 2004. First Edition. Quarto (11" x 9"); 271pp. Publisher's patterned red cloth with gilt lettering and mounted full-color illustration. No dust jacket, as issued. English language text throughout. Boards are clean, sturdy, and square. Binding is sound and pages unmarked. Published to accompany the eponymous exhibition at the Groninger Museum, which ran from December 11, 2004 - March 28, 2005.…

paperback. Condizione: Very Good. Fast Despatch Soft Covers - will send out 1 st class post within 12 hours of receipt of order.

Condizione: Very Good.

Catalogo In-8°, legatura in brossura editoriale, pp. 333, con centinaia di illustrazioni riguardanti costumi e scenografie di grandi artisti. Marginali tracce d'uso.

Couverture souple. Condizione: Moyen. Edition originale. In-4° agrafé, couverture illustrée de Léon Bakst. Superbes illustrations en couleurs de Léon Bakst. Etat moyen. Couvertures détachées. Une mouillure pale marginale.

4°, 320 S. mit zahlreichen s/w und farbigen Abbildungen und Tafeln. Orig.-Pappband im Orig.-Umschlag. Erste Ausgabe.- Katalog zur Ausstellung in Monaco und Moskau 2009.- Gutes Exemplar.- PLEASE NOTE: Additional shipping costs to destinations outside of the EU are required for this item beyond our standard rates due to its weight and value - we will inform you of the applicable amount at time of purchase.…

Couverture souple. Condizione: Bon. Edition originale. Volume in-4°, agrafé, bien complet de sa cordelette, couverture illustrée par Valentine Gross. Texte en anglais. Très nombreuses illustrations en couleurs par Léon Bakst. Reproductions photographiques en noir. Pas de pagination. Important programme-souvenir de la célèbre saison des Ballets Russes de Serge de Diaghilev, organisée à Londres sous la direction de Sir Joseph Beecham, juste avant le déclenchement de la Première Guerre mondiale. L'ouvrage constitue un document de référence pour apprécier le travail de Léon Bakst. Il contient de remarquables reproductions en couleurs de ses maquettes de costumes et de décors (notamment pour La Légende de Joseph), illustrant son sens de la couleur et son influence majeure sur l'esthétique de la compagnie. Contient également des illustrations d'Alexandre Benois et des photographies des artistes (Fokine, Fokina, Bolm). Bon état.…

4to., First Edition, with coloured frontispiece and very numerous photographs and facsimiles in the text; original pictorial wrappers, a near fine copy. The catalogue lists 217 lots.

Monaco, Sotheby Parke Bernet, 1975. 25 x 19 cm. Original decorated boards. (4), 220 p. Illustrated in black-and-white. 826 numbers. In English. 1st edition. Very good condition. Catalogue of the great auction, containing many music and ballet books of the early 20th century, but also important Russian books of the 16th century.…

Amsterdam, Bert Bakker, 2004. Gebonden. Hardcover. 224 pag. - MOOI EXEMPLAAR [dans / dance / ballet ].

Collection/Auction catalogue, July 1968. 217 items, illustrated mainly in black and white. Paperback. Very good, sunline to front cover. With prices realised loosely inserted. We are specialists in Catalogues: Exhibitions, Auctions, Collections, etc., with a picture of the cover available on request. All items are as described and dispatched within 36 hours in a secure package. We are professional booksellers with 30 years experience and a real-life bookshop. You may order with confidence.…

Condizione: Fair. 1988, hardcover in cassette, goed exemplaar, gebruikssporen aan cassette / good copy, wear on cassette.

Couverture souple. Condizione: Bon. Edition originale. In-4° agrafé, couverture illustrée de Léon Bakst. Très riche iconographie en couleurs mettant en valeur les costumes crées par Léon Bakst. Reproductions photographiques à pleine page dont un cliché de Nijinski. Ce programme célèbre la mythique saison de 1912 des ballets de Sergei Diaghilev au théâtre du Chatelet. La première de couverture, signée par le maître décorateur Léon Bakst, arbore une somptueuse illustration d'inspiration hindoue créée pour le ballet Le Dieu bleu. À travers une palette de couleurs vibrantes, Bakst immortalise la silhouette magnétique du légendaire danseur Vaslav Nijinsky. Plus qu'un simple livret de salle, ce document témoigne d'un moment charnière de l'histoire de la danse, qui vit naître cette année-là des chefs-d'oeuvre de la modernité comme L'Après-midi d'un faune ou Daphnis et Chloé. Agrafes absentes.…

Hardcover. Condizione: Good+. Early green cloth, handwritten paper spine label; pp. 166, with original wraps bound in. N.d., circa 1920-1930. From the library of Sergei Diaghileff -- a Russian art critic, patron, ballet impresario and founder of the Ballets Russes -- with his ownership stamps on prelims and terminals. Spine tips and corners a bit frayed; front hinge cracked, but holding; text block extremely brittle, with FFEP, original front wrap, and front flyleaf detached, laid-in. A fragile volume, but rare, especially with such an interesting provenance.…

Oblong-small-8vo. 2 pp. With a stamp of Serge Lifar. In this warm and reflective postcard, written from Monte Carlo, Serge Diaghilev writes to his protégé Serge Lifar, expressing both affection and concern. Diaghilev comments on their artistic work, logistical matters, and shared acquaintances. The tonepersonal, direct, and at times mentoringreveals the depth of the relationship between the great impresario of the Ballets Russes and his young star dancer and choreographer.I received your letter at my new address, and today I'm writing to you from Monte Carlo, where I arrived this morning. Ruda and Pusha send you their regards.Tcherepnin feels much better nowhe had suffered from nervous exhaustion, which I think came from overwork. I am now completely immersed in literary mattersour performances in Paris and Biarritz went wonderfully well.Your absence has been deeply felt; everything would have gone even better if you had been here. Please write to me at this address until further notice.I have just received a letter from our Florence agent, who writes about Massine's unreliability, and says that Ronald has once again made something inappropriate and unprofessional (his behavior is intolerable!).We think our troupe will leave around the 15th20th of April, so please tell me whether you will be able to join us then or not. If you cannot, perhaps you could come to Monte Carlo for 45 days at least. You would be a great help."The references to Massine (Léonide Massine) and Ronald (possibly Ronald D. Coates or another company member) reflect internal Ballets Russes tensions of the late 1920s. Diaghilev's concern for Lifar's presence underlines how crucial Lifar had become to the company's creative and moral stability in its final years.…

Oblong-small-8vo. 1 p. With a stamp of Serge Lifar. Rare postcard written to Serge Lifar. My dear Serge, I will be in Moscow on the 29th.I am leaving here (from Petrograd) at 9:25 in the morning and will arrive in Moscow at 3:35 in the afternoon. Please buy me a second-class ticket and meet me at the station at 10:50 in the morning. You will arrive in Moscow at 1:30 in the afternoon; if you can, wait for me at the station so that we can go together to the rehearsal. I am sending the money for the ticket today. Please take care of it immediately. Many thanks and kisses, Serge Diaghilev". - Russian art critic, patron, and ballet impresario (1872-1929) who was the founder of the Ballets Russes, from which many famous dancers and choreographers would arise.…

Oblong-small-8vo. 2 pp. With a stamp of Serge Lifar. In this intimate and detailed letter, written on a Saturday, Serge Diaghilev expresses concern about Lifar's silence and shares updates about mutual acquaintances, artistic preparations, and upcoming travel plans. The tone is affectionate but tinged with anxiety Diaghilev's typical mixture of mentorship, authority, and dependence on his young collaborator. He writes about the Ballets Russes' artistic life in Monte Carlo, American contacts, and literary figures in Paris, revealing his constant networking and restless mind.Why haven't you written? It's bad that you remain silent I was beginning to think something was wrong. Have you received my last letter? I'm writing to tell you that the preparations and rehearsals here are all going well. The "old man" still hasn't arrived in Monte Carlo, but I think he'll come soon, when everything is ready.You must take care of yourself I'm told you've lost a lot of weight and are weak, you must get some fresh air! Keep working but don't exhaust yourself. I'm doing the same every day, but often have to rush between rehearsals, meetings, and dinners with writers like Delacostelle, Kessel, Radiguet, Proust, and others.I hope you'll soon come here to Monte Carlo. Americans are beginning to arrive I think it would be useful for you to come too. Perhaps not for long, just for two days. Among them is Professor Carpenter, who gives lectures in Chicago an interesting man, very cultured and educated.At the end of the month I plan to go to Milan to finalize some engagements; then I'll be back here again for 810 days, after which I'll go to Paris. Please write to me more often your letters bring me great joy."This letter was likely written in the late 1920s, during Diaghilev's final years, when his health was declining but his artistic energy remained intense. The references to Radiguet and Proust evoke his literary circles in Paris, while his mention of Monte Carlo and American contacts highlights the Ballets Russes' international reach and Diaghilev's tireless drive to sustain it.…

Oblong-small-8vo. 2 pp. With a stamp of Serge Lifar. In this letter, written from Venice on a Saturday, Serge Diaghilev informs Serge Lifar about his arrival and the start of preparations there. The tone is affectionate and practical, showing both Diaghilev's dependence on Lifar's involvement and his characteristic mixture of managerial focus and personal concern. He speaks of work, company matters, and his wish for Lifar to rejoin him soon revealing again their close collaboration in the Ballets Russes' final years.Yesterday I finally arrived in Venice and found our house charming. I'm very happy with everything here the weather is wonderful, and the mood is cheerful. Only one thing troubles me: your silence. I absolutely need to hear from you. Please pay attention to this!Write to me soon, tell me if you have begun rehearsals in Paris, and whether you are preparing the costumes and sets. Tcherepnin's lessons have gone very well, but there is still much to be done. I'm worried about your health they tell me you've been feeling tired again.Try to rest a little and recover. Everything is going beautifully in Monte Carlo so far; I'm waiting impatiently for news from you. Tell me if Branson's ballet will be ready soon, and whether you plan to come to Venice. People here keep asking about you they all miss you terribly.I'm writing this just after breakfast the weather in Venice is glorious, the air mild, and the water glittering. Everything here brings peace and calm, and I'm already working on some new ideas for next season."This letter was likely written in the late 1920s, when Diaghilev was living in Venice between Ballets Russes seasons. His reference to rehearsals in Paris and to Tcherepnin (composer Nikolai Tcherepnin) places it in the company's later period, when both Diaghilev's health and finances were declining, yet his creative spirit and attachment to Lifar remained deeply alive.…