Ernst max artists (10 Ergebnisse)

Soft cover. Zustand: Good. Limited Edition. Exhibition catalogue for a London gallery in edition of 1,200 copies, the mostly white covers are a little marked and grubby, but is very good internally with small embossed stamp on the first page. Works of various 20th century artists depicted in colour, including Leon Kossoff, Dorothea Tanning, Max Ernst, Gabriele Munter etc (illustrator). …

Brossura. Zustand: buono. prima edizione. Brossura, 144 pagine, illustrato a colori e in bianco e nero anche con tavole applicate (ne segnalo una distaccata), sostanzialmente ben conservato, piccola mancanza a lato della copertina.

Zustand: Good. 4to. 24.5 x 31 cm. Original pictorial boards. Original lithograph by Charles Lapicque, LACKING those by Salvador Dali, Wilfredo Lam, Jacques Herold. Ex-Rose Marie Mannion library at Notre Dame. Some markings. Good.

SOFTCOVER. Zustand: As New. 1st Edition. 4to in colour printed stiff glossy card covers, unpaginated, approx. 48pp on stiff art paper, colour plates, etc . [CONDITION: An extremely well preserved AS NEW unread and unmarked copy. An excellent copy ] . . . We always ship in STRONG PROTECTIVE CARD PARCELS.…

SOFTCOVER. Zustand: Fine. Zustand des Schutzumschlags: Fine. 1st Edition. Large 4to. in colour printed stiff glossy card covers with red printed clear plastic dust jacket, 170pp on various types of paper, 83 colour plates, etc. . [CONDITION: An extremely well preserved FINE very clean and tight unmarked copy (hint of sunning to spine) in a FINE Dust Jacket (tiny chip to head of spine panel). A very nice copy ] . . . We always ship in STRONG PROTECTIVE CARD PARCELS.…

First Edition. Softcover. First Edition. Text in French. Features work by Bacon, Miro, Chagall, Appel, Artigas, and others. Lightly worn on the bottom edges, else Near Fine in perfect-bound wrappers.

Wraps. Zustand: Good. Printed wraps. Pagination run 473-544, plus 36 pages of ads and black and white plates, unpaginated, throughout. All text in French. An issue of this Belgian magazine devoted to contemporary views of various subjects of the day, with a lean toward Modernism and Surrealism, especially in the art world. This issue includes black and white line drawings by George Grosz and Jean Cocteau; black and white reproductions of paintings by Picasso, Joan Miro, Max Ernst etc. Edited by Paul Gustave Van Hecke, a Belgian journalist, art promoter and art dealer, noted for his affinity for Surrealism. GOOD condition. Moderate uneven browning to the covers. Some creasing and bumping at the corners and extremities. Wrappers chipped, with some loss, along the spine. …

Zustand: Good. Fold out flyer, 14.5 x 20 cm. 6 pages. Reproduces all the prints in the portfolio with bibliographical description in German. Edition of 150 with most prints signed and numbered. Bill, Calder, Capogrossi, Chagall (M. 475), Dix, Dorazio, Ernst, Hajdu, Hartung, Lam, Masson, Miró (D. 1027), Nay, Poliakoff (S. 78), Santomaso, Soulages, Tanning, Tàpies, Tobey, Vieira da Silva, Wotruba, Zadkine. …

Wraps. Zustand: Good. Printed wraps. Pagination runs 535-616, plus 36 pages of ads and black and white plates, unpaginated, throughout. All text in French. Eighth issue of this Belgian magazine devoted to contemporary views of various subjects of the day, with a lean toward Modernism and Surrealism, especially in the art world. This issue includes a poem by Tristan Tzara, prose by George Grosz; black and white photos by Bauhaus associated artist Lux Feininger; black and white reproductions of engravings by Max Ernst. Also included are several line drawings by Rene Magritte. Edited by Paul Gustave Van Hecke, a Belgian journalist, art promoter and art dealer, noted for his affinity for Surrealism. GOOD condition. Moderate uneven browning to the covers. Some creasing and bumping at the corners and extremities. Wrappers chipped, with some loss, along the spine. …

8vo. (230 x 154 mm). [3 unnumbered leaves, one large and fold-out]. Title to front cover, verso and interior of folding flap with text 'Europe' by James Thrall Soby, page (also to interior of wrapper) with 'Catalogue' with artist, title and date of each work, leaf of white paper with the text 'America' by Nicola Calas recto, verso with blank leaf with notes here with numerous signatures (see below), following fold-out spread with monochrome reproduction photograph by George Platt Lynes of the participating artists (see also below), recto and verso also with the text 'America' concluding on the inner rear wrapper. Original publisher's pale yellow printed wrappers with folding flap, titles to front cover in green, later green board slipcase. [PROVENANCE: Margaret and Alfred Barr; acquired from Barr's estate by Thomas Walther; private collection Berlin]. Margaret and Alfred Barr's presentation copy of the catalogue for the exhibition they had done so much to enable, signed by all of the participating artists and by the gallerist Pierre Matisse. Pierre Matisse's presentation is in black ink to the foot of the blank 'Notes' leaf bearing the signatures of the participating artists: 'THIS IS A SPECIALLY SIGNED COPY FOR MARGARET AND ALFRED BARR / Pierre Matisse / NEW YORK MARCH 3d 1942'. The copy is signed in various colour inks by all of the participants: Marc Chagall (blue ink), Pavel Tchelitchew (turquoise), Ossip Zadkine (red), Eugene Berman (purple), Yves Tanguy (umber), Fernad Léger (red), Max Ernst (blue), André Masson (red), André Breton (turquoise), Amedée Ozenfant (blue), Kurt Seligmann (umber), Piet Mondrian (blue / black), Roberto Matta Echaurren (sepia) and Jacques Lipchitz (green). It is significant that Margaret Scholari Barr, known as Marga, is listed first in the presentation by Pierre Matisse, as from 1940 she had taken charge of the ongoing operations to help artists and writers fleeing Europe. Each individual required 'a visa from the State Department, an affidavit of financial support, an affidavit of moral sponsorship vouching that he or she was in imminent danger and would not be inimical to U.S. interests, biographical sketches and letters of reference proving identities and the above, and at least $400 for ocean passage'. In conjunction with Curt Valentin (himself a beneficiary of the Barrs' help), Kay Sage (she married Yves Tanguy, another beneficiary in 1940), Kay Boyle and the Emergency Rescue Committee. Although no exact list of all of those who benefited from the help of the Barrs and the ERC remains extant, the majority of those who exhibited in 'Artists in Exile' did and the present catalogue represents a remarkable testament to their work, their efforts and their humanity. The exhibition - perhaps an unlikely one given the range of participants and their differing outlooks, temperaments and sympathies - was held at Pierre Matisse, 41 East 57th Street, New York from 3rd - 28th March, 1942; each of the artists contributed one work undertaken after their arrival in the US, those by Masson and Lipchitz were courtesy of the Buchholz Gallery. 'Pierre Matisse did not run after publicity, but there were times when publicity ran after him. That is what happened in March 1942 when the Pierre Matisse Gallery in New York opened a show called 'Artists in Exile'. The title came fraught with pathos. So did the timing . The word 'exile' had sharp teeth . As he wrote to his father . 'I stayed in town to hang the exiles' show today, instead of tomorrow. I took this precaution because all the exhibitors are right here in town. You know what they are like. They'd insist on giving me advice, and making sure that their own painting had a very goood place . They number fourteen in all, and I got them together for a group photograph. As most of them didn't speak to one another when they were in France, I was afraid there would be trouble when they were all thrown together . '. (Pierre Matisse quoted by John Russell). 'In no sense were they a band of brothers. But they did all agree to huddle together before the camera . Given the variety of age, instinct, outlook, nationality, and relative achievement that was in question, the show was necessarily the equivalent of alphabet soup. It was not likely that the fourteen artists in question would ever again be in the same room at the same time. Not only were they a tight fit in the space available, but solidarity was minimal. And yet, for an uneasy quarter of an hour, along with other unlikely conjunctions, André Masson sat next to Piet Mondrian, and Marc Chagall sat between Max Ernst and Fernand Léger. There was zero eye contact. Unsmiling, they sat stiff and still and stared straight ahead.' (James Russell). ' . as the situation became increasingly desperate across the Atlantic [i.e. in Europe] in the 1930s, European artists, scholars, and arts workers began reaching out to MoMA for help. Working in concert with the Emergency Rescue Commitee (ERC), a group of New York-based activists, MoMA staff, including director Alfred H. Barr Jr. and his wife, art historian Margaret Scholari Barr, who led the initiative at the Museum, helped their peers in Europe secure the papers and funds necessary to immigrate to the US . Scholari Barr made 'rescue' operations her full-time occupation in these years . Artists including André Breton, Marc Chagall, Max Ernst and Piet Mondrian were able to relocate here through the aid of the Barrs and the ERC.' (MoMA catalogue). 'Sometimes doing more than the government was willing to do, MoMA was the final hope for many. The Barrs took advantage of their contacts and MoMA?s reputation to turn the museum into a literal protector and defender of modern art.' (Christina Eliopoulos). [see Christina Eliopoulos' 'In Search of MoMA?s ?Lost? History: Uncovering Efforts to Rescue Artists and Their Patrons', MoMA, 2016; see John Russell's 'Matisse: Father and Son', New York, 1999, pp. 201 - 203].…