surrealist painter (18 Ergebnisse)

Zustand: Very Good. First edition hard back binding in publisher's original black and white woven cloth covered boards, blocked and lettered gilt back over red ground, top edge dyed red, candy floss pink and white patterned lining papers. 8vo. 8¾'' x 5½''. Contains 256 pp. Very Good condition book in Very Good condition dust wrapper with minor rubbing to the tips, not price clipped, 35s. Red spine not faded. Member of the P.B.F.A. PSYCHOLOGY (Behaviour).

Hardcover. Zustand: New. In shrink wrap.

Zustand: Fine. First edition hard back binding in publisher's original black cloth covers, gilt stamped title and author lettering to the spine, wrapping paper patterned end papers. 8vo. 9'' x 5½''. Contains 105 pp. Fine condition book in Fine condition dust wrapper, not price clipped. SIGNED by the author to the title page 'Desmond Morris'. Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. ISBN 0224035983 PSYCHOLOGY (Behaviour).

Zustand: Fine. First edition hard back binding in publisher's original black cloth covers, gilt stamped title and author lettering to the spine, wrapping paper patterned end papers. 8vo. 9'' x 5½''. Contains 105 pp. Fine condition book in Fine condition dust wrapper, not price clipped. SIGNED by the author to the title page 'Desmond Morris'. Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. ISBN 0224035983 PSYCHOLOGY (Behaviour).

Zustand: Fine. First edition thus Endre Szász illustrated hard back binding in publisher's original blue paper covered boards, gilt title lettering and line illustration to the spine and to the front cover. 8vo. 9½'' x 6¼''. Printed on French-folded pages joined in tandem. Hungarian Rubáiyát over unnumbered pages carrying the 102 quatrains of Edward FitzGerald's version enriched with a single fine illustration to each by Endre Szász, followed by xxi pp. Fine condition book, in Fine condition dust wrapper. Member of the P.B.F.A. ISBN 9632088484 Rubáiyát of Omar Khayyám.

Zustand: Very Good. First edition hard back binding in publisher's original blue paper covered boards, blocked and lettered gilt back. 8vo. 7½'' x 5''. This novel tells the story of a girl lured to an island by her uncle to help him in his search for the Philosopher's Stone. Contains 115 pp with symmetrical back panel half-title and title page and chapter headers. Small indigo ink blob to the bottom page edge. Very Good condition book in Very Good condition dust wrapper with rubbing across the spine ends and upper corners, not price clipped, 16s. Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. OCCULT (Spirituality).

Couverture souple. Zustand: Bon. RARE - Signed original ink drawing pasted into a catalog signed twice (under the drawing and on the cover in white ink with a brush). Paris, October 1994. + Handwritten envelope. Size : 29.5x21 cm (catalog) - 15x14 cm (drawing). Condition : please see scans. Provenance : Gérard Leman collection. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

No Binding. Zustand: Very Good. Original autograph letter signed 'Nuri Abaç'. 22x16 cm. In Turkish. 1 p. Letter includes 8 lines. Recipient name is Mehmet. He could be 'Mehmet Güreli (?)'. Dated 21.3.1974. He mentions Turkish short story writer Bedii Demirseren and that he sent Demirseren's story to Mehmet. He added Bedii's address to the end of the letter. Abaç graduated from Istanbul Fine Arts Academy in 1944. He opened his first exhibition in Mersin, then in Venice and Monaco. He was among the founders of the United Painters and Sculptors Association of Turkey. He worked with Leopold Levy. In his paintings before 1970, he portrayed the legendary and mythological creatures of Anatolian culture in a fairy-tale and surrealistic-fantastic style. Signed by Author(s).

Landscape bifolium card on good-quality paper. Leaf dimensions 18.5 x 27.5 cm. In good condition, on slightly-aged paper, with a couple of small light patches of coffee staining. Printed in black and yellow. Elaborate design showing a winged youth (something of a cross between Jack Frost and Mercury), with winged heels, clutching a bouquet of flowers, flying over a buiding of modern design surrounded by fir trees. Signed in pencil 'luc simon' in bottom right-hand corner, with the limitation 'H. C. 15/100' in pencil in the bottom right. Printed details on the reverse of the second leaf, with the following note by Simon in autograph. He hopes that the coming year 'vous donne quelques matins sans valse de manege des chevaux qui travaillent tout seuls et des eleves surprises'. The names of Simon's wife and her children (Aurelia by Simon himself and Paloma and Claude by Picasso) are presented in a crossword-like arrangement.

Zustand: Good. Acrylic on canvas, 22 x 29 cm; Framed, 29 x 37 cm.

TAMAYO Una Investigacion Estetica (Großer Kunstband von Paul Westheim) Ediciones Artes de Mexico, 1. Auflage 1957, ERSTAUSGABE, 225 SS. gebunden (Hardcover, hellblaues Oln. gr. 4 to) mit vielen s/w- und farbigen Bildreproduktionen, leichte Gebrauchsspuren, erste Vorsatzseite ganzseitig mit eigenhändigen Unterschriften (Schüler von ihm ?) signiert mit Datum 14.IV.60 - Vorsatzseite mit gedrucktem Titel von Rufino Tamayo eigenhändig signiert.

2pp., 4to. Aged and worn, but legible. A splendid effervescent letter, highly characteristic, written in demotic English in a close unruly hand. Tchelitchew was a close friend (lover?) of Edith Sitwell, and in addition to her brother Osbert, the letter contains references to Lincoln Kirstein (1907-1996), influential figure in New York culture, founder with George Balanchine of the New York City Ballet and the School of American Ballet, and the book he was writing on Tchelitchew, as well as to Tchelitchew's partner the writer Charles Henry Ford (1908-2002). (Kirstein had published a book on Tchelitchew's drawings in 1947, and would exhibition on him, with catalogue, in 1964, but the book discussed in the letter was not published.) The letter begins: 'My dear, dear Sweet Stephen, | We arrived here few days ago from Rome had most apauling [sic] weather on the way. After 2 montsh of heavenly, hot divine italian weather in the middst [sic] of the sublime landscape of "Castelli Romani" [] We lived in mddst of most lovely Corot [?] I love italy I think I am in love with Italy whatever she is!!! It is my real true love . . . . Dear Dear Stephen'. He would love him to visit, 'but helas, we have no more a house there we have only very vague planes [sic] about how and where to spend our Winter as I don't think I will be able to spend it in Paris: the weather is too awful here in winter and it is all so grey: and people are so [?]'. He returns to his love of 'italian beauty, loveliness, gayety "and forgetfullness". They are like the Cats: they attach themselves to you and - - - forget you as quick!' He thanks heavens that there are 'english people in the World they are the best friends one can have faithful loyal even when one doesnt see each other for years as you and geoffrey'. He compliments his appearance in 'your photos you are looking very well and I think it is better to gain some weight (as I try to do myself when one is too thin one has no physical resistance at all and all life is such terrible physical struggle'. He himself has 'no physical force at all onely my poor nerves as you know - - - - -'. The second page begins: 'Paris put on for us her most lovely april weather! - simply amazing divine faces are more smiling. Senses more elegant, boys have sensitife [aphroddisiacly?] hunted Faces so like so to [?] the "Animal beauty2 of Italy, so refined so sensitif too.' Regarding Stephen's 'drawings to exhibit in N. Y.' he suggests he write to 'Edwin Hewitt gallery (friend of Lincoln Kirstein and Osbert Sitwell) [] If Osbert could write about you to him you'll be sure to have a show there. Galleries are very difficult to obtain, especially for drawings'. He bemoans the 'Abstract Fashion', and complains that Kirstein is 'too busy being the director of City Center Opera and Ballet etc etc he is very important big figure "now I am awaiting for the book on me" - he is writing to appear sometimes during next year! He writes it all ready for two years but being all time distracted, he is too busy he probably will succede this year! I wouldn't bother about him, nor can you expect any commission in the Theater in U.S.A. as for that you have to belong to a Scenic Designers Union pay $500 initial fee' $10 a month % on all commissions, but before all you have to succede in passing a very complicated examination, full of mathematical perspectives etc. which I am afraid you are not too well acquainted with and it would be a terrible task to learn it all'. Tchelitchew 'left this wretched Union myself, as the theater in U.S.A. does not interest me at all it is all so commercial not like Europe.' He continues: 'Stephen dear what are your planes about this Spring and Summer. I am trying to show my new work. Paris as far as people and their work goes is not more the City we knew it is like a city filled with flys in September'. The letter concludes, with text upside-down, at the head of the first pa.

Zustand: Good. Publisher's original wire stitched black and white illustrated card wrap covers (soft back). 8vo. 7½'' x 5½''. Contains portrait frontispiece, 16 pp catalogue listings with details to each. Loosely inserted hand written letter in black biro, signed and dated (November 1982) from Ithell Colquhoun's private residence in Penzance ''Dear (name withheld) Thank you for your appreciative letter of November 10. I believe the picture of mine you have dates from the 1940's when I was at the address you mention. In an exhibition I had at Gallery 20 d'Artlay Street, W1 in 1957, the catalogue mentions a title, L'Eau de L'Eau, but this is a typescript it may not be accurate' + 19 further hand written lines, ending 'With all good wishes to your projects SIGNED (unusually for her at this time in her life) in full 'Ithell Colquhoun' ''. + 6 pp listing titled 'Recent Exhibitions' again from her private residence in Stone Cross Cottage, Green Lane, Paul, Penzance, Cornwall beginning with 'Newlyn Art Gallery September - October 1967; Czechoslovakia 1967 - 1968; West Berlin 1968, with her hand written corrections, ending after 5 pp with Palazzo Reale, Milan in 1980 followed by 2 pp hand written places and dates in 'Public Collections'. Member of the P.B.F.A. ART [Surrealism].

Zustand: Very Good. First edition in publisher's original wire stitched illustrated white card wrap covers (soft back). 8vo. 8'' x 5¾''. A short poetry book inspired by the Tree of Life in 1973, (and Osmazone published in 1983), being an anthology of prose poems, many from much earlier in her life. Contains 20 pp + covers with 8 full-page monochrome illustrations throughout. Small bump to the fore edge, else in Very Good condition. Member of the P.B.F.A. ART [Surrealism].

4to. 2 ½ pp. With autograph envelope. To the writer Xavière Gauthier (b. 1942), concerning the catalogue of her exhibition in Tokyo in October and other texts on her art. Fini wishes to use some extracts from a text by Gauthier and hopes that they will meet before she leaves for Tokyo on 15 September. - Xavière Gauthier wrote Fini's biography in 1973.

Large 4to and 8vo. Altogether 6 pp. on 6 ff. Together with 2 typed letters by Labisse (carbon copies) and 2 letters of response. To the Belgian author, filmmaker and documentarist Henri Storck. The first letter dates from the beginning of their friendship; here, Labisse argues vehemently against becoming involved in politics: "Occupons nous essentiellement d'art et de littérature. Bougre de nom de Dieu!, nous ne sommes bon qu'à cela. C'est déjà quelque chose, il y a tant qui y sont étrangers. Je ne condescendrai jamais à jeter le plus infime regard sur les [illegible] de la société, laissons les laver leur linge sale en famille ; que m'importe les régiments, ils se valent tous, ils sont tous aussi mauvais. Henri, nous ne pouvons nous occuper de tout. Laissons les politiciens s'arracher les yeux pour avoir le pouvoir [.]" (17 May 1930). - In another letter, Labisse asks his friend to take pictures of the paintings in his possession for an illustrated catalogue of his work: "j'aimerais que tu me fasse parvenir 2 photographies de chaque tableau de moi que tu possèdes. 'Le baptême de l'air'. 'Le démythifieur'. Et si possible celles du portrait que j'ai fait de ta sur Janot [.]" (18 Oct. 1976). - One month later, he has obviously received some of the pictures as well as other documents, which remind him of their youth: "Merci pour les documents, souvenir de notre puberté. Tu dois en avoir une ou deux avec James Ensor sur la plage - pendant le tournage d'un de tes films - mais je ne me souviens plus [] du film. Au sujet des négatifs noirs et blancs, les tableaux photographiés pour [illegible], je te remercie, cela sera très utile. Voilà ceux qui me manquent : Document I: Bonjour Marie; [] L'infallibilité; [] Découverte de l'amérique []; Document II: Le combat singulier; []. Fais les moi parvenir quand tu pourras []" (22 Nov. 1976). - In 1977, on the occasion of Stock's 70th birthday, Labisse honours his friend with a long letter (or was it a speech?) about the latter's accomplishments: "Nous nous sommes connus en 1926. Tu étais alors un garçon un peu austère et un tantinet dogmatique. Malgré nos caractères assez différents il s'établit très vite entre nous une amitié complice, et, avec l'impétuosité de la jeunesse nous fonçâmes allégrement dans le ventre mou des Arts. Ostende, à cette époque, était une ville extraordinaire [] En 1927, aventure mirobolante Tu inventes le CLUB DU CINÉMA d'OSTENDE, un des premiers du genre. J'en suis nommé pompeusement le Secrétaire Général. [] Et puis, en 1929, ce fut LA MORT DE VENUS, ton premier court métrage de fiction, tourné sur la plage avec une ravissante autrichienne, un colonel en retraite et moi-même. Hélas, il ne reste que quelques rarissimes photographies de cette uvre historique malheureusement perdue. Je cesserai maintenant d'égrener ces quelques souvenirs très anciens. Les nombreux films que tu as réalisés depuis sont tous ici 'en chair et en os' illustrant magnifiquement ton soixante dixième anniversaire et tes cinquante ans de cinéma [.]" (7 May 1977). - James Ensor (1860-1949) was a Belgian painter and printmaker.

Folio. 2 pp. on single leaves. Comprehensive letter to the choreographer and ballet dancer Léonide Massine, director of the "Ballets Russes de Monte Carlo", concerning Dalí's ballett "Tristan Fou". Dalí had started arrangements for "Tristan Fou" with Massine designated for the leading role in 1937. In the letter Dalí refers to "Tristan Fou" as "our spectacle", meaning Massine and him, and justifies the title with Tristan's mad love for Isolde: "Très cher ami: ge deja bocoub trabaille a notre espectacle [.] - Elle s'apellera TRISTAN FOU ge crois que cest un titre assez abile pour le public [] ge pense que les deux noms ensemble son d'un assez gran efet poetique - Mon heubre port du moment ou dans la legende Tristan de bien fou d'amour, l'obsesion du souvenir d'Isolde le devore l'entement jusqua la mort []". For the characterization of Massine's role as a "mad Tristan" who would be hallucinating and depressed Dalí draws an interesting comparison with the comedian Harpo Marx: "Ge vois en vous un Role etonon, ebluisant du 'Tristan fou' allucine, plonge dans un etat de depresion et aneontisements totals [] un peu dans l'estile d'Arpo Marx []". An important aspect for Dalí are the costume ideas of the french fashion designer Elsa Schiaparelli who also collaborated in the play. She envisaged an overabundance of bobbin lace and rhinestones for Tristan's costume: "vous serez abille entierement dans des grandes dentelles, tres curieusement decoupes une perruque blonde decoife - Schiaparelly trouve tout le temps des idees pour tout magnifiques! Il i aura enormement de bijoux, naturellement des faux bijous!" In the closing paragraphs Dalí announces that he will do the theater placard himself and that he wants to keep the French title in a possible American production, as it would lose "violence and dramatism" in translation: "Ge pense aussi, que [.] ca serai tres importan que ge puisse faire moi meme l'ofiche de Tristan Fou, destine a la publicite - Dans le cas au le titre perdre en 'violonce et dramatisme' une fois traduit en anglais, ge crois que lon pourrai l'aisser le titre en Français meme pour L'amerique []". - The ballet premiered in 1944 in New York under the title "Mad Tristan". - With some slight tears to the border.

4to. 6 pages (on 6 ff.) in-4. With autogr. envelope. A fine letter to Pierre Besse in which Fini expresses her concern about her cats entrusted to the care of Pierre Besse during her absence, and on the importance of reading Proust, Joyce, Freud, Jung and Nitzsche in younger years.