diaghilev serge (14 Ergebnisse)

Zustand: New. In.

Softcover. Zustand: Bon. Ancien livre de bibliothèque avec équipements. Edition 2013. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Edition 2013. Ammareal gives back up to 15% of this item's net price to charity organizations.

Zustand: New. In.

Edited by Richard Buckle. John Murray, London 1960. XII+298 pages. Illustrations in b/w. Publisher's cloth, no wrappers.

In black ink on 5 x 8 cm card, with rounded edges. In very good condition, lightly aged, with evidence of previous mounting on the marbled reverse. Reads 'Alicia Markova | 1933.'.

First UK edition. XVI, 556 pp. + plates. Publisher's red cloth with dust jacket. Tiny tear at head of spine, corners slightly bumped. Condition VG+. Dust jacket somewhat soiled and shelfworn and with a couple of small, tape mended tears. Condition Good + to VG-.

Hardcover. First edition. Approx. 22 pages in text. 28 x 23 cm. Limited edition, copy 193 of 425 on Arches from a total edition of 500. Two volumes in one. Volume I: 23 color lithographs with tissue guards of set and costume designs by Georges Braque, one black and white plate reproducing portrait of Georges Auric by Cocteau, and facsimile of page of music by Auric. Volume II: photograph of Braque by Man Ray, plus photographic plates by George Detaille of costumed Diaghilev dancers. Les Facheux, a ballet conceived by Boris Kochno after Moliere, choreographed by Bronislava Nijinska to music by Auric, and first performed by the Diaghilev ballet at Monte Carlo in 1924. Text in French, original wrappers designed by Braque bound-in. Rebound in green cloth, corners and backstrip extremities rubbed, black leather spine label lettered in gilt. 2 vols. Very good.

paperback. Zustand: Gut. Seiten; NM-9F-165 Sprache: Deutsch Gewicht in Gramm: 500.

*: 2. Castle Cary (Somerset), Julian Barran Ltd., 2009, in-4°, stapled, orig. stiff wrapper. 51 pp, 72 items, colour ills. Price list lossely inserted.

Paris, Mai 1917. Folio. Original illustrated extra wrappers (with a picture by Picasso on the front and the décor for "Baba Iaga" on the back)" original illustrated wrappers for "Théatre du Chatelet" (drawing by André Marty on front, and advertisements on back) in grey and red" original illustrated coloured wrappers for "Programme des Ballets Russes" (front wrapper illustrated by Picasso with the Chinaman-costume from "Parade"). A bit of soiling to the extra-wrappers and small professional restorations to upper front cover and top of spine (this barely noticeable) as well as to blank margin of back wrapper. Apart from that, an excellent and very well perserved copy with only slight browning to some leaves. Apart from the described wrappers and extra-wrappers, there are, in all, 24 leaves with -mostly photographic- illustrations (four of them with original hand-colouring on top) and 6 leaves of text.With the original errata-leaf laid in loose, stating also that the illustrations "Femmes de bonne humeaur" and "Parade" have been hand-painted by Carlos Socrate, after the designs of Bakst and Picasso, and that the front wrapper for "Parade" (the Chinaman) has been handpainted by Picasso himself. Scarce original printing of this seminal avantgarde-publication, the May 1917 "Théatre du Chatelet"- publication that presents Diaghilev's "Ballets Russes" in Paris - here containing the entire separate publication mainly devoted to Jean Cocteau's groundbreaking ballet "Parade" - being one of the most important publications in the history of modern art. It is here, in his presentation-article to "Parade" that Apollinaire coins the term "surrealism" and thus lays the foundation for the seminal cultural movement that Bréton came to lead. Furthermore, the ballet "Parade" represents a historical collaboration between several of the leading artistic minds of the early twentieth century: Erik Satie, Jean Cocteau, Pablo Picasso, Léonide Massine, and Serge Diaghilev, and is famous, not only for its contents and its music, but also for its magnificent costumes designed by Picasso, the drawings of which are presented in the present publication for the first time - most famously the front cover for the "Parade"-programme, which depicts the "Costume de Chinois du ballet "PARADE"/ Aquarelle de Picasso", an etching with original, stunning pochoir-colouring (hand-painted by Picasso himself!).It is the 1917 ballet "Parade" - the first of the modern ballets - originally presented for the first time in the present publication, that marks Picasso's entry into the public and bourgeois institutions of ballet and theatre and presents Cubism on the stage for the first time. The present publication constitutes an outright revolution in the history of art, theatre, and ballet.Several variants of this spectacular publication exist, but the one we have here is as original and complete as it comes, containing the entire contents of the different variants. We not only have the extremely scarce and fragile dust-wrapper and the equally scarce illustrated coloured double-wrappers (front: "Peinture de Picasso"" back: Décor de Larionow pour le ballet "BABA IAGA"), but also the entire 1917 "Théatre du Chatelet"-programme (in original illustrated wrappers) with the entire separate "parade"-issue -also entitled "Programme des Ballets Russes"- (also in original illustrated wrappers), with more than 20 leaves of photographic illustrations containing pictures of the actors and actresses, also in their spectacular avant-garde-costumes, Bakst's portrait of Leonide Massine, Picasso's portrait of Stavinski, Bakst's portrait of Picasso, Picasso and Massine in the ruins of Pompei, Picasso's drawings of a scene from "Parade" and of Massine, as well as several (mostly humorous) advertisements. But more importantly, we have, apart from the above-mentioned famous Chinaman by Picasso, in original pochoir-colouring, the other famous etching by Picasso "Costume d'acrobate du ballet "Parade"/ Aquarelle de Picasso", also in original pochoir-colouring (bright blue), the seminal presentation-article by Apollinaire, which coins the term "surrealism" (see bottom of description for full translation of this groundbreaking preface), the two "Les Femmes de Bonne Humeur"-figures by Bakst, Constanza and Battista, printed and heightened in gold (pochoir), the printed costume by Larionow, "Les contes russes", which is with original bright red and blue pochoir-colouring, and the "Le Mendiant"-costume by Bakst for "Parade", and, of course, the texts by Bakst (on choreography and décor), Georges-Michel (Ballets Russes after the War), as well as the texts for the various ballets (listing the actors and their rôles as well as a resume of the plot). " "Tact in audacity consists in knowing how far we may go too far." Jean Cocteau, poet, writer, and arts advocate, made this statement in his 1918 manifesto, The Cock and Harlequin. Cocteau, in collaboration with Erik Satie and Pablo Picasso, discovered "how far" to "go too far" in the circus-like ballet Parade-one of the most revolutionary works of the twentieth century. Parade incorporates elements of popular entertainment and uses extra-musical sounds, such as the typewriter, lottery wheel, and pistol, combining them with the art of ballet. Cocteau wrote the scenario for the one-act ballet and contracted the other artists. Satie wrote the score to the ballet, first in a piano four-hands version and then in full orchestration, while Picasso designed the curtain, set, and costumes. Later, Léonide Massine, a dancer with the Ballet Russes, was brought in as the choreographer. Serge Diaghilev's Ballet Russes premiered the ballet Parade on May 18, 1917. The program notes for the ballet were written by the poet Apollinaire. They became a manifesto of l'esprit nouveau or "the new spirit" which was taking hold in Paris during the early twentieth-century. Apollinaire described the ballet Parade as "surrealistic," and in doing so creat.

Diaghilev collecting debts --- A two-page letter, beautifully signed, where Diaghilev is chasing a significant amount of money due by the Théâtre des Champs-Elysées. 38,524 francs is the amount Diaghilev is expecting following a charity gala, where his Ballets Russes performed "absolutely outside the usual cycle of [our] performances given in your theatre". He emphasizes the fact that both accounts, for the gala and for the regular performances, are "absolutely different [and] can't be mixed up". The theatre mentioned is the celebrated Théâtre des Champs Elysées, where Diaghilev produced his most famous ballets before the World War in the 1910s. The gifted Jacques Hébertot became its director in 1920 (at the age of 34, 14 years younger than Diaghilev), and developed there the Ballets Suédois, a new competition for the Russians. It is however during this gala event on June 20, 1924, that the Ballets Russes created "Le Train Bleu", by Jean Cocteau and Darius Milhaud, with a choregraphy by Nijinski. Diaghilev's polite but clear insistence makes of this letter a fine witness of his financial difficulties and efforts to capitalise on the popularity of the Ballets Russes. Diaghilev's signatures are scarcely found. Provenance: Physical description:Two-page autograph letter in blue ink on letterheaded paper of the Hotels St James & d'Albany in Paris, folded twice, verso blank, signed and dated. Fine condition. Condition: Bibliography: