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ALBERTI, Rafael. Original Watercolor, Signed. n.p., c. 1950. 13 ¾” x 9 7/8” original watercolor, signed by the great Spanish poet. Alberti had trained as an artist, and it was due only to a health problem requiring a mountain cure that would uproot him from his studies, that his poetic gift would emerge in his early twenties. The present image, which we date from the fifties, shows an abstracted man on the deck of a small sailboat at sea, his hair lashed in the wind. Very good, effected on a sturdy stock of paper.
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6,500.00 |
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ALBERTI, Rafael. Original Watercolor, Signed. n.p., c. 1950. 13 ¾" x 9 7/8" (image size 9 7/8" x 6") original ink drawing with watercolor wash, signed by the great Spanish poet. Alberti had trained as an artist, and it was due only to a health problem requiring a mountain cure that would uproot him from his studies, that his poetic gift would emerge in his early twenties. The present image, which we date from the fifties, shows an abstracted woman with prominent cylindrical breasts in a landscape of refracted shapes, her hair streaming behind her. The overall impression is that the woman is a dancer surrounded by light emanating from a number of sources on a colorful abstract stage. Very good or better, effected on a strong stock of paper.
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8,500.00 |
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ALBERTI, Rafael. Original Watercolor, Signed. n.p., c. 1950. 13 ¾” x 9 7/8” (image size 10 ½” x 6 ¾”) original watercolor, signed by the great Spanish poet. The present image, which we date from the fifties, shows a man and a woman, in abstract, formed of lines of force, stretching out their hands to each other, against an abstract and rather surreal background. Some darkening to borders, not affecting image, as from exposure to smoke, and with a small piece lacking from one border. A very nice image.
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4,500.00 |
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[ALBRIGHT, Ivan] CROYDON, Michael. Ivan Albright. New York: Abbeville Press, n.d. Folio, 308pp. Extensive monograph on the American painter, which includes many of his own writings along with a critical overview by Croydon and a brief foreword by Jean Dubuffet. Red cloth over boards with illustrated jacket. Color plates throughout. Inscribed by Albright: "To Crans and Sally my dear friends, love, love love, Ivan."
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1,250.00 |
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ALEXEIEFF, Alexandre. Illustrations for André Malraux's La tentation de l'Occident. Paris: 1970. 45.2 x 31.5cm (17 3/4" x 12 3/8"), image size 23.5 x 17cm (9 1/4" x 6 11/16"). A suite of seven color engravings, produced using the electrolytic deposition process, invented by Alexeieff himself in 1950, and considered one of the major technical innovations in modern engraving. The images were created to illustrate the novel entitled La tentation de l'occident for its incarnation in the first edition of the Collected Works (Paris: Gallimard, 1970) of Alexeieff's long-time friend Andre Malraux. The present separate suite was created for the deluxe issue and is number 58 of 90 copies. Each of the images is signed and hand-numbered by Alexeieff, and protected by a tissue guard. Contained in the original plain paper portfolio. Fine.
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5,000.00 |
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ANNENKOFF, George. Autograph Letter. (c. 1930's). Autograph letter. First eight pages only, on four blue quarto sheets. An important letter, addressed to Abram Markovitch (Efros) and most likely written in the 1930s. Efros was a well-known art historian and critic who worked in the Moscow Art Theater with Stanislavsky. He began corresponding with Annenkoff in 1922 and introduced him to Stanislavsky. The first four pages of this manuscript are dedicated to thoughts about the life of the painter in Paris. Annenkoff compares the painter to a worker at the Citroen company. As soon as a painter becomes dependent upon his agent he is like a worker on a production line -- which he sees as having both good and bad aspects. This, he contends, is totally different from the painter's life in Russia. Annenkoff further discusses the state of the Russian government, mentions the book 17 Portraits, for which he is well known, and lists the original portraits from the book that he still has in his possession. Very good.
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2,500.00 |
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ANNENKOFF, George (1889-1974). Autograph Manuscript. c. 1920. Autograph notebook, approximately eleven folio sheets, including an early draft of his novel, Novel about Nonsense, eventually published in Berlin in 1934, as well as one page of an important memoir about the opening of the House of Art in Petersburg. The House of Art was inaugurated on 19 November 1919 and became the center of the city’s literary and artistic life until 1922 when its spiritual leader, Maxim Gorky, went abroad. Annenkoff describes the role and structure of the House of Art and lists the members of its board of directors: M. Gorky, A. Blok, A. Benois, K. Chukovsky, V. Sazonov. The notebook also includes various drafts of letters, sketches and notes. A historical document of real significance.
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9,500.00 |
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ANNENKOFF, George (1889-1974). Autograph Manuscript. (c.1930). Fifteen-page autograph manuscript. An extremely important manuscript assembling Annenkoff’s thoughts on the evolution of Russian art from Peter the Great through the Soviet era. Annenkoff is best known for his portraits of Russian writers and artists published in the book Portraits, descriptions of members of the Soviet government published in the book 17 Portraits and illustrations for Alexander Blok’s poem The Twelve. He illustrated many books, worked in theater and as a teacher during the years 1918-1919. He moved to Paris in 1925, where he participated in major exhibitions, worked as a book illustrator, and created works for theater and movies. Annenkoff begins: "Let’s agree: Russian literature and music are in the forefront of world art. The glory of the Russian theater is recognized by everyone. But in painting the situation is drastically different -- we definitely lag behind Western Europe, which is led by Paris." He mentions such artists as Repin, Lentulov, members of the "World of Art" circle, Benois, Somoff, Bilibin and many others. About Chagall he writes: "The first real master in Europe is, of course, Chagall. The bright national characteristics of his art do not absorb the quality of painting, instead -- they only add importance." The manuscript is the size of a small French notebook and is in an excellent state of preservation. (The last two pages, written in pencil, appear to be a rough draft of a letter to unknown recepient.) Extensively corrected and revised.
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3,750.00 |
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APOLLINAIRE, Guillaume. The Poet Assassinated. New York: Broom, 1923. Octavo, 158pp. First edition in English translation by American expatriate fixture Matthew Josephson. One of twelve hundred and fifty copies on Alexandra Japan vellum, this being copy number 403. A very good copy in publishers quarter Japan vellum and paper-covered boards and a not-quite-very-good example of the rare and fragile printed dust jacket -- the spine and borders are rather sunned. Inscribed by Josephson to noted modernist painter Charles Sheeler, "July 25, 1925. to my friends Katherine and Charles Sheeler. Matthew Josephson" Ilustrated with frontispiece of Apollinaire by André Rouveyre and four woodcuts by André Dérain, originally executed for the Au Sans Pareil edition.
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500.00 |
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ARBER, Agnes. The Mind & the Eye: a study of the Biologists's Standpoint. Cambridge: Cambridge University, 1954. Octavo, 146pp. First edition. Very good copy in publisher's cloth covered boards in good dust jacket. the Dust jacket has rubbing and minor edgewear. Previous owners name discretely in ink on the front free end-paper.
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45.00 |
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![[Masson, André.] Leiris, Michel and Limbour, Georges - André Masson et son Univers](/shop/images/thumbnails/6432LB. "[Masson, André Masson et son univers.")
