Ballet, First Edition (Over 4,400 results)

Elegant hardcover photo album, covered with red Chinese brocade, containing 29 black and white photographs in different sizes (portraits: ca. 120 × 167 mm; other images: 100-110 × 65-95 mm; and a small ID picture). 22 album card leaves; 29 b/w photographs. A unique collection of photographs including portraits of Mao Zedong, Zhu De, Zhou Enlai, and other party leaders; a documentation of the visit of the Hungarian folk dance ensemble in China in 1952. The album starts with two large portraits of Mao Zedong and Zhou De; Mao appears in six additional pictures together with other party leaders such as Zhou De, Zhou Enlai, Zhang Wentian, Liu Shaoqi, Lin Boqi, and others, most likely during the May Day parade of 1952 at the Tiananmen Square. The further images are showing the Folk Dance Ensemble during performances or the moments offering gifts to Mao, and their visits to tourist attractions in Beijing. The Hungarian National Ballet and Folk Ensemble was a state dance group founded in 1950. The Ensemble's first major tour outside Europe was in China in the spring of 1952, where they held 40 performances within less than two months. The pictures of the present photo album showing the highlights of this journey. Due to its features and the content, we surmise that the album was a gift of one of the Chinese hosts to a Hungarian member of the dance group. . Artistically restored. Binding in very good condition. Some leaves with nicks. The photographs are in fine condition. Elegant hardcover photo album, covered with red Chinese brocade, containing 29 black and white photographs in different sizes (portraits: ca. 120 × 167 mm; other images: 100-110 × 65-95 mm; and a small ID picture).

Hardcover. Condition: Gut bis sehr gut. 1. Auflage. Quer-Folio. Titel, 38,125 S. Teils etwas stockfleckig. Schöner kräftiger Abzug. Buntpapiervorsätze. Lederband der Zeit mit Rückenvergoldung. Leichte Gebrauchsspuren. Extreme rare and special Cimelia of Rameau Sehr seltene Erstausgabe der Partitur. Seit 40 Jahren kein weiteres Exemplar im Handel nachweisbar! - Das Werk zählt zu den prunkvoll ausgestatteten Opéra-ballets, die in den Jahren 1733-49 entstanden. Seit 1745 als "Compositeur de la Chambre" bei Louis XV. in Amt und Würden, schuf Rameau die ersten großen Werke des Musiktheaters in Frankreich, in dem er innerhalb der Gattungen an die Werke Lully's und Campras unmittelbar anschließt. "Das schönste Beispiel Rameauschen Humors und Reaktion auf die Streitigkeiten zwischen Lullys und Ramisten ist seine Comédie lyrique "Platée". In der Arie "Aux langueurs d'Apollon" karikiert Rameau die Vorwürfe seiner Gegner mit musikalischen Mitteln, wie insbesondere die Vertonung des Wortes "outragé" zeigt." (Schneider/Wiesend: die Oper im 18. Jhdt., S. 231). Bei den Auseinandersetzungen die Oper betreffend, wurden die Stile der französischen Tragédie en musique und die der italienischen Opera buffa miteinander konfrontiert. - Exemplar auf der Sammlung André Meyer (Stempel). - RISM R 164; Slg. Hoboken XVI, 227; Hirsch II, 783.

Original wrappers. Condition: Very Good. First edition. A BEAUTIFUL AND COLORFUL ARTIFACT BRINGING TOGETHER THE GREAT NAMES OF THE EARLY TWENTIETH CENTURY PARISIAN AVANT-GARDE: THE PROGRAM FOR THE MAY 1917 SEASON OF DIAGHILEV'S "BALLET RUSSES" - A SEASON THAT INCLUDED THE PREMIERE OF THE BALLET "PARADE" (SCENARIO BY JEAN COCTEAU; CHOREOGRAPHY BY LÉONIDE MASSINE; SCORE BY ERIK SATIE) - WITH MAGNIFICENT ILLUSTRATIONS OF PICASSO'S COSTUME DESIGNS AFTER PICASSO'S OWN WATER-COLORS, AND PROGRAM NOTES BY GUILLAUME APOLLINAIRE THAT MARK THE FIRST APPEARANCE OF THE WORD "SURREALISM". In Woody Allen's fantasy-comedy "Midnight in Paris," an unhappy screenwriter visiting France in 2010 finds that every night at midnight, he is transported back in time from his hotel room to the Paris of the 1920s (and is returned to his present-day purgatory, like the ghost of King Hamlet, at cock's-crow). During his nocturnal visits to the 1920s, he meets Cole Porter, Scott and Zelda Fitzgerald, Jean Cocteau, Josephine Baker, Ernest Hemingway, Gertrude Stein, Picasso, Dalí, Man Ray, Buñuel, and others. The somewhat surrealistic effect produced by the privilege conferred on Allen's time-traveler - that of encountering, all at once, the concentrated distillation of an entire era - is also created by the item offered here, which brings together, in one document, a roll call of the Parisian avant-garde of a decade earlier. It is the program for the May 1917 season of Sergei Diaghilev's Ballets Russes at the Théâtre du Châtelet in Paris, a season that included the premiere of the revolutionary ballet Parade, with a scenario by Jean Cocteau, Cubist designs for the costumes, set, and curtain by Picasso, and music composed by Erik Satie, incorporating ragtime themes and (at Cocteau's insistence) orchestrated for, among other instruments, typewriter, foghorn, pistol, and bottles (actually, an instrument called a "bouteillophone," described and illustrated in Caroline Potter, "Erik Satie: A Parisian Composer and His World" (2016), at pages 77-79). A great deal of fascinating material concerning the ballet, the production, the set design, and the music can be found in Doyle, op cit., which is available online at the LSU Digital Commons website. Like most revolutionary works, Parade was not uniformly welcomed. In a retrospective published in The Musical Times for August 1, 1919, anticipating a production of the ballet in London that was subsequently canceled, Norman Peterkin noted that the premiere had "caused a veritable tumult, and there was almost a riot in the theatre. In the end, however, enthusiastic applause silenced the hisses and cat-calls of the objecting faction. The Paris critics did not like the dresses, and said so in unambiguous terms. The curtain and scenery for the production do not appear to have aroused such violent feelings as the costumes did, the Paris public probably being inured by Picasso's pictures exhibited there from time to time." Satie was so offended by a hostile review of the ballet by the critic Jean Poueigh that he sent him "a postcard three days after [the] review appeared, accusing him of being 'an arsehole - I daresay an unmusical arsehole.' This missive, together with two other postcards using similar language and sentiments (and written in similar florid calligraphy), prompted Poueigh to sue Satie for libel. Several artists spoke in Satie's defence as character witnesses at his trial. but he was convicted, sentenced to a week in prison and required to pay damages of 1000 francs." Thanks to the intervention of influential supporters, the sentence was suspended, and Satie apparently never paid the damages. The program includes two striking pochoir costume illustrations after water-colors by Picasso, additional costume illustrations by Léon Bakst, and an essay by poet, playwright, and critic Guillaume Apollinaire (see quotation above), which introduced to the world the word "surrealism" - a word that provided a ready-made trade-name for an artistic movement that did not appear itself u.

In-4 de 56 pp., maroquin rouge fleurdelisé, dos orné à nerfs, frise et roulette dorées d'encadrement sur les plats, armes sur les plats, fleur de lys en écoinçons, tranches dorées (reliure de l'époque). Édition originale. Livret de l'opéra-ballet en quatre actes avec prologue, attribué à Louis de Cahusac sur une musique de Dauvergne, représenté à l'Opéra le 7 novembre 1752. Les quatre entrées sont précédées de leur titre propre : Le Bal, ou l'Amour discret - La Feste de l'himen, ou l'Amour timide - L'Enchantement favorable, ou l'Amour généreux - Les Vendanges, ou l'Amour enjoué.Exemplaire aux armes royales d'Adélaïde de France (1732-1800), quatrième fille et sixième enfant de Louis XV et de Marie Leczinska, cité par Olivier-Hermal-Roton. Elle fut appelée successivement Madame Troisième, Madame Adélaïde, Madame (1755) et Madame Adélaïde (1774). Après la mort de Louis XV, elle résida au château de Bellevue. A la Révolution, elle quitta la France avec sa soeur, Madame Victoire. Elles se rendirent à Rome, chez le cardinal de Bernis, puis à Naples auprès de Ferdinand IV. Elle mourut à Trieste le 27 février 1800.Les volumes ayant appartenu à Mesdames de France, filles de Louis XV et de Marie Leczinska, ne se distinguent que par la couleur du maroquin sur lequel sont frappées leurs armes : maroquin rouge pour Madame Adélaïde, maroquin vert pour Madame Victoire, et maroquin citron pour Madame Sophie. Leurs livres sortaient des mains des mêmes relieurs : Fournier qui tenait boutique à Versailles dans le vestibule du château et suivait la cour dans ses déplacements et Vente à la fois libraire et relieur. Des trois princesses, Madame Adélaïde est la seule qui ait marqué sa place parmi les véritables bibliophiles ; sa bibliothèque était d'ailleurs bien plus considérable que celle de ses soeurs et compta 10000 volumes quand elle fut vendue aux enchères lors de la Révolution.Bel exemplaire. Les quatre feuillets du cahier A liminaire ont été reliés dans le désordre (successivement A2, A1, A4, A3).Provenance : Léon Rattier (ex-libris) ; Vente Freund-Deschamps (1923), n°2 .Olivier-Hermal-Roton, planche 2514, fer n°1 (cet exemplaire) ; cachet couronné non identifié ; exemplaire non décrit par Quentin-Bauchart, Les Femmes Bibliophiles de France, pp. 123-155 ; Guigard, I, 103.

Hardcover, dust jacket. Condition: Very Good. First edition. FIRST EDITION of Brodovitch's masterpiece; of profound influence in the history of photography and photobooks. With extremely rare original slipcase. "Although known primarily as a mentor and patron of photographers, due in large part to his position as art director and graphic designer at Harper's Bazaar, Alexey Brodovitch also made a legendary photobook of his own. Ballet, published in 1945 by J J Augustin in New York, has become a photobook legend for two reasons. Firstly, only a few hundred copies were printed, so the book is more talked about than actually seen. Secondly, the volume was extremely radical, both in terms of the images themselves and their incorporation into the design and layout. "The 104 pictures in Ballet had been taken by Brodovitch between 1935 and 1937. He photographed ballet companies visiting New York, including the Ballets Russes de Monte Carlo, with whom he worked in Paris in the 1920s. Brodovitch shot the photographs with a 35 mm Contax camera, during both rehearsals and performances, by available light, hand-held, and using shutter speeds as slow as a fifth of a second or more. This resulted in blurred images of the moving dancers and in high-contrast, grainy negatives exhibiting burnt-out areas of flare from the stage lighting. These pictures totally violated the accepted conventions of good photographic technique, which demanded a sharp rendition of the subject and a wide, smooth tonal scale. Far from trying to mitigate these shortcomings, Brodovitch deliberately exaggerated them. He printed on high-contrast paper, bleached areas with the chemical ferricyanide to create more contrast, and enlarged tiny portions of the negative to increase grain - familiar strategies in the 1950s and 60s, but not in the 1940s. "Brodovitch's layout was as radical as his pictures. He divided the book into eleven segments, each corresponding to a ballet. Every section was laid out in a continuous strip, each image bled across its own page, so that a double-page spread can often be read as a single panorama, and the whole section like a strip of movie film. This gives the book a vibrancy and a fluidity that perfectly captures the motion of the dance. Ballet is one of the most successful attempts at suggesting motion in photography, and certainly one of the most cinematic and dynamic photobooks ever published" (Parr/Badger, Vol 1; 240-1). Roth 101. Housed in a spectacular custom box by noted book artist Sjoerd Hofstra. New York: J J Augustin, 1945. Text by Edwin Denby. 104 black and white photographs. Oblong folio (8 3/4 x 11 x 1/4 in), original boards, original French fold dust jacket; original slipcase with side missing; custom half-leather box. Dust jacket with a few small spots of soiling and light wear to spine ends; interior fine. The original slipcase is legendarily rare - this example has tape securing the label and is missing the side panel - but it is remarkable it has survived at all. An outstanding copy of one of the most beautiful and important books in the history of photography.

First edition. In contemporary calf. Spine with raised bands, gilt title, and compartments. Woodcut device on the title page. Woodcut diagrams. Nicolas Yemeniz's bookplate on front pastedown, with bibliographical notes in ink, probably by Yemeniz. [56] 232 [i.e. 323] [5] p. The first edition of the first published history of dance. Menestrier' Des Ballets anciens et modernes is the first book to be published on the history of dance. It gives detailed descriptions of numerous early ballets and court spectacles and contains text diagrams depicting Italian-style theatre entries made in 1667 on the occasion of the Duke of Parma's marriage to the Princess of Modena. Claude-François Menestrier (1631-1705) was a French Jesuit historian, dance historian, and one of the greatest authorities of his age in the field of heraldry. As a creator of grand events, he directed various festivals, including a ballet to celebrate Louis XIV's visit to Lyon in 1658. Provenance: Bookplate of Nicolas Yemeniz (1781-1871), a descendant of a Greek Phanariot family from Constantinople, who established himself in Lyon as a textile merchant and manufacturer of upholstery silk; by his extensive book and manuscript collection, he is counted among the greatest French bibliophiles at the end of the 19th century. . Corners bumped. Slightly rubbed at extremities. Inside clean and firm. Overall in fine condition. First edition. In contemporary calf. Spine with raised bands, gilt title, and compartments. Woodcut device on the title page. Woodcut diagrams. Nicolas Yemeniz's bookplate on front pastedown, with bibliographical notes in ink, probably by Yemeniz.

First edition of the Booksey and Hawkes Pocket Orchestral Score of Copland's Appalachian Spring, one of the most enduring of the twentieth century. Large octavo, original wrappers as issue. Inscribed by the composer on the title page, "For Bruce Kubert Aaron Copland Heaton Hall July 1946." In very good condition with a tear to the front panel. Exceptionally rare and desirable signed and inscribed. Referred to by his peers and critics as "the Dean of American Composers", American composer and conductor Aaron Copland is best known for the works he wrote in the 1930s and 1940s which came to encompass the vast American landscape and pioneer spirit. These "populist" works, which Copeland referred to as his "vernacular" style include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. Appalachian Spring premiered in 1944 and has achieved widespread and enduring popularity as an orchestral suite. The ballet, scored for a thirteen-member chamber orchestra, was created upon commission of choreographer and dancer Martha Graham with funds from the Coolidge Foundation. It premiered on Monday, October 30, 1944 at the Library of Congress in Washington D.C., with Martha Graham dancing the lead role. The set was designed by the American sculptor Isamu Noguchi. Copland was awarded the 1945 Pulitzer Prize for Music.

Scarce, striking visual propaganda from the pen of the great Ballets Russes designer. Originally published as a double-page spread in number 18 of Cocteau and Iribe's short-lived satirical publication Le Mot, captioned as above. This unlettered version was issued as a fundraiser in a signed edition of 100 on superior japon impérial., this copy number 3. Bakst's optimism was mistaken, the Carpathian Campaign of 1915 was a bloody disaster for the Russians, their mild successes against the Austro-Hungarians drew the Germans into the fray and rather than performing a grand jeté to Berlin the Russians were driven from Russian Poland, and never threatened their enemies' borders again. Decidedly uncommon, we have been unable to trace another copy. Lithograph, printed in red and black. Sheet size 570 x 440 mm. Framed size 565 x 690 mm. Very good. Presented in a dark stained oak frame with conservation acrylic glazing.

Quarto. Full mid-tan mottled calf with coat of arms gilt to both boards, raised bands on spine in decorative compartments gilt, marbled endpapers. With occasional decorative woodcut initials and head- and tailpieces throughout. - DESTOUCHES, Andre Cardinal 1672-1749 Le Carnaval et La Folie, Comedie-Ballet, representée par l'Academie Royale de Musique, pour le premiere fois. Le troisième Janvier 1704. Remise au théâtre, Le seizième May 1719. Le treizième Juillet 1730. Le septième Août 1738. Et le Mardi onziéme Juin. 1748. Nouvelle Édition, Prix XXX. Sols. [Paris]: Aux Depens de l'Academie. On trouvera les Livres de Paroles à la Salle de l'Opera & à l'Academie Royale de Musique, rue S. Nicaise. . Avec Approbation et Privilege du Roy. . De l'Imprimerie de la Veuve Delormel, & Fils, 1748. 1f. (recto title, verso "Les Paroles de Monsieur de la Motte. La Musique de Monsieur Destouches."), 1f. (cast list), 5-51, [i] (approbation and imprint). With manuscript paraph to title. Named cast includes: - "Acteurs Chantans dans les Choeurs" for the Côté du Roi performance Mlles. Dun, Toulou, Delorge, Larcher, Cazeau, Rosalie, Le Tourneur, Duperey, and Grimiaux and Messrs. Lefebre, Le Page C, Laubertie, Fel, Bourque, Duchênet, Rochette, and Gratin; and for the Côté de la Reine performance Mlles. Cartou, Masson, Gondré, Rôllet, Delâtre, Lablotiere, Daliere, Victoire, Hery, and Folliot and Messrs. S. Martin, Le Mesle, Bellanger, Levasseur, Belot, Chapotin, Favier, and Le Roy - "Acteurs du Prologue" Mlle. Romainvile; Messrs. Person, Le Page, and de la Tour - Dancers Mlle. Puvigné in Hebé; Mlles. Lyonnois, Courcelle, and Thieri in Les Graces; Messrs. Devisse, Caillez, Laval, Feuillade, and Mion; Mlles. Dazenoncourt, Briseval, Minot, and Puvigné in "Jeux & Plaisirs." A pupil of Campra, Destouches achieved considerable success as a composer of stage music. His Isse was greatly admired by King Louis XIV. "Le carnaval et la folie is one of the first examples of a lyric comedy in France." James R. Anthony in Grove Music Online - CAMPRA, André 1660-1744 Fragmens, de Differens Ballets, Représentés par l'Academie Royale de Musique, Le Mardi 10 Séptembre, 1748. Prix XXX. Sols. [Paris]: Aux Depens de l'Academie. On trouvera les Livres de Paroles à la Salle de l'Opera & à l'Academie Royale de Musique, rue S. Nicaise. . Avec Approbation et Privilege du Roy. . De l'Imprimerie de la Veuve Delormel, & Fils, 1748. - 1f. (recto title, verso "Les Paroles de M. Danchet. La Musique de M. Campra."), 3-4 (cast list), [5]-8 ("Prologue, des Amours de Venus") Named cast includes: - "Acteurs Chantans dans les Choeurs" for the Côté du Roi performance Mlles. du, Toulou, Delorge, Larcher, Cazeau, Rosalie, Folliot, Le Tourneur and Grimiau and Messieurs Lefebvre, Le Page C., Laubertie, Fel, Bourque, Duchênet, Rochette, and Gratin; and for the Côté de la Reine performance Mlles. Cartou, Masson, Gondré, Rôllet, Delâtre, Lablotiere, Daliere, Chesdville, Hery, and Duperey and Messieurs S. Martin, Le Mesle, Bellanger, Levasseur, Belog, Chapotin, Favier, and Le Roy - "Acteurs du Prologue" Mlle. Romainville, Jacquet, and Met - Dancers Mlles. Imblot, Sauvage, Parquet, Amedée, Carville, Devaux, Bellot, L., and Bellot, C; Mrs. Le Febvre, Laurent, Laval, Caillé, Feuillade, and Bourgeois; Messieurs Le Lievre and Devisse. Campra was a leading figure in French theatrical and sacred music in the early 18th century. With: MONTECLAIR, Michel Pignolet 1667-1737 [1] (Les Soirées de l'Eté, tirées du ballet Des Festes de l'Eté: Le Paroles d de M. Pellegrin. La Musique de M. Monteclair.), 2 (cast list), 3-22 pp. Named cast includes: - Actors Mlles. Coupée and Chevalier and Messieurs Person, de la Tour, and Le Page - Dancers Mlles. Camargo, Lyonois, Thierry, Dazenoncourt, Sauvage, Beaufort, and Briseval; Mrs. Dupré, Dumay, Matignon, Hamoche, and Caillé; Monsieurs Tessier and Levoir "Although not prolific, Montéclair wrote in most of the genres cultivated during the early 18th century in France, excepting only the keyboard. He was one of the most versatile of the generation between Lully's death (1687) and Rameau's advent as a stage composer (1733); composers of this 'préramiste' period are often described as 'imitators of Lully', but Montéclair and Campra are among those who influenced Rameau's dramatic music. In his stage works, Montéclair was particularly sensitive to the dramatic function of orchestral colour. His operatic scores are much clearer than those of his contemporaries in giving directions for specific instruments, like the off-stage horns 'played very softly to simulate the hunt in the distance' in the second entrée of Les festes de l'été (Montéclair added that 'if no cors de chasse are available, oboes and violins may play the following and remain in the orchestra'). In the same work, a 'Prélude à trois basses' introduces the first scene of the third entrée, where the main roles are sung by basses; the prelude to the second scene, whose main roles are sung by sopranos, is scored for violins and violas without continuo. The parts enter in reverse order, and the melodic material is derived from the earlier prelude (ex.1). Les festes de l'été and Jephté both contain an a cappella chorus and the former has a large-scale double chorus - an operatic counterpart to the choruses in Lalande's grands motets." James R. Anthony in Grove Music Online With: BOURGEOIS, Thomas Louis 1676-1750 or 1751 [1] (L'Estime, tiré Des Amours Déguisés. Les Paroles de Monsieur Fuzelier. La Musique de Monsieur Bourgeois.), 2 (cast list), 3-14 pp. Named cast includes: - Actors Mlles. Fel, Jacquet, and Gondré; Messieurs de Chassé, Poirier, and Person - Dancers Mlles. Dallemand, Thieri, St. Germain, Minot, Sauvage, Briseval, and Himblot; Mrs. Dupré, Lany, Devisse, Lyonnois, Dumat, Matignon, Hamoche, Laval, and Feuillade; Mr. Doumoulin. A French composer and singer, best known for his contributions to the 18th century French cantata, Bourgeois also wrote ballets and divertisseme.

Hardcover. First edition. 24 pages in text. 39 x 29 cm. Limited edition, copy 157 of 500 signed by Bakst & De Brunoff. Frontispiece, a lithograph of Bakst by Picasso and 54 mounted color lithographs with lettered tissue guards. Based on Perrault's classic fairy tale the ballet La Belle au Bois Dormant premiered in the Marinsky Theatre, St. Petersburg, on 15th January, 1890 with choreography by Marius Petipa. Diaghilev's Ballet Russes performed the work as The Sleeping Beauty during the 1921 season. Clean, fresh and bright copy. slight wrinkling to front cover free marbled endpaper, raised bands, spine lettered in gilt. Three quarter maroon morocco and marbled boards with matching marbled endpapers. Near fine.

Hardcover. Condition: Fine. Bakst, Leon (illustrator). 1st edition. A book displaying 54 stunning coloured plates of Bakst`s designs for the costumes in the ballet, `The Sleeping Beauty`, including 1 plate by Picasso. Original binding with corners and spine reinforced in navy buckram, title gilt a little dimmed. 1 plate little stained. Signed by both Leon Bakst and the publisher, M. de Brunoff. Numbered 281 of 500 copies. Preface by Andre Levinson. Text in French. Lacking original slipcase. Signed. Used book.

Boards in Dust Jacket, Boxed. Condition: Very Good -. Dust Jacket Condition: Good. First Edition. 144pp, 104 illustrations in b&w gravure. In a protective clear acetate dustwrapper. Designed by Alexey Brodovitch. "Ballet" is renowned late graphic designer Alexey Brodovitch's iconic 1945 book of photographic vignettes capturing eleven performances by The Ballets Russes between 1935 and 1937. Noted for the innovative-at-the-time use of murky shadows and blurred dancers bathed in light, these arresting images of the likes of principals Leonide Massine, Tamara Toumanova, Irina Baronova, and more are accompanied by New York poet and dance critic Edwin Denby's brief but cogent text. An internally bright, most handsome example example of the first and only edition of this uncommon classic (cited on pages 240-241 of Martin Parr and Gerry Badger's "The Photobook: A History Volume I, pages 136-137 of The Hassleblad Center's "The Open Book: A History of the Photographic Book from 1878 to the Present", and pages 110-113 of "The Book of 101 Books") still in its original notoriously fragile paper dust jacket designed by Brodovitch showing a few flattened soft creases to the front pastedown along with some minor brown spotting to the endpapers. It's highly sulfurous chipboard covers are lightly age-toned with a few brown spots. The book's striking jacket is complete and intact, but lightly worn, soiled, and foxed along the extremities. It is housed in a lavish custom brown cloth over boards clamshell presentation box with pastedowns reproducing the "Ballet" logo on the front cover and spine executed by Woonsocket, Rhode Island's esteemed Dragonfly Bindery. All in all, this is a sharp, internally solid copy of one of the most lauded post-war American photography books aided by the addition of a presentation box that looks far nicer in hand than it describes. Photography Monograph.

2 parties en un volume in-4 de (12) ff., 204 pp. - (1) f., 102 pp., (2) ff., 103-104, (2) ff., 105-196 pp., veau havane, double filet doré en encadrement sur les plats, dos à nerfs orné de fleurons et de caissons dorés, pièce de titre citron (reliure de l'époque). Edition originale de la première version française complète d'après Ripa. En 1593, Cesare Ripa (1555-1622) fait paraître l'Iconologia, recueil - non illustré - d'allégories. Cette première édition italienne s'inscrivait dans la tradition des traités d'emblématique de la Renaissance (Alciat, Hieroglyphica d'Horapollo, Songe de Polihile, etc.). Mais l'ouvrage de Ripa se voulait aussi, au-delà de sa dette à l'égard de l'érudition philologique, un manuel pratique conçu à l'adresse des artistes et proposant le code d'un langage visuel allégorique fait d'attributs et de symboles exprimant vices, vertus, qualités, défauts, etc. Le succès fut immédiat : sept éditions du vivant de Ripa - la 3e étant la 1ère illustrée - et une large diffusion hors d'Italie. 613 figures gravées par Jacques de Bie. La version française est l'?uvre de Jean Baudoin (v. 1590-1650). Lecteur de la reine Marguerite de Navarre, un des premiers membres de l'Académie française, il joua un rôle important comme diffuseur de la culture humaniste à travers de nombreuses traductions. Son Iconologie ne constitue pas un simple démarquage du travail de Ripa, mais une véritable adaptation à laquelle il confère le parfum de sa propre sensibilité française. Certaines allégories élaborées par Ripa disparaissent ainsi et Baudoin en crée d'autres, son ouvrages comptant en tout 613 figures allégoriques, gravées sur cuivre par Jacques de Bie dans des médaillons. La première partie de l'Iconologie de Baudoin fut éditée chez Guillemot en 1636 et la seconde en 1643. Mais les deux volumes furent réunis et diffusés ensemble avec une nouvelle page de titre en 1644 ; les deux frontispices de cette édition portant la date de 1643. Rééditée sans interruption jusqu'au XVIIIe siècle, l'Iconologie fut une source essentielle pour les artistes des temps modernes ; son usage jugé abusif étant dénoncé par Roger de Piles, l'abbé Du Bos ou Diderot. "L'intelligence de la peinture européenne des XVIIe et XVIIIe siècles est inséparable de ce livre" (Chatelain). Bel exemplaire. Mario Praz, Studies in Seventeenth-Century Imagery, I, 473. - John Landwehr, French, italian, spanish and portuguese books of devices and emblems, 634. Jean-Marc Chatelain, Livres d?emblèmes et de devises, 58. - Dominique Brême, Dictionnaire iconologique, les allégories et les symboles de Cesare Ripa et Jean Baudoin, 1999.

Hardcover. Condition: Very Good. First Edition. Thick quarto, 39.5 x 29 cm. Limited edition, no. 20 of only 500 copies. Signed by Bakst, printed signature of Brunoff. Original wrappers. Includes a frontispiece portrait of Bakst by Picasso. Complete, with 54 plates after Bakst's designs. Printed tissue guards. Some disintegration to bottom of glassine wrapper. Held in custom-made modern leather chemise case. Tchaikovsky's ballet, based on the Brothers Grimm version of Charles Perrault's tale of the Sleeping Beauty, was premiered in Moscow in 1891; the 1921 production in London had choreography by Serge Diaghilev and costume and set designs by Bakst, and it was this production that gained Tchaikovsky's ballet its enduring popularity.

Condition: Near Fine. First Limited Edition. No. 92 of 1,000 limitation. Folio, 39.5 by 30 cm. 18, [1] pp., followed by 54 mounted color plates, each with captioned tissue guard. Condition: binding with edge wear. Light soil of vellulm spine. Interior with touch of age toning. Otherwise, a very clean and tight copy. Quarter Vellum. Cloth on boards.

35 pp. 34x25.5 cm. Some tears and stains on the wrappers and lower margin, otherwise very good. First Ukrainian edition. Rare. This is a piano transcription of Igor Stravinsky's early composition 'Petrushka'. He began to create the ballet in Ukrainian town Ustyluh in 1907. Performed for the first time in 1911, the composition has been one of the most popular Ballets Russes. Its piano version presented not mere piano reduction of the composition, but an attractive independent work that is now known as ''Trois mouvements de Petrouchka''. Stravinsky created piano version of the suite in 1921 for his friend pianist Arthur Rubinstein. He was the only musician who made Stravinsky believe in the soft sounds of piano performance. This is one of the early publications of the music. The edition is designed by Grygory Berkovitch (1905-1976), a Soviet artist and designer from Kharkiv. Not in the Worldcat.

Boards in Dust Jacket, Boxed. Condition: Very Good -. First Edition. 144pp, 104 illustrations in b&w gravure. In a protective clear acetate dustwrapper. Designed by Alexey Brodovitch. "Ballet" is renowned late graphic designer Alexey Brodovitch's iconic 1945 book of photographic vignettes capturing eleven performances by The Ballets Russes between 1935 and 1937. Noted for the innovative-at-the-time use of murky shadows and blurred dancers bathed in light, these arresting images of the likes of principals Leonide Massine, Tamara Toumanova, Irina Baronova, and more are accompanied by New York poet and dance critic Edwin Denby's brief but cogent text. An internally bright, handsome example of the first and only edition of this uncommon classic (cited on pages 240-241 of Martin Parr and Gerry Badger's "The Photobook: A History Volume I, pages 136-137 of The Hassleblad Center's "The Open Book: A History of the Photographic Book from 1878 to the Present", and pages 110-113 of "The Book of 101 Books") showing a bit of typical light age-toning to the pages, a slight dent through the lower foredge corner, wear to the top of the spine, and a previous owner's name in ink on the front pastedown. It's highly sulfurous chipboard covers are lightly browned, spotted, and a bit worn. The book's striking, notoriously fragile original paper dust jacket designed by Brodovitch is lacking, but has been replaced with a facsimile jacket meticulously executed by Woonsocket, Rhode Island's esteemed Dragonfly Bindery. It is housed in the Bindery's lavish custom brown cloth-over-boards clamshell presentation box with pastedowns reproducing the "Ballet" logo on the front cover and spine. All in all, this is a sharp, internally solid copy of one of the most lauded post-war American photography books aided by the addition of its jacket and presentation box that looks far nicer in hand than it describes. Photography Monograph.

First edition, 4to, an additional 66 pages of illustrations tipped in. Pages untrimmed, illustrations and decorations, many by Bakst, some in colour. Original pale-green cloth boards, with gilt illustrative decorations to front and spine, spine faded. Covering the work of Marius Petipa (Ballet Master and principal choreographer of the Imperial Ballet) and the development of the Imperial Russian Ballet, Svetlov includes such important figures as Fokine, Isadora Duncan and other modern dancers, up to Diaghilev and the Ballets Russes. He also reflects on the reaction of French critics to the art of Russian ballet masters which they saw for the first time in Diaghilev's 'Russian Seasons'. The book is richly decorated by Bakst, in his instantly recognisable Art Nouveau style, and beautifully illustrated with reproductions of designs for costumes and scenery by Benois, Golovin, Korovin and Roerich Magriel p.113; Niles & Leslie p.504; cf. Beaumont p168 & Derra de Moroda 2453 (French edition).

Softcover. Condition: Very Good. First edition. Illustrated by Éliane Bonabel. Octavo. 196, [4] pp. Text in French. Printed wrappers, topedge uncut. Modest toning and a small faint dampstain at the crown, wrappers with some light creasing, mostly near the crown, final few leaves and lower wrap lightly creased near the bottom corner, very good or better. Review copy with publisher's perforation review stamp ("SP") on lower wrap. Signed by Céline on the front blank. With a publisher's ad laid in.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. 104 pages printed in gravure, 1945. Oblong hardcover.Only 500 copies reportedly printed. A Near Fine copy with the dust jacket, wrapper intact, some light soiling to covers.The fragile spine intact. Crease to ffep. Images available on request.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. 1st Edition. A Very nice copy including the dust jacket DJ.

Wraps, with Custom-Made Folder. Condition: Very Good. First Edition. N.d., circa 1850. Colas 103 gives an earlier date, 1838, but this is improbable based on some of the dancers and roles depicted. Fourteen hand-colored plates of the leading ballerinas of the day, all in performance: Taglioni, in La sylphide (a role she created in 1832); Rosati, in Corsaire; Ferraris, in des Elfes; Zaina Richard, in Marco Spada; Marquet, in Marco Spada; Marquet, in le ballet du Dieu et la bayadère; Fiocre, in L'amour de Pierre de Medicis; Cassegrain, in Marco Spada; Emarot, in Guillaume Tell; Emma Livry, in Herculanum; Caroline, in Marco Spada; Plunkett, in La mañola de La favorite; Vibon, in le ballet Vert-Vert; and Lefevre, in Orfa. Aided by the restrained use of color, which bears a similarity to how photographs would be hand colored, the illustrations have a near-photographic quality, and they thereby convey to us the physical aesthetic that prevailed in the mid-nineteenth century on the dance stage. Measuring 34 by 25 cm. The green wraps have a paper infill where there was edge chipping and tearing. Spine paper now gone. After heavy soiling on the first tissue guard, though, the plates are all clean and bright, and other than tiny corner creases, without issue. A handsome tan cloth custom-made box now houses the book.

First edition of the work that popularized the importance of dramatic motivation in European ballet and became the authoritative work on ballet d'action. Jean-Georges Noverre (1727-1810) is credited with turning ballet from an operatic interlude into an independent art form. He developed his expertise at the courts of Frederick II, Maria Theresa, and Marie Antoinette, for whom he worked as ballet master of the Paris Opera. In the course of his career, he choreographed over 150 ballets. He collaborated with Garrick, Mozart, and Voltaire, who wrote of the Lettres that "you shed a great deal of light on all the arts. Your style is as elegant as your ballets have imagination" (quoted in Chazin-Bennahum, p. 94). Two issues of the first edition were issued, simultaneously, in Stuttgart and Lyon. This, the Stuttgart issue, omits the "Avec approbation et privilege du roi" on the title page, and does not include the approbation leaf inserted in the Lyon issue. Malkin 84. Judith Chazin-Bennahum, "Jean-Georges Noverre: dance and reform", in Marion Kant, ed, The Cambridge Companion to Ballet, 2007, pp. 87-97. Octavo (166 x 103 mm). Contemporary mottled calf, smooth spine ruled and with floral decoration in gilt, and with brown morocco label, covers with triple-rule panel in gilt, marbled endpapers, edges gilt, blue silk bookmarker. Engraved coat of arms of Charles Eugene, Duke of Württemberg, to p. [3]. Woodcut vignette to title page, head- and tailpieces, and initials. Light bumping and rubbing, slight cracking to inner hinges, minor browning and foxing to endpapers and content margins: a very good copy.

Hardcover. Condition: Very Good. First Edition. Housed in custom, textured cloth, clam shell case, with inlaid picture of a ballerina. vii, 134 pp., 96 illustrations, plates, portraits, 32 cm. Original gilt decorated pale green cloth designed by E. Lanceray. Modern spine. Very good binding and cover. Clean, unmarked pages. The 96 illustrations include engravings, reproduction photographs and colored art by Leon Bakst, Benois, Cocteau, Golovin, Kustodiev, Roerich and Serov, some mounted on gray paper. An early treatise and defense on contemporary ballet, reflecting the state of the Russian ballet during the brilliant Russian Seasons in Paris. The book opens with a tribute to M. I. Petipa, the great 19th Century choreographer of the imperial ballet. Additional sections deal with Isadora Duncan and Diaghilev. This work has become an encyclopedia of ballet on the Ballet Russes. Translated in 1912 into French as Le Ballet Contemporain. The author, Valerian Svetlov, was a Russian critic, writer, and editor, called the Ballets Russes, led by Sergei Diaghilev, the "modern ballet" or Sovremennyi balet, which was a mixture of new works and revisions of old material (Garafola, Legacies of Twentieth-Century Dance, 55). The Ballets Russes is regarded as the most influential ballet company of the 20th century, introducing the Americans and Europeans to Russian folklore, music and motifs. The company never performed in Russia, where the Revolution disrupted society. After its initial Paris season, the company had no formal ties there. (Garafola Legacies of Twentieth-Century Dance , p. vii.) The mounted color art in this work are the costume designs for the Bellets Russes, and several photos are of the principle dancers such as Anna Pavlova, Tamara Karsavina, Bronislava Nijinska, and Vaslav Nijinsky (dressed as the Rose in Le Spectre de la rose). Rare original issue in Russian. Magriel p.113; Niles & Leslie p.504; cf. Beaumont p168 & Derra de Moroda 2453, French edition].

Softcover. Condition: Near Fine. First edition. Decorated by Ethelbert White. Large octavo. 13pp. Stiff pictorial wrappers printed in orange and green with design by White, Pictorial covers are lightly foxed, with few early, small soil marks, else a near fine copy, with the text, and illustrations, very fresh and clean. Limited to 46 numbered copies, printed on Japanese vellum. A review by Beaumont of the Russian Ballet production of *L'Oiseau de Feu (The Firebird)*. Illustrated with five hand-colored pochoir illustrations by Ethelbert White consisting of frontispiece and vignettes. Ethelbert White studied at St. John's Wood School of Art, and worked as a landscape painter, poster artist and wood engraver.

HARDCOVER. Limited edition. 44pp, multi-colored, gold leaved + 53 tipped in color silk screened prints with facing text page, folio, printed cloth covers Binding by Fox Los Angeles. #5 of 400 cc. tight binding, clean throughout, remarkable color, Very Good+.

Hardcover. Condition: Very Good. Dust Jacket Condition: Fair. First Edition. First edition, first printing. Original blue cloth with yellow titles to the spine, in dustwrapper. A very good copy, with a previous owners signature on inside on the first free page, light signs of age--an attractive copy. Has the rare original Bip Pares dustwrapper, Not price-clipped (7/6net to the front flap), in mylar, has nicks and tears and soiling. Email us for photos. Brahms (pseudonym of Doris Caroline Abrahams) was a trained musician, ballet critic and journalist. Simon (pseudonym of Simon Skidelsky) a champion bridge player, author of books on card systems and the bridge correspondent of The Observer. We ship fast.

First edition, one of 500 copies; oblong 8vo (214 x 277 mm, 8 ½ x 11 in); 104 black-and-white photographs and design by Alexey Brodovitch, printed in gravure; original plain boards with grey cloth spine, age-toned, spine rubbed toward foot, light cockling and a faint moisture stain to top of pages, occasional light spotting, publisher's grey printed French-dust-jacket with title printed in white on front, soiled, toned, and worn, front panel detached, head and foot of rear panel split at spine, bookseller's ticket to front free endpaper, without the rare card slipcase, a very good copy in a good example of the notoriously fragile dust-jacket; 143, [1]pp. A masterpiece of cinematic sequencing and design. Ballet established an influential template and remains a touchstone of twentieth-century photographic bookmaking. Alexey Brodovitch took these photographs between 1935 and 1937 of various international ballet companies performing in New York. Initially, he intended to capture images of the performances for 'souvenir purposes', but later expanded his scope to photograph the dancers from behind the stage during performances and rehearsals. Later, he enlarged small sections of selected frames and employed various darkroom techniques to bleach and fade certain areas, further emphasising the images' contrast and grain. Brodovitch was crucial in introducing the United States to a radically simplified, 'modern' graphic design style forged in Europe in the 1920s from various vanguard art and design movements. As graphic designer and art director of Harper's Bazaar between 1934 and 1958, he redefined the possibilities of what could be achieved in a page layout, and through his 'Design Laboratory' workshop classes, he mentored and influenced generations of photographers, including Irving Penn, Richard Avedon, Robert Frank, Lisette Model, Garry Winogrand, Marvin Israel, and Tony Ray-Jones. Due to its small print run, Ballet received limited commercial exposure, though its influence was widely felt. Brodovitch distributed a significant number of the copies that did find their way into circulation, mostly giving them to friends and colleagues. The book's scarcity was exacerbated when fires in 1956 and 1959 destroyed much of Brodovitch's working archive and library, including most of his remaining copies of Ballet. Regards sur un siècle de photographie à travers Le Livre 85; The Book of 101 Books Seminal Photography Books of the Twentieth Century pp110-3; The Photobook: A History, I pp240-1; The Open Book A History of the Photographic Book from 1878 to the Present pp136-7; 802 photo books from the M + M Auer collection p314; Errata Editions Books on Books #11 Alexey Brodovitch: Ballet.

FIRST ENGLISH EDITION. LIMITED EDITION (1000). This copy numbered 246 out of 500 copies for the USA, from an overall limitation of 1000. Large folio. (39 x 29 cm). Publisher's original vellum backed clue cloth boards, spine with gilt lettering, top edge gilt, others uncut. Housed in a custom-made tan buckram slipcase. Two colour vignettes, 54 full-page colour plates (one folding) by Bakst with captioned tissue-guards, and a full-page lithograph portrait of Léon Bakst by Pablo Picasso. Some occasional light foxing, light soiling to vellum and cloth, generally a very good copy. This famous work, finely produced, is a record of Bakst's extensive contribution to Diaghilev's revival of La Belle au Bois Dormant at the Alhambra Theatre in London in 1921. It shows Bakst's sets and costumes, which present a beautiful mix of his early Russian inspiration and 18th-c. French tradition. The work is prefaced by an 18-page introduction by Levinson regarding Bakst and Tchaikovsky's ballet. Diaghilev's production was so lavish (and not so successful) that it nearly bankrupted him. One of the ballerinas, Lydia Lopokova, was noticed by a member of the audience, who repeatedly came to see her: this was John Maynard Keynes. Lopokova soon became Mrs. Keynes, later Baroness and spent the rest of her long life in England. The first French edition published the previous year (1922).

First Edition. The Russian Ballet - In Western Europe 1909-1920 With a Chapter on the Music by Eugene Goossens, John Lane Bodley Head, London, 1921, first edition, t.p.e.'s in gold-gilt, light wear to the inner hinges, else a tight near fine copy in the publishers original marbled boards and cloth spine binding and near vg scarce original slipcase with some wear and separation to the top panel. #91/450 copies with all illustrations and tipped in plates present and in fine condition featuring the work of: Picasso, Derain, Matisse, Bakst, Goncharova, Benois, Fedorovskiy, et.al.

Limited edition. Limited to only 900 copies, of which this is 234. Possibly the most influential ballet company of the 20th century, the Ballets Russes was founded in 1909 by impresario Sergei Diaghilev. While only in operation for twenty years, the Ballets Russes is known for developing some of the most famous and influential dancers and choreographers of the 20th century. Fine in fine publisher's clamshell, all held in fine publisher's cardboard clamshell.

Hardcover. Condition: Very Good+. Dust Jacket Condition: Very Good. Bip Pares (illustrator). 1st Edition. A Bullet In the Ballet by Caryl Brahms & S.J. Simon First Edition Michael Joseph Ltd 1937. No previous owner's name inscriptions or markings. Contents and edges free of foxing or toning. A VG+ copy in original bright VG Bip Pares designed dust jacket. Not clipped and with publisher's printed price of 7/6 to spine. "A Bullet in the Ballet" by Caryl Brahms and S.J. Simon is an enthralling mystery novel that unravels within the glamorous world of the ballet. Set in post-war London, the story revolves around Nicholas Carey, an aspiring dancer who stumbles upon a shocking murder during a ballet performance. As the baffling case unfolds, Nicholas finds himself caught between the ruthless politics of the ballet world and the relentless pursuit of truth. With the help of a witty journalist, Nigel Hilliard, the duo embarks on a thrilling investigation to unmask the killer behind the deadly act.

Pas de couverture. - s.l. s.d. (ca 2010-2020), 21x29,8cm, une feuille. - Dessin original de Thierry Mugler, entièrement réalisé au crayon de papier sur un feuillet de papier fort blanc, représentant une danseuse de ballet en costume d'oiseau. Plusieurs indications manuscrites de la main du styliste : "Collant blanc dégradé gris perle", "Blanc dégradé gris perle", "Juste au bout". Nous n'avons hélas pu retrouver pour quel spectacle Mugler projetait la réalisation d'une telle tenue, mais rappelons que le styliste était très attaché à la danse, ayant lui-même rejoint à quatorze ans les ballets de l'opéra du Rhin. Photographies sans filigrane sur demande [ENGLISH TRANSLATION FOLLOWS] Original sketch drawing Costume project for ballet [ca 2010-2020] | 21 x 29,8 cm | one leaf Original drawing by Thierry Mugler, entirely in pencil on thick white paper, depicting a ballet dancer in bird costume. Several autograph notes by the fashion designer: "Collant blanc dégradé gris perle" ("White tights gray pearl gradient"), "Blanc dégradé gris perle" ("White gray pearl gradient"), "Juste au bout" ("Just at the tip"). Unfortunately, we have not been able to identify for which show Mugler planned to create this outfit, but the designer was undeniably very attached to dance, having himself joined the Rhine Opera Ballet at the age of 14. Clear pictures upon request.

Paris, Les Actes des Apôtres, Charles de Jonquières, 1948. In-8 carré broché, 83 pp., non coupé, couverture à rabats (très bon état). Edition originale tirée à 1021 exemplaires. Ici un des 75 sur Marais Crèvecoeur, premier papier. * Voir photographie(s) / See the picture(s). Livres.

A first edition, first printing published by Dent in 1936. A very good (or better) book without inscriptions. Some scattered spotting to the prelims and last few pages. Thin crease to the spine. A very clean copy with full and clear titles to the spine. No wrapper. A classic children's novel that explores themes of ambition, identity, and family. The story follows three orphaned sisters Pauline, Petrova, and Posy raised by an eccentric guardian. They are thrust into the world of theatre and ballet to support their household financially. Each sister possesses unique talents and aspirations. The novel explores their individual journeys in pursuing their dreams and identities while emphasising the importance of familial bonds. Streatfeild's narrative underscores the transformative power of dedication, resilience, and the pursuit of personal passions in a heart-warming and relatable manner.

Hardcover. Condition: Good. No Jacket. 1st Edition. Book has no jacket. Endpapers have abrasion from sticker removals. Front hinge is split at top. Content is all fine and unmarked. All details visible in photos.

Unbound. Condition: Very Good. Typescript. Loose quarto sheets. [7]pp., typed rectos only. With numerous holograph pencil corrections to the text by Tyler, as well as a few editor's marks. Old folds, light toning and soiling, a couple of nicks, very good or better. The essay appeared in *Westminster Magazine* (published in Oglethorpe, Georgia) in the early 1930s. An early piece by Parker Tyler, co-author of *The Young and Evil* and noted film critic, who wrote one of the first books dealing with homosexuality and film, *Screening the Sexes: Homosexuality and Film* (Holt, Rinehart & Winston, 1972).

Pas de couverture. Condition: Comme neuf. Edition originale. "LE CAVALIER D'AIRAIN / POUCHKINE" MEDNY VSADNIK (La Statue Équestre / Pierre Le GRAND sculpture de Etienne Maurice FALCONET / Ballet et musique de Reinhold GLIERE (1949) d'après le poème d'Alexandre POUCHKINE "Le Cavalier de Bronze" ou "Le Cavalier d'Airain"(1833) / Litho russe originale entoilée de 1949 / Format entoilé: 63x87cm / Parfait état /// Original poster on linen / Russian litho (1949) / Size on linen: 63x87cmPerfect condition.

Hardcover. Condition: Very Good. No Jacket. 1st Edition. 1 leaf + 15 mounted photographs by E.O.Hoppe , each measuring 6 by 8 inches , mounted separtely.on 15 sheets of stiff card .Original brown cover with gold lettering of title on front . The plates : L'Oiseau de Feu [ 4 pates ,3 of Karsavina , 1 with Bolm and 1 of Bolm]; Thamar 2 plates , Adolph Bolm,Thamer Karsavina & Adolph Bolm] Le Spectre de la Rose [ 2 plates, 1 of Karsavina ,1 of Nijinsky ] , Le PVaslav Navillon d'Armide [ 2 plates , Karsavina 1, Karsavina & Bolm ] , Le Carnaval [ 1 plate of Bolm ; Prince Igor [ 2 plates , Mme Fedorova 1 , Adolph Bolm 1 ], Clleopatre [ 1 plate ,Mme Fedorova ]and Scheherazade [ 1 plate of Nijinsky].

1 Bl., 382 gest. S. zeitgen. Ldr. 3kt-Goldschnitt. Titelblatt mit Stempel Cherubinis und des Verlags (die Verlegernamen in Sternform angeordnet - leicht angeschnitten). Einband etwas berieben und bestoßen, Titelblatt mit zwei kleinen Flecken und leicht bestaubt. Sonst Buchblock bis auf vereinzelte kleine Stockflecken sehr gut. RISM C/CC 2028. - Erstausgabe. - In zeitgen. Ledereinband mit Goldornamenten gebunden, mit Titelschild: All' Alunno Schraffer a titolo di premio ed incoraggiamento per l'Accademia del giorno 4 Ottobre 1823.

Soft cover. Condition: Good. No Jacket. 1st Edition. 4to. 8pp. Original paper wrappers. Texts by Luciano Folgore, Pierre Larat, Luciana, Apollinaire 'Pablo Picasso' a concrete poem, Jean Cocteau and Lucien Margoton. Illiustrations by Balla, Depero and a woodcut by Prampolini. Paper heavily yellowed, frayed with marginal loss and professionally laminated.

Hb. Condition: VG. Dust Jacket Condition: None. First Limited & Numbered Edition. Limited First Edition Number 383 of 1,000 copies, of which 500 were Reserved For the United States of America. A rare collection record of the sets and costumes from Leon Bakst final work; Serge Diaghilev's 1921 London Production of Tchaikovsky's "The Sleeping Princess". His creations were an innovative theatre of visual delight. Bakst was greatly influenced by the court of Louis XIV, Moorish and Oriental creations and Russian Folk Arts. Frontis: portait of Bakst by Picasso with tissue guard. Title & List of illustrations page with colour vignettes by Bakst. Fifty-four coloured plates by Bakst on heavy stock and each with lettered tissue guards are all clean and intact. Cover: quarter velllum over blue cloth on boards with gilt titles to spine. Moderate soiling and rubbing to cover. Edges: gilt top-edge with some rubbed wear and marks; fore & bottom edges with mild foxing and age yellowing , now slightly browned. Moderate rubbed wear to extremeties. Boards fore corners with heavy wear. A few pages with some thin, marginal tide marks to margins. Ffep & half-title page with vertical fold crease near fore-edge. Just a few pages with faint and few only foxing and/or small light smudge. Binding is VG+ Large & moderately heavy book: 395 x 300 mm.

Pas de couverture. - s.l. s.d. (ca. 2019), 21,6x27,9cm, une feuille. - Dessin original de Thierry Mugler, entièrement réalisé au crayon de papier sur un feuillet de papier blanc. On y voit un profil de femme ; sur son visage un masque et devant celui-ci un second. Nombreuses annotations techniques, également de la main de Mugler, tout autour du dessin : "(?) serigraphed, lycra "Wig Hat", "Painted realistic, like her make-up", "Or All metalic GOLD NO DEFINITION LIKE A MASK OF ANTIK THEATRE". Ce dessin est probablement le projet d'un costume réalisé pour le ballet "McGREGOR + MUGLER" du chorégraphe Wayne McGregor et pour la danseuse Olga Smirnova. Rappelons que Mugler était très attaché à la danse, ayant lui-même rejoint à quatorze ans les ballets de l'opéra du Rhin. Photographies sans filigrane sur demande [ENGLISH TRANSLATION FOLLOWS] Original sketch drawing Female mask project for ballet [ca 2019) | 21,6 x 27,9 cm | one leaf Original drawing by Thierry Mugler, entirely in pencil on a white paper leaf. With a profile of a woman, wearing a mask on her face and another one on top of the first. Numerous technical annotations around the drawing, also by Mugler: "(?) serigraphed, lycra "Wig Hat", "Painted realistic, like her make-up", "Or All metalic GOLD NO DEFINITION LIKE A MASK OF ANTIK THEATRE". This drawing is probably a costume project for the dancer Olga Smirnova in the ballet "McGREGOR + MUGLER" by choreographer Wayne McGregor. Fashion designer Thierry Mugler was undeniably very attached to dance, having himself joined the Rhine Opera Ballet at the age of fourteen. Clear pictures upon request.

Chromolithographed illustration of a pair of Ballet Slippers, printed with gold and silver inks, framed and glazed, overall size: 37cm by 52cm. Scarce first edition. 'The sixty-three ladies' shoes now illustrated have all belonged to and been worn by ladies of the 19th century. They have been most carefully selected to illustrate the variety and change of fashion during that period.' Each page contains three nearly life-sized shoes except for a single shoe on frontispiece and last plate, which depicts Madame Cerri's ballet slipper. Hiller p.395; Lipperheide 1746c.

Soft cover. Condition: Very Good. 1st Edition. One of 35 numbered copies printed on Japon Imperial with an extra suite of four etchings by Marie Laurencin. Softcover. 111 pp. with two etchings bound inside. An additional loose six etchings in a thin paper wrap. Both book and prints in a marbled paper chemise with leather spine label. The edges of the chemise rubbed and cracked at the folds, edges of the book faded; the paper wrap repaired at the folds. Book un-cut.

Wraps. Condition: Good. Mats Backer (illustrator). Presumed First Edition, First printing. 20 pages, including covers. Rare early product associated with this major Swedish Dance Company. This compilation of autographs in one place is very scarce, potentially unique. Cover has some wear and soiling. The book is profusely illustrated in color. The soloists of the Royal Swedish Ballet are Brendan Collins; Nikolaus Fotiadis; Marie Livdqvist; Tim Matiakis; Jenny Nilson; Madeleine Onne; Jens Rosen; Rafi Sady; Nadja Sellrup; Judith Simon; Anna Valev; Jan-Erik Wikstrom; Johannes Ohman; Ivaylo Valev, Ballet master; Lennart Persson, Lighting designer; and Orjan Andesson, Choreorapher. A sheet with names and photos of the soloists are laid in. The members of this new company are some of the most prominent principals of their generation and others whose goal is to reach that position in a few years time. They all want to create a new audience for Swedish dance. The dancers have been trained at The Royal Swedish Ballet in Stockholm, where traditions from the East merge with influences from the West. Thirteen signatures are on the front cover, including some members of the company have signed the front cover. Signatures that have been identified include: Jan-Erik Wikstrom, Anna Valov, Judith Simon, Nadja Sellrup, Brendan T. Collins, Jenny Nilson, Madeleine Onne, Nikolaus Fotiadia, Marie Lindqvist, and Jens Rosen. Stockholm 59° North is a group of dancers from the Royal Swedish Ballet. For more than 20 years they have been touring Sweden and abroad, mainly with new creations from Swedish up-and-coming choreographers. They perform first-class dance in a way that is enormously powerful and emotional and which can be enjoyed by everybody. As dancers from the Royal Swedish Ballet they are deeply rooted in a centuries-old classical tradition. In Stockholm 59° North they create a brave new repertoire and new options are opened for choreographers to meet the experienced top dancers in a more simple and direct manner, which opens up for new experiences for the audience - in Sweden and on the international dance arena. In 2017 they celebrated 20 years as a cutting edge dance company. In 1997, the Royal Court Dancer Madeleine Onne formed Stockholm 59° North and in August 1997 a weeklong appearance at the renowned Jacob's Pillow Dance Festival in the US was performed. Massive response from both American spectators and the international press, among others the New York Times. This success gave the group tremendous encouragement to continue dancing in front of new and enthusiastic audiences which has continued for 20 years. When developing their performances everyone in Stockholm 59° North is involved. Therefore everybody in the group feels a great affinity with and understanding of all the work that lies behind every project. That coproduction and cooperation strengthens the cutting edge performance on stage. Stockholm 59° North was formed out of the desire to present a new and exciting repertoire. They want to awaken interest for first-class dance, broaden perspectives and to give the audience new experiences both in Sweden and on the international dance arena. Stockholm 59° North is now lead by Premiere Dancer Nadja Sellrup. She has been a company member of Stockholm 59° North since 2000 and is now looking forward to create a new strong platform for the coming 20 years.

Hardcover. Condition: Good. First edition. First edition. Hardcover. 12 3/4'' X 10 1/2''. 241pp. This edition of '' BALLET'' is limited to ONE HUNDRED SIGNED copies. This is number 43. Half leather over buckram boards. Leather spine is worn, white boards are soiled. A couple of spots to fly-leaf, some toning to pages. A scarce book.

16. Paris, chez Mme. Boivin , le Sr. Le Clerc, L'Auteur , rue de Richelieu, s.d. [ca. 1751] , in-folio, 32 x 24,5 cm, (4) nn pp (title , dedication to Mad. de Pompadour) + 70 pp with engraved music. (Complete). Bound in contemporary half vellum, boards covered with marbled paper. Marbled paper worn and with traces of use, binding sound, interior fine, still a very good copy in a contemporary binding. First edition (see Catalogue Lesure pp: 358). The composer was music director in the service of Mad. de Pompadour ( for her theatre '' Théâtre des Petits-Cabinets ''. He later became also tutor for harp music to queen Marie-Antoinette. ( Marcelle Benoit - Dictionnaire. pp. 380).

Full Vellum. Condition: Near Fine. First Limited Edition. No. 93 of 100 copies signed by Bull. Folio. 31 by23 cm. 240 pp. Profusely illustrated with both color and B/W, some plates, other, text illustrations. Unusual, riveting modernist bookplate of Pickford Waller designed by Austin Osman Spare, a celebrated designer of bookplates. Vellum with lightest of soiling, yet still very handsome. Light foxing of endpaper. Otherwise, clean, bright, fresh.

Paris, Jean Hugues, (mai) 1954. 1 vol. (140 x 190 mm) de 102 p., [4] et 1 f. Broché, sous étui éditeur. Édition originale. Un des 190 exemplaires sur Rives, celui-ci un des 10 hors commerce (exemplaire B). Envoi signé : « à mes parents, en témoignage de filiale affection, Pierre ». 2 pointes-sèches originales, à pleine page, de Geneviève Asse, ont été ajoutées - non annoncées à la justification initiale : elles ont été jointes à 30 exemplaires « retrouvés » par Pierre Lecuire en 1993, avec un feuillet les plaçant « en frontispice et page 37 », signé par Geneviève Asse.