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Published by Mermod, 1954
Seller: K & L KICKIN' BOOKS, Corinth, TX, U.S.A.
Trade paperback. Condition: Very Good. No Jacket. Edition Not Stated. Very good. No dust jacket. Very Good with slight shelf wear/No DJ, softcover, edition is not stated. Lisa-426.
Published by GALLIMARD 99/v /10 N, 1992
ISBN 10: 2070727882ISBN 13: 9782070727889
Seller: AwesomeBooks, Wallingford, United Kingdom
Book
Condition: Very Good. This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. .
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Published by Editions Du Bélier, Paris, 1946
Seller: Librairie FAUGUET, Marseille, France
In-12 broché ( 190x140 mm ) de 88 pages.Illustré de 6 portraits inédits par PICASSO.Dos insolé. Littérature.
P., Gallimard / Réunion des musées nationaux, 1992, in-8, br., couv. ill. à rabats, 219 pp., 67 illustrations à pleine page, index. (SS59) Édition de Pierre Caizergues et Hélène Seckel. Introduction de Pierre Caizergues.
Published by Hermann, Paris, 1965
Seller: Buybyebooks, Honiton, United Kingdom
First Edition
Condition: Fair. Picasso, Juan Gris, Modigliani (illustrator). First Edition. PB first edition. 21 x 11cm. 191 pages. b/w frontis, b/w illusts. Text all in French. 'Meditations esthetiques' Texte presente et annote par L.C. Breunig et J.-C1. Chevalier. Condition: cover creased and age discoloured. Small tear bottom spine seam. e/ps age discolouration spots. Few pages word underlining and short annotation in margin. Back cover two names + numbers beside. Binding firm, pages overall good colour. Fair + condition.
Published by Pierre Cailler, Beaux Textes, Textes Rares, Textes Inédits, 171 pp., Geneve, 1947
Seller: Buenos Aires Libros, Buenos Aires, BA, Argentina
Paperback. Condition: Good. Picasso (illustrator). Bookplate on flyleaf. Illustrated with b&w plates. Chipping to top of spine. Text in french.
Condition: Bon. 171pp Genève, Pierre Cailler, 1948, in-8, 171pp, broché, Exemplaire en parfait état, illustré d'un portrait d'Apollinaire par Picasso. in-8. 171pp.
Paris, s.n., 1944. 2 volumes in-8 brochés, n.p. (couv. un peu brunies) Tirage limité à 1500 exemplaires numérotés (après, respectivement, 26 et 13 Madagascar). Complet des 2 volumes. Edition originale du Désir attrapé par la queue de Picasso, et entièrement illustré par lui. * Voir photographie(s) / See picture(s). * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte sur rendez-vous.
Published by Visor, Madrid
Seller: Librería Castro, Barcelona, BCN, Spain
Edición de Pierre Caizergues. Ilustraciones en b/n. Colección La Balsa de la Medusa nº107. En perfecto estado. Editorial: Visor Tela editorial con sobrecubierta Páginas: 235 Tamaño: 17.5x24.5 cm Edición: 2000.
Published by La sirène, 1923
Seller: Daniel Bayard librairie livre luxe book, Millery, France
First Edition
Couverture souple. Condition: Très bon. Edition originale. Billy André Apollinaire vivant, 1 volume 19 x 12 cm Edition la Sirene 1923 2 feuillets roussi par article de journal présent dans l'ouvrage. Surréalisme Cubisme On joint cet article les origines du Cubisme par le Baron Mollet présent dans l'ouvrage.
Published by Galerie BRETEAU ,, Paris,, 1944
Seller: Librairie Christian Chaboud, Bruxelles, Belgium
21x26cm, en feuilles sous couverture, 36p. Exposition organisée par Gaston Diehl et Jacqueline Apollinaire de Kostrowitzki pour les 25 ans de la disparition du poète. Complet des 5 bois de Manessier, Moisset, Pierre Roy, Le Moal et Roger Toulouse et des 3 reproductions sur feuilles volantes de Juan Gris, Picasso et Gruber. Impression sur papier chiffon épais. Couverture et intérieur présentant des rousseurs et de pâles mouillures sur quelques pages. ( voir photo).
Published by Éditions André Sauret, 1984
Seller: Encore Books, Montreal, QC, Canada
Book
Hardcover. Condition: Very Good. Picasso (illustrator). Hardcover book in very good condition. Text in French. Volume 5 de l?oeuvre de Guillaume Apollinaire complet du roman ?les onze mille verges?. Questions welcome. We ship internationally from the United States and Canada every week. If buying internationally, please be aware that additional charges may apply for heavier books. We guarantee a safe, quick, and secure transaction. 10+ years in online bookselling experience.
Editions de la Belle page (Le livre neuf), 1929. In-12, couverture verte rempliée, frontispice gravé. Edition originale, un des 305 sur vélin. En frontispice, un fameux portrait de l'auteur par Picasso. Les "contemporains pittoresques" : Raoul Ponchon, Alfred Jarry, Ernest La Jeunesse, Rémy de Gourmont, Jean Moréas, Catulle Mendès. * Voir photographie(s) / See picture(s). Livres.
Published by Les soirées de Paris, 1914
Book First Edition
couverture souple. - Les soirées de Paris, Paris 15 Février 1914, 17x26cm, agrafé. - Edition originale sur papier courant. Contributions d'Alfred Jarry "Lettres", Poèmes de Guillaume Apollinaire, Max Jacob, Fernand Divoire, Roch Grey "Un fait divers, Trois romances, Elégies", Maurice Raynal "L'art d'être un imbécile". Numéro illustré de 5 reproductions d'oeuvres d'André Derain et d'un portrait de Alfred Jarry par Pablo Picasso. Manques et déchirures marginaux sur les plats. [ENGLISH DESCRIPTION ON DEMAND].
Published by Éditions du Bélier, Paris, 1946
Seller: Meiwes, Stuttgart, Germany
First Edition
First Edition. Illustrated with hors-texte reproductions of six original sketchbook drawings by Pablo Picasso. 88 pp; privatly bound in cloth, spine with gilt lettering, original printed wrappers (with yellow colour) bound in. 18,5 cm. The engraver was Draeger.Apollinaire's surrealistic drame with illustrations by Picasso. Hors commerce copy , on thick paper. A fresh, fine copy.
Published by Les Editions De La Belle Page., Paris., 1929
Seller: James Hine, Ilminster, SOMER, United Kingdom
First Edition
Soft cover. Condition: Very Good. No Jacket. Frontispiece by Picasso and a vignette on title page. (illustrator). 1st Edition. First edition thus 1929, limited edition of 340 examples, this copy is number 229. Frontispiece by Picasso. Page edges yellowed with age. Publishers printed green wrappers very slightly dusty with some light fading to edges, spine slightly darkened and marked, generally a very good copy. 100 p. Book.
Aquarelles de Folon (Volumes II et IV), Aquarelles de Milton Glaser (volumes I et III), Hors texte des gravures de Picasso (Volume V). Les éditions André Sauret, 1983, 1984. Au format in 4, 377 pages, 419, 420, 438, 223 pages, sur papier grand vélin de Lana justifié 194 sur 300 avec une suite des illustrations sous étui (attention, le coffret ne contient que la suite des aquarelles de Milton Glaser), le tout relié plein cuir noir grain maroquin au plat orné d'une mosaïque de cuir vert et enrichi d'une dorure à chaud, tête dorée. Il comprend les titres : Tome I : (Milton Glaser ) Le bestiaire - Alcools - Vitam impendre amori - Calligrammes - Il y a ; Tome II : (Folon) Poèmes à Lou - Le guetteur mélancolique - Poèmes à Madeleine - Poèmes à la marraine - Poèmes retrouvés - Poèmes inédits ; Tome III : (Milton Glaser) L'enchanteur pourrissant - L'hérésiarque et Cie - Le poète assassiné - Contes écartés - Contes retrouvés ; Tome IV : (Folon) La femme assise - La fin de Babylone - Les trois Don Juan - La femme blanche des Hohenzollern ; Tome V : (Picasso) Les onze mille verges. Très bel ensemble en bel état.
Published by Editorial PROA, Buenos Aires, 1929
Seller: Libreria del Signo, Capital Federal, Argentina
Book First Edition
Encuadernación de tapa dura. Condition: Bien. Picasso (illustrator). Primera edición. Buenos Aires, Editorial PROA, 1929. 138p. Con dos retratos del autor por Pablo Picasso y un poema de Jean Cocteau. Versión de Lysandro Z. D. Galtier. Uno de los 150 ejemplares numerados e impresos sobre papel Pluma. Rústica con sobrecubierta. Primera edición. Buen estado (falta hoja de respeto; no conserva la cubierta original). Encuadernación casera (ideal para reencuadernar). Muy raro.
Published by Les soirées de Paris, 1914
Book First Edition
couverture souple. - Les soirées de Paris, Paris 15 Février 1914, 17x26cm, agrafé. - Edition originale sur papier courant. Contributions d'Alfred Jarry "Lettres", Poèmes de Guillaume Apollinaire, Max Jacob, Fernand Divoire, Roch Grey "Un fait divers, Trois romances, Elégies", Maurice Raynal "L'art d'être un imbécile". Numéro illustré de 5 reproductions d'oeuvres d'André Derain et d'un portrait de Alfred Jarry par Pablo Picasso. Rare et agréable exemplaire malgré deux petites déchirures marginales sur le second plat. [ENGLISH DESCRIPTION ON DEMAND].
Published by Gallimard, 1925
Seller: Eduardo Martínez Moreira, Montevideo, Uruguay
Encuadernación de tapa blanda. Condition: Aceptable. Avec un portrait de l auter par Pablo Picasso, gravé sur bois par R. Jaudon. (illustrator). Ejemplar re- encuadernado. Roces y fatigas en su encuadernado. Algunas manchas de humedad. Texto íntegro. WE SEND (free of charge) video demonstration of the conservation status of the book. ENVIAMOS (a solicitud y sin cargo) video de demostración del estado de conservación del e.
Published by XXe Siecle, Paris, 1971
Seller: The Book Gallery, Jerusalem, Israel
CONTAINS AN ORIGINAL LITHOGRAPH AND SEVEN LINOCUTS BY PABLO PICASSOÁ. RARE issue of the prestigious art publication "XXe siècle". This issue is dedicated to the work of Pablo Picasso, and features numerous articles written by his friends, both artists and art critics. The texts are accompanied by numerous color and b&w reproductions of his works. 320x250mm. 138 pages [+2]. Red cloth Hardcover with illustrated dust-jacket. Jacket slightly rubbed, dirty and yellowing. Jacket upper corners and edge wrinkled. Cover edges dirty. Cover corners and spine edges slightly bumped. [SUMMARY]: This extremely rare issue of an influential art periodical, which features an original lithograph and seven linocuts by one of 20th-century most illustrious artists, is in good condition. The book is in : French.
Published by Aux Editions De La Belle Page - Collection "Le Livre Neuf", 1929
Seller: Tiré à Part, Marseille, France
First Edition
In-8 carré ( 200 X 155 mm ) de 100 pages, demi-maroquin bleu, dos à nerfs janséniste avec date dorée en queue, tête dorée sur témoins, étui bordé ( Reliure postérieure ). Portrait d'APOLLINAIRE en frontispice gravé par Pablo PICASSO. EDITION ORIGINALE tirée à 360 exemplaires en divers papiers, celui-ci un des 20 exemplaires numérotés sur vergé de Hollande Van Gelder Zonen avec le portrait gravé par PICASSO en 2 états, sur vergé et sur Chine. Très bel exemplaire, non rogné dans une reliure d'excellente facture. Gravure Edition-Originale, Littérature,
Published by Ed. André Sauret © Ed. Gallimard 1965 (Tom. I - II - III - IV) - © Ed.Pauvert (Tom. V), 1983
Seller: ART-CADRE ART BOOKS GALLERY, Bruxelles, Belgium
First Edition
Couverture rigide. Condition: Très bon. Pas de jaquette. Edition originale. FOLON Jean-Michel APOLLINAIRE - Illustré par J.M.Folon M.Glaser R.Dufy P.Picasso Année de publication : 1983-1984 Sujet : Illustration & Recueil Auteur : Guillaume Apollinaire, illustrations de J-M Folon, Milton Glaser, Pablo Picasso et Raoul Dufy Editeur : Ed. André Sauret © Ed. Gallimard 1965 (Tom. I - II - III - IV) - © Ed.Pauvert (Tom. V) Imprimeur : Imprimerie de L'INDRE (Tom. I - II - III) et Imprimerie Moderne de DREUX (Tom. IV - V) Tirage : Numérotée : 2210 Pages : Tome I: 370 p.-T.II: 408 p.-T.III: 418-T.IV: 436 p.-T.V: p. num. sur Papier Vélin Iconographie : -24 Planches hors-textes, pleines pages et dos libres d aquarelles de Milton Glaser , volumes I et III - Les poèmes du bestiaire sont illustrées des bois de Raoul Dufy -24 Planches hors-textes, pleines pages et dos libres d aquarelles de Jean Michel Folon, Volumes II et IV -12 Planches hors-textes, pleines pages, double page en rabat et dos libre de Pablo Picasso, Volume V Reliure : Exemplaires sur Grand vélin des Papeteries de Lana. Reliure éditeur, pleine toile bleu-violet mosaïquée de cuir vert enrichi d une dorure à chaud, tête dorée. Les volumes sont remis sous étui habillé de papier à la cuve bordé de cuir en tête et en pied. Description état : Reliure légèrement défraichies, intérieur impeccables. Description : Texte français/French text Recueil des oeuvres poétiques et uvres en prose de Guillaume Apolinaire en cinq volumes paru aux éditions André Sauret en 1983-1984. Tome I :"oeuvres poétiques" : « Le bestiaire ; Alcools ; Vitam Impendere Amori ; Calligrammes ; Il y a », Aquarelles de Milton GLASER. Les poèmes du bestiaire sont illustrées des bois de Raoul DUFY. Imprimé en novembre 1983, Imprimerie de L'INDRE. © Editions Gallimard 1965. Tome II " uvres poétiques" : « Poèmes à Lou ; Le guetteur mélancolique ; Poèmes à Madelaine ; Poèmes retrouvés ; Poèmes inédits » Aquarelles de Jean Michel FOLON. Imprimé en janvier 1984, Imprimerie de L'INDRE. © Editions Gallimard 1965. Tome III " uvre en prose" : « L enchanteur pourrissant ; L hérésiarque et Cie ; Le poète assassiné ; Contes écartes ; Contes retrouvés » Aquarelles de Milton GLASER. Imprimé en mars 1984, Imprimerie de L'INDRE. © Editions Gallimard 1965. Tome IV " uvres en prose" : « La femme assise ; La fin de Babylone ; Les trois Don Juan ; La femme blanche des Hohenzollern » Aquarelles de Jean Michel FOLON. Imprimé en mai 1984, Imprimerie Moderne de DREUX. © Editions Gallimard 1965. Tome V "Les onze mille verges" Hors-Texte de PICASSO. Imprimé en juillet 1984, Imprimerie Moderne de DREUX. Les gravures de PICASSO ont été reproduites par l'imprimerie du Compagnonnage à Paris. © Société Nouvelles des Editions PAUVERT. Il a été tiré de ces ouvrages 4050 exemplaires sur Grand vélin des Papeteries de Lana, justifiés comme suit : -95 exemplaires numérotés de 1 à 95, reliés plein cuir noir grain maroquin au plat orné d une mosaïque de cuir vert et enrichi d une dorure à chaud, tête dorée, comprenant une gravure originale de Jean-Michel Folon et une gravure originale de Milton Glaser numérotées et signées, et une suite des quarante-huit illustrations réunies dans un coffret plein cuir sous étui. -300 exemplaires numérotés de 96 à 395, reliés de même et comprenant une suite des quarante-huit illustrations réunies dans un coffret plein cuir sous étui. La suite des illustrations du cinquième volume facultatif est livrée sous étui séparé. -3605 exemplaires numérotés de 396 à 4000, reliés soit en plein cuir de même que les éditions de tête, soit en pleine toile bleu-violet mosaïquée de cuir vert enrichi d une dorure à chaud, tête dorée. -Il a été tiré en outre cinquante exemplaires marqués HC réservés aux collaborateurs de l édition. Cet exemplaire en fait partie. Tous les volumes sont remis sous étui habillé de papier à la cuve bordé de cuir sur les quatre côtés pour les exemplaires en cuir, en tête et en pied pour les exemplaires en toile. Le numérotage figure au quatrième volume de la collection.
Published by Gallimard, Paris, 1952
Seller: Moroccobound Fine Books, IOBA, Lewis Center, OH, U.S.A.
Association Member: IOBA
Book
Soft cover. Condition: Near Fine. Limited Edition. First edition, one of 26 numbered copies on Madagascar paper, the tirage de tête (first issue). Illustrated with a frontispiece by Pablo Picasso, preface by André Salmon. 149 pp. Softcover, bound in wraps. Remains largely un-cut. A few nicks to the cover edges, else unmarked.
Published by Editions Andre Sauret, 1983
Seller: Sunny Day Bookstore, SINGAPORE, Singapore
Condition: Fine. Number of books: Total 5 books.
Couverture rigide. - Mercure de France, Paris 1918, 14,5x23cm, relié. - Edition originale, un des exemplaires de première émission numérotés à la presse. Papier légèrement cassant en marges de certains feuillets comme généralement, agréable exemplaire. Ouvrage illustré, en frontispice, d'un portrait de Guillaume Apollinaire par Pablo Picasso. [ENGLISH DESCRIPTION ON DEMAND].
Condition: Fine. Number of volumes: 5.
Published by Théatre du Chatelet; Maurice de Brunoff, ed, Paris, 1917
Seller: Manhattan Rare Book Company, ABAA, ILAB, New York, NY, U.S.A.
First Edition
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.
Couverture rigide. - Mercure de France, Paris 1918, 14,5x23cm, relié. - Édition originale, un des exemplaires de première émission numérotés à la presse. Reliure en demi maroquin marron, dos à cinq nerfs, date dorée en queue, plats de papier à motifs abstraits, gardes et contreplats papier bleu-gris, tête dorée sur témoins, couvertures et dos en parfait état conservés, reliure signée T. Boichot. Second recueil majeur du poète-soldat aux innovations graphiques inédites et illustré, en frontispice, d'un portrait de Guillaume Apollinaire par Pablo Picasso. "Quelques-uns des meilleurs poèmes de guerre, toutes langues confondues, sont réunis dans ce recueil, à côté d'oeuvres expérimentales comme Les Fenêtres (proche du cubisme) et La Jolie Rousse, qui étaient très en avance sur leur temps" (Cyril Connolly, Cent livres-clés de la littérature moderne, nº 32). Bel exemplaire au papier non cassant ce qui est peu fréquent, rare et étonnant envoi autographe signé de Guillaume Apollinaire?: «?à monsieur le critique littéraire de La Libre Parole, hommage de Guill. Apollinaire.?» Qui pouvait être le destinataire de cette dédicace non nominative mais adressée à un collaborateur du célèbre journal antisémite fondé par édouard Drumont ? On connait la position ostensiblement philosémite de Guillaume Apollinaire qui s'enorgueillit dans une lettre de 1899 auprès de Toussaint Luca d'avoir tenté de provoquer Henri Rochefort lisant justement La Libre parole, en déployant devant lui L'Aurore mais sans oser, regrette le jeune dreyfusard, engager la polémique. En 1902, il marque publiquement sa fraternité avec le peuple juif avec une nouvelle parue dans La Revue blanche, Le Passant de Prague?: «?J'aime les juifs car tous les juifs souffrent partout?». Puis dans Alcools, il dédiera un poème à la religion hébraïque?: La Synagogue. Mais c'est sans doute à travers son poème «?Le Juif latin?», paru dans L'Hérésiarque et Cie qu'Apollinaire dévoile, poétiquement, l'essence de son lien particulier avec la judaïté, dont il partage la condition d'éternel étranger, le sentiment de déracinement et la recherche d'identité. Il peut donc paraître très surprenant que ce poète, dont la seule trace d'engagement politique fut en faveur de Dreyfus, dédicace son uvre à un journaliste de La Libre parole, fut-il critique littéraire. Et de fait, La Libre Parole ne contient aucune rubrique littéraire?! A quelques mois de la disparition du poète, ce laconique envoi se révèle ainsi être un formidable et ultime pied de nez de l'impertinence poétique à l'intolérance politique. [ENGLISH TRANSLATION FOLLOWS] Mercure de France Paris 1918 | 14,5 x 23 cm bound in morocco First edition, a first impression copy numbered in the press. Binding in half brown morocco, spine in five compartments, gilt date at the foot, geometric pattern paper boards and endpapers in the same paper, top edge gilt, wrappers and spine preserved in perfect condition, binding signed by T. Boichot. Apollinaire's second major poetic work with bold graphic innovations and a portrait of Guillaume Apollinaire by Pablo Picasso as frontispiece. "Some of the best war poems, all languages combined, are brought together in this collection, alongside experimental works such as Les Fenêtres (close to Cubism) and La Jolie Rousse, which were far ahead of their time" (Cyril Connolly, Cent livres-clés de la littérature moderne, n° 32). A beautiful copy on non-brittle paper which is unusual, and a rare and surprising handwritten inscription signed by Guillaume Apollinaire: "à monsieur le critique littéraire de La Libre Parole, hommage de Guill. Apollinaire." ("To the literary critic of La Libre Parole, tribute by Guill. Apollinaire.") Who could be the recipient of this inscription, unnamed but addressed to a collaborator of the famous anti-Semitic newspaper founded by Édouard Drumont? The ostensibly philo-Semitic position of Guillaume Apollinaire is well-known. In an 1899 letter, he boasts to Toussaint Luca that he tried to pr.
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.