Ballets Russes (54 results)

Soft cover. Condition: Very Good. 1st Edition. 12mo. Original paper wrappers, stapled.

Soft cover. Condition: Very Good. 1st Edition. 12mo. Original paper wrappers, stapled.

Condition: Bueno. Rafael Marquina sobre Antonia Mercé, La Argentina, los Ballets Russes de Montecarlo, Serge Lifar, Manuel de Falla, etc.

Soft cover. Condition: Fine. 1st Edition. 12mo. Original card covers. 29 b/w illusts, 139 item catalogue.

Soft cover. Condition: Very Good. 1st Edition. Folio. Folding sheet. Synopsis.

paperback. Condition: Good. Published by Nicolas Pub. Co., New York, [no date listed, circa 1935]. Paper covers, [84] pp (unnumbered). In good condition. Full Illustrated paper covers have a 1" tear to the top edge of the back cover and several other smaller nicks and tears and creasing along edges. Light overall scuffing, aging and soiling to covers as well. Staple bound. Interior pages are lightly aged but otherwise clean and unmarked. NOT Ex-Library. Souvenir program for the company's 1936-37 American tour. It was led by Colonel W. de Basil, who had acquired the rights to the Ballets Russes name after the original company's dissolution in 1929. Includes Synopses of the ballets (revised by Arnold L. Haskell, 1935, with some notes); essay entitled "History of Col. W. de Basil's Ballets russes" by Edwin Evans; Cover wrappers illustrated by Nathalie Gontcharoval. Also includes color illustrations for scenery by E. Lourie for "Choreartium", Scenery for "Sheherazade" by Leon Bakst and "Les Femmes de Bonne Humeur" (The Good-Humoured Ladies"), Scenery and Costumes by Jean Hugo for "Les Cent Baisers ("A Hundred Kisses"), Scenery and costumes by Nathalie Gontcharova for "Noces", "L'oiseau de feu" ("The fire bird") and "Contes de Fee", Curtain by Andre Derain for La Concurrence", Scenery and costumes by M. Larionow for "Soleil de nuit" ("Midnight sun") and Scenery and Costumes by Jena Lurcat for "Jardin Public". Also includes portraits of the company and cast, including, Leonide Massine, Lubov Tchernicheva, Bronislave Nijinska, Irina Baranova, David Lichine, Alexandra Danilova, Tatiana Riabouchinska, Jurek Shabelevsky, Roland Guerard, and Tamara Toumanova. Advertisements throughout.Includes portraits of the company and cast.

Soft cover. Condition: Very Good. 1st Edition. 8vo. Original paper wrappers. Portraits, adverts. Thumbed.

Soft cover. Condition: Very Good. 1st Edition. 8vo. Original paper wrappers. Portraits, adverts. Thumbed.

Soft cover. Condition: Very Good. 1st Edition. 8vo. Original paper wrappers. Portraits, adverts. Thumbed.

Soft cover. Condition: Very Good. 1st Edition. 8vo. Original paper wrappers. Portraits, adverts. Thumbed.

in-quarto, 118 pp., illustrations noir et blanc et couleurs, br Cronologias de ballets y opera-ballets producidos por Serge Diaghilev, de 1909 à 1929Articulos de Boris Kochno, Richard Buckle, Maria Isabel de Falla, Rafael Alberti, Très bon état.

. In-8 reliure pleine toile éditeur, jaquette photo. Traduit par P. Thévenon. Nombreuses photographies hors texte. E.O.

in-octavo, 112 pp., illustrations dans le texte et hors-texte en bistre et en couleur d'après les dessins et peintures de A. Bakst, Benois, Braque, Cocteau, Derain, Dunoyer de Segonzac, Gontcharowa, Larionow, Picasso, Maurice Utrillo, br Adieux aux Ballets Russes par la Comtesse de Noailles, le Premier feu d artifice par Gabriel Astruc, Serge de Diaghilew par Alexandre Benois, l influence multiforme des Ballets Russes par Maurice Brillant, Avant la féérie par Robert Brussel, les Ballets Russes par Emile Henriot, Hommage à Diaghilew par Louis Laloy, Souvenirs sur Diaghilew par Larionow, la mort de Serge de Diaghilew par Michel-Georges Michel, Chorégraphie des Ballets de Diaghilew par J. Sazonova, La belle légende des Ballets Russes par Gilbert de Voisins, les Peintres et les Ballets Russes par A. Warnod, Conclusion par Henry PrunièresTrès bon état.

Publibook, 2008. Paperback / Softcover. 22,5 x 14 cm. 202 pages. Text in French - Initial "F" on first endpaper else AS NEW [Biography / international [(Auto)Biografieën] dans / dance / ballet ].

Softcover. Condition: Poor. No jacket. Illustrated with tipped-in colored plates of designs for upcoming events, and photos of of the principle movers in the troupe, including, Igor Stravinsky, Leon Bakst, and Nijinsky. The binding has fallen apart, but all the pages, with the plates, are still present. As is.

2 volumes. Quarto. Original publisher's heavy ivory wrappers with illustration in color by Braque to uppers. In publisher's slipcase with dark ivory title label printed in dark brown to upper. Vol. I: 1f. (recto half-title, verso blank),1f. (recto title, verso blank), 1f. (recto "Jean Cocteau," verso blank), 3ff. text, 1f. portrait of Cocteau, 1f. (recto "Louis Laloy," verso blank), 7ff. text, 1f. (recto facsimile of music by Auric, verso blank), 1f. (recto "Georges Braque," verso blank), + 23 hand-colored set and costume designs, + [iv] (text including colophon), 1f (blank) The hand-colored designs by Braque: La Naïde; Esquisse du décor; Décor (manquette); Éraste; La Montagne; Lysandre; Orphise; L'Élegante; Joueuse de volant; Joueuse de volant (dos); Première bavarde; Deuxième bavarde; Deuxième bavarde (dos); Joueur de boules; Joueur de cartes; Le Tuteur; Premier valet; Deuxième valet; Policier; Premier masque; Premier masque (dos); Deuxième masque; and Deuxième masque (dos). Vol. II: 1f. (recto half-title, verso blank), 1f. (recto blank, verso reproduction of photograph of Braque by Man Ray), 1f. (recto title "Réalisation Scénique," verso blank), 1f. (contents), 1f. (recto "Argument," verso blank), 1f. (recto part title, verso blank), + 22 full-page photographic illustrations of dancers L. Krassovska; Nicolas Zverew; Antoine Wilzak; La Nijinska (2); Lubov Tchernicheva (3); Antoine Doline; N. Devalois (2); Ludmila Cholar, L. Choliar et A. Wilzak; Alice Nikitin; L. Chollar, A. Nikitina and A. Wilzak; Thadée Slavinsky (2); Th. Slavinsky, E. Lapitsky et C. Tcherkas; Léon Woizikovsky; J. Jazvinsky et M. Pavlow; M. Federow; and S. Lifar in role portraits. All plates with tissue guards. With an autograph inscription in black ink from Boris Kochno (1904-1990) dated June 1934 to George [Hoyningen-] Huene to upper glassine cover of Vol. I and with a subsequent presentation inscription dated Los Angeles June 1954 in blue ink from Hoyningen-Huene to Oreste Pucciani to half title in Vol. I; Hoyningen-Huene's bookplate below inscription. With printed note to final leaf of Vol. I: "Publié sous la direction de M. Boris Kochno." Wrappers slightly worn and soiled; slipcase worn and taped at edges. Minor internal wear; a few signatures split or partially split; some tissue guards worn, creased, and foxed; several plates with minor marginal staining. First Edition. Limited to 500 copies, this no. 347 of only 385 copies on Vélin d'Arches, with limitation statements at conclusion of each volume. Magriel p. 187. Niles & Leslie I, p. 75. Derra de Moroda 1503. Les Facheux, a ballet in one act with music by Georges Auric; choreography by Bronislava Nijinska; scenario by Boris Kochno after Moliere's comedy-ballet; and curtain, scenery and costumes by Georges Braque, was first performed by Diaghilev's Ballets Russes in Monte Carlo on 19 January 1924 with principal dancers Lubov Tchernicheva, Anatole Vilzak, and Anton Dolin. "By the time [Auric] found himself a member of Les Six [Auric, Durey, Honegger, Milhaud, Poulenc, and Tailleferre], the style of his music - brilliant and often acidly aggressive - had become well established, and works such as the Huit poèmes de Jean Cocteau (1919) or the foxtrot Adieu, New York! (1919) show how he can be considered, along with Poulenc, the group's most typical representative. On hearing his 1921 incidental music for Molière's comédie-ballet Les fâcheux, Diaghilev asked him to transform it into a ballet. First performed in Monte Carlo . it shows a facility for mood creation and a virtuosity in the manipulation of highly varied material that presages his film music. Other successful ballets followed: Les matelots (1924) and La pastorale (1925) for Diaghilev, Les enchantements de la fée d'Alcine (1928) for Ida Rubinstein ." Jeremy Drake in Grove Music Online. Kochno "was a Russian-born writer and ballet librettist who collaborated with ballet impresario Serge Diaghilev during the last years of the Ballets Russes, then became a major influence on post-World War II French ballet. Kochno met Diaghilev in 1921 and immediately became his secretary. His first libretto for Diaghilev was the text of Igor Stravinsky's chamber opera Mavra (1922); he followed it with scenarios for such ballets as Les Fâcheux (1924), Les Matelots (1925), Ode (1928), and Le Fils prodigue (The Prodigal Son, 1929). After Diaghilev's death in 1929 Kochno continued advising on ballets. He collaborated on Cotillon and Jeux d'enfants (1932) for the new Ballet Russe de Monte Carlo, then, with choreographer George Balanchine, founded the short-lived Les Ballets in 1933. He returned to the Ballet Russe, advising the company's management until 1937. With his longtime friend Christian Bérard, a painter, and choreographer Roland Petit, he collaborated on the ballet Les Forains (1945), which led to the founding of Les Ballets des Champs-Elysées and the renaissance of French ballet; he remained with that company until 1951. He was the author of the books Le Ballet (1954) and Diaghilev et les Ballets Russes (1970)." Britannica Online "Hoyningen-Huene (1900-1968) is acknowledged as an iconic pioneer in the genre of fashion photography. His elegant pared-down style has had a dramatic impact on photographers around the world and his work continues to have relevance today, as an artist who created some of the most striking photographic portraits and compositions of the twentieth century." Artist's website "Oreste Francesco Pucciani (1916 - 1999) was a pioneer teacher of Jean-Paul Sartre's philosophy at UCLA. He was the last partner of Rudi Gernreich, fashion designer, and at the latter's death, established the ACLU Rudi Gernreich-Oreste Pucciani Endowment Fund to support the fight for LGBT rights." Wikipedia An interesting association copy. Signed.

Plaquette peu fréquente présentant le Ballet Soviétique à l'Exposition Universelle et Internationale de Bruxelles en 1958.Peu conséquente mais présentant tout de même, en 66 photographies en noir et blanc reproduites à l'héliogravure, pas moins de 27 danseurs, danseuses et chorégraphes russe d'importance 'Ekatérina Gueltser, Assaf Messérer, Mikhail Gabovitch, Marina Sémionova, Alexéi Ermolaev, Galina Oulanova, Vakhtang Tchaboukiani, Natalia Doudinskaia, Constantin Serguéev, Olga Lépéchinskaia, Sergéi Korène, Alla Chelest, Raissa Stroutchkova, Maia Plissetskaia.).Provenance : Bibliothèque de Marie-Françoise Christout (1928-2019), spécialiste française de la danse baroque et classique. Docteur ès lettres, historienne de l'art et des spectacles, elle a été bibliothécaire à la Bibliothèque de l'Arsenal dès 1960, puis longtemps conservatrice au Département des Arts du Spectacle de la Bibliothèque nationale de France. Spécialiste de renommée internationale, elle a régulièrement contribué à la revue Les Saisons de la danse, ainsi qu'aux revues anglophones Dance Magazine et Dance and Dancers. .

XII, (2), 112 pp. + 32 plates, partly in colour. Publisher's printed wrappers. Spine slightly soiled and yellowed, tail of spine slightly chipped, covers with some chips, tears and creases along the edges, front cover with underlinings in pencil and ca 5 cm tear at tail of spine. Condition Very Good to VG-. From the library of Swedish dancer and choreographer Carina Ari, principal dancer along with Jean Börlin in the Ballets Suédois from 1920 to 1923. Issue of Revue Musicale dedicated to Diaghilev's Ballets Russes. The plates with reproductions of the costumes and scenographies of Picasso, Braque, Derain, Utrillo and others.

12 page programme.

Paris : Larousse (impression Georges Lang), 1929 - un volume broché (24,5x32cm) sous couverture illustrée d'une vignette photographique, 40 pages abondamment illustrées de photographies reproduites en héliogravure - couverture légèrement frottée sinon bon état - Dans ce numéro, 19 pages consacrées aux Ballets russes et 5 pages à Emile Gallé et René Lalique. Lancée en janvier 1925 par Jacques Guenne, avec pour rédacteur en chef Florent Fels, L'Art vivant se consacre aux arts décoratifs et appliqués, à la peinture et à la mode. Ce mensuel laisse une place importante à la photographie jusqu'à sa disparition en 1939. Livres.

26,5x21 cm. 40 pp. With 16 plate-pages. Original printed wrappers. A very good copy. First two leaves with small, marginal blind-stamp from the library of Carina Ari (Swedish dancer who worked as a principal dancer with the Rolf de Maré's Ballets suédois from 1920 to 1923).

Folio (31.7 x 24.8 cm). [68] pp., illustrated with photographic reproductions and illustrations in colour the latter mostly after Bakst, gilt and silver borders; original wrappers printed in gilt, minor wear to edges, a very good copy. A luxurious programme produced by the French publisher Brunoff together with Diaghilev, presenting Nijinsky and others in their colourful costumes by Bakst, all framed within gilt or silver borders. During the seventh season Diaghilev presented four new productions: Daphnis et Chloà , Thamar, Le Dieu Bleu, and L'aprà s-midi d'un Faune, which was inspired by Claude Debussy's languorous and shimmering score and choreographed by Nijinsky himself.

4to. 16 programmes bound together in smart buckram titled in gilt to front cover and spine. All the programmes are complete with the original illustrations and retain their card wrappers and the original outer paper wrapper 1917. With the ownership stamp of Kenneth Lintott [1931 - 2020], costume, make-up and wig designer for some of the most iconic films including Time Bandits, Life of Brian, Nijinsky, Harry Potter, etc. The sixteen programmes cover the most important years of the Ballets Russes and carry numerous colour illustrations by Picasso, Bakst, Derain, Tchelitchew among many others. They include the legendary 1917 programme with the famous pochoir print of the Chinaman by Picasso as well as the important modernist manifesto by Apollinaire with its coining of the word "sur-realisme." The issue is devoted to Cocteau's ground breaking circus-like ballet "Parade" and is one of the key publications of the modern era. Parade represents the collaboration between several of the leading figures of the early twentieth century: Satie, Cocteau, Picasso, Massine and Diaghilev and is famous not only for its music but also for its magnificent costumes which are splendidly reproduced in this rare programme. 1. Programme Officiel des Ballets Russes, Mai-Juin at Thà âtre du Chatelet. The cover has the iconic Bakst image of Nijinsky from L'Apres-Midi d'un Faune as well as several other Bakst illustrations. 2. Huitieme Saison des Ballets Russes,1913, at the Thà âtre des Champs Elysà es. The eighth season is of particular interest as it can be seen as the beginning of modern choreography, containing as it does two revolutionary ballets, Jeux and Le Sacre du Printemps.The striking cover features a beautiful drawing of Schollar, Nijinsky and Karsavina as they appear in Debussy's ballet Jeux, choreographed by Nijinsky himself. 3. Russian Opera and Ballet, 1914, at the Royal Theatre, Drury Lane. Cover illustration by Valentine Gross, choreography by Fokine. Coloured illustrations for La Legende de Joseph by Bakst. 4.Programme des Ballets Russes, Mai 1917, at the Thà âtre du Chatelet. Picasso, Satie and Cocteau. Preface by Apollinaire. A fine copy of this seminal avant-garde publication. With the fragile outer paper wrapper. 5. Programme Officiel des Ballets Russes, Dà cembre 1919-Fevrier 1920 at the Thà âtre de l'Opera. Onzià me Saison Russe. Cover by Picasso. Illustrations by Derain, Picasso and Bakst. Papillons choreographed by Fokine and Contes Russes by Massine. 6. Programme des Ballets Russes, Dà cembre 1920 at the Thà âtre des Champs Ãlysà es. Treizià me Saison. Cover reproduction of Picasso's Chinaman from Parade. Le Sacre du Printemps choreographed by Massine. Coloured illustrations of costumes from Scheherazade by Bakst. 7. Programme des Ballets Russes, Mai-Juin 1920, à l'Opera. Croquis de J-M Sert for L'Astuce Fà minine and a drawing by Picasso for Massine's Pulcinella. 8. Programme des Ballets Russes, Mai 1921 at the Thà âtre de la Gaietà -Lyrique. Quatorzià me Saison. Portrait of Larionow by Juan Gris, coloured illustrations by Larionow for Stravinsky's Le Buffon. 9. Programme of The Sleeping Princess,1921 at the Alhambra Theatre. Bakst's celebrated production of The Sleeping Princess with music by Tchaikovsky and orchestration by Stravinsky. 10 full page colour costume designs. 10. Ballets Russes, 1922 a l'Opera. Coloured illustrations for La Belle au Bois Dormant by Gontcharova. Stravinsky's burlesque ballet Renard with illustrations by Larionow. 11. Ballets Russes,1923, at the Theatre de Monte-Carlo. Six full page drawings by Picasso. 12. Programme Officiel,1924. Festival Français de Serge de Diaghilew. Thà âtre de Monte-Carlo. Illustrations by Juan Gris, Alexandre Benois and Georges Braque. Choreography by La Nijinska. 13. Ballets Russes, Juin 1925 at the Theatre de Monte-Carlo. Serge Lifar in Zephire et Flore. 14. 10 Galas des Ballets Russes, Mai-Juin 1927, at the Thà âtre Sarah Bernhardt. Le Triomphe de Neptune by Lord Berners, choreography by Balanchine. Fine photographs of Serge Lifar and Stanislav Idzikovski by Man Ray. 15. Ballets Russes. Saison de Ballets, Janvier-Mai 1928, at the Thà âtre de Monte-Carlo. Cover design by Pavel Tchelitchew from the ballet Ode. Tchelitchew's set and costume designs were as spectacular as the stage effects, complete with video projections and neon lights. 16. XXII Saison des Ballets Russes, Mai-Juin 1929, at the Thà âtre Sarah Bernhardt. Alexandra Danilova and Anton Dolin in Rieti's Le Bal. Choreography by Balanchine, sets by de Chirico.

Couverture souple. Condition: Très bon état. 2 volumes. In-4 28,5 x 22,5 cm. Brochés, couvertures ivoire rempliées, premiers plats illustrés par Georges Braque. Volume 1, non paginé [24] pp., composé de 23 dessins en couleurs de Georges Braque, d'un portrait de Georges Auric ,et du facsimilé d'une page d'une partition de musique par Georges Auric. - Volume 2, composé d'un portrait photographique de Braque par Man Ray en frontispice et de 22 photographies de Georges Detaille. Tiré à 500 exemplaires. Celui-ci, N 77 des 385 sur vélin d'Arches numérotés de 41 à 425. Très bel exemplaire enrichi d'un envoi de Georges Auric à Mme Jeanne Dubost. sur le faux-titre du premier volume. Un cahier de 4 planches débroché dans le deuxième volume. En 1924, Bronislava Nijinska crée une nouvelle version des "Fâcheux", comédie-ballet en trois actes et en vers de Molière (1661), pour les Ballets russes, sur une musique de Georges Auric et des décors et costumes de Georges Braque. 1, Georges Braque. Jean Cocteau. Louis Laloy. [Portrait de Georges Auric par J. Cocteau - 2, Réalisation scénique. Ballet en 1 acte de Boris Kochno, d'après la comédie-ballet de Molière. Monte-Carlo, Théâtre de Monte-Carlo, 19 janvier 1924. Publié sous la direction de Boris Kochno.].

(Canberra: National Gallery of Australia, 1999). 4to. Orig. illust. limp boards. (96pp.). Copiously illustrated mostly in colour. Fine. NOTE: Catalogue accompanying Exhibition curated by Roger Leong and Christine Dixon.

12 page programme, cover a little soiled.

4°. Umschlag fehlt. [12] S. Viele Fotos. Sprache: Französisch Gewicht in Gramm: 300.

8vo. 16 page programme with variant two colour cover of one of Baskt's designs. Staples rusted.

Condition: Good. Silver photograph. Annotated n verso. 20.5 x 15 cm. From the collection of Frederic Gale Ruffner, Jr., the founder of Gale Research, Detroit.

Couverture souple. Condition: Très bon. Edition originale. Jean-François Chevrier a montré autrefois que c'est dans ces deux contributions, cet article dans l'Art Vivant en 1926 et dans le numéro IV de la revue Civilisations édité en 1935 par l'Institut international de coopération intellectuelle que s'est initiée la controverse entre Henri Focillon et Josef Strzygowski qui voyait dans certains aspects tératologiques des chapiteaux romans, une preuve indéniable de l'influence orientale à l'âge paléochrétien sur l'art occidental. Jurgis Baltrusaitis, contredisant en cela son maître, penchera vers la thèse de Strygowski en l'asseyant sur des preuves dans son livre sur les chapiteaux de San Cugat del Valles en 1931. Une thèse que André Grabar et ses élèves - notamment Tania Vellmans - et Otto Pacht de la seconde école viennoise, contribueront trois décennies encore sans jamais la résoudre de manière définitive - - - - Grand in-quarto broché, couverture rouge carmin imprimée. Cette revue ne se présente jamais en raison de sa grande fragilité dans un tel état excellent de conservation. L'Art vivant est une revue artistique publiée bimensuellement à partir de 1925. La parution est mensuelle de 1931 à 1934 et irrégulière de 1935 à 1939, éditée par Les Nouvelles littéraires et associée aux éditions Larousse. Le premier numéro est publié le 1er janvier 1925. Les titres et sous-titres alors indiqués sont Revue bimensuelle des amateurs et des artistes. L'art vivant. Arts décoratifs et appliqués. Peinture. Le livre. Sculpture. Les arts de la femme. Les directeurs fondateurs sont Jacques Guenne (qui dirige la revue jusqu'à sa disparition en 1939) et Maurice Martin du Gard. Le rédacteur en chef est Florent Fels jusqu'en septembre 1930. La revue a accueilli, notamment, dans ses colonnes Georges Charensol et Georges Rivière. Elle disparaît en juillet 1939 après 234 numéros. - - - - - - Large paperback quarto, printed carmine red cover. This journal never comes due to its great fragility in such an excellent state of preservation. L'Art vivant is an artistic magazine published bimonthly from 1925. The publication is monthly from 1931 to 1934 and irregular from 1935 to 1939, published by Les Nouvelles littéraires and associated with Larousse editions. The first issue was published on January 1, 1925. The titles and subtitles then indicated are Bimonthly magazine for amateurs and artists. Living art. Decorative and applied arts. Paint. The book. Sculpture. The arts of women. The founding directors are Jacques Guenne (who directed the journal until its disappearance in 1939) and Maurice Martin du Gard. The editor-in-chief is Florent Fels until September 1930. The review has welcomed, in particular, in its columns Georges Charensol and Georges Rivière. It disappeared in July 1939 after 234 issues. - - - - - Gran libro en rústica en cuarto, tapa impresa en rojo carmín. Esta revista nunca llega por su gran fragilidad en tan excelente estado de conservación. L'Art vivant es una revista artística publicada bimensualmente desde 1925. La publicación es mensual desde 1931 hasta 1934 e irregular desde 1935 hasta 1939, editada por Les Nouvelles littéraires y asociada a las ediciones Larousse. El primer número se publicó el 1 de enero de 1925. Los títulos y subtítulos que se indican a continuación son Revista bimestral para aficionados y artistas. Arte vivo. Artes decorativas y aplicadas. Pintar. El libro. Escultura. Las artes de la mujer. Los directores fundadores son Jacques Guenne (quien dirigió la revista hasta su desaparición en 1939) y Maurice Martin du Gard. El redactor jefe es Florent Fels hasta septiembre de 1930. La revista ha acogido, en particular, en sus columnas a Georges Charensol y Georges Rivière. Desapareció en julio de 1939 tras 234 números. - - - -.