Chagall Leymarie (114 results)

Paperback. Condition: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Condition: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Hardcover. Condition: Good. Dust Jacket Condition: Good. Art. First revised edition. Covers nice, corners lightly bumped. Interior clean, front hinge cracked at the half title. Dust jacket rubbed, soil and edge wear.

Hard Cover. Condition: Good. No Jacket. First Revised Edition. Red cloth boards are lightly sunned on edges. Front inside hinge beginning to crack at half-title page. Pages are clean, text has no markings, binding is sound. Size: 4to - over 9¾" - 12" tall.

Hardcover. Condition: Good. "First Revised Edition, 1967;" xix and 111 p., immaculate and unmarked plus many beautiful plates, most in color; binding firm, but cracked between pp. xvi-xvii; red boards fine, though slightly faded at upper edge--they have been well protected by valiant efforts of a d.j. that has suffered much chipping and two closed tears at margins while protecting the volume. Old book aroma gratis. Unclipped and clean but has suff.…

Oversized Hardcover. Condition: Good. First revised edition.

Hardcover. No Dust Jacket. Red cloth boards. 1st revised edition. 119 pages. Pages suitable for framing. Light marks on the outer edges, Red boards have mild marks and rubbing. Includes 12 stained glass windows in color plus black and white pictures and explanatatory text . Translated from the French.…

Hard Cover. Condition: vg. Dust Jacket Condition: good+. 1st Revised Edition. beautiful b/w & color illustrated plates; contents clean; binding solid; 10.5" tall; small chips & tears to edges of price-clipped dj in new protective mylar. Marc Chagall (illustrator). Hardcover (dj).

HARDBACK RED. Condition: VG. 1ST REVISED. Rubbed top of cover, gilt lettering on spine DATE PUBLISHED: 1967 EDITION: 1ST REVISED.

Hardcover. Condition: Fine. Dust Jacket Condition: Fair. Quarto, hardcover, fine in red cloth boards w/ gilt lettering on spine in edgeworn white pictorial dj. Description of Chagall's magnificent stained-glass windows installed in the synagogue of the Hadassah-Hebrew Medical Centre in Jerusalem. Translated from the French by Elaine Desautels. Marc Chagall (artist) (illustrator). Book. …

Hardcover. Top and bottom edges of covers sun-faded; otherwise very good condition in faintly rubbed dust jacket. ]. 210p. Illus. Color plates. Folio. First printing of this edition (First edition).

Softcover, 78 pages; very good condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Hardcover. Condition: Very Good. No Dust Jacket. First revised. Light stain to front top of boards accompanied by a very slight knock; Straight and solid, very clean, no markings; 10.5 X 8.7 X 0.8 inches; 140 pages.

Cloth over boards. Condition: About Fine. Dust Jacket Condition: Near fine. First thus. Hardcover with dj. 4to. 211pp. Numeous colour and b/w plates. Translated from the French. Dj. with small nicks here and there, otherwise, clean, unmared and square.

Hardcover. Condition: Very Good. -; Very Good in chipped and torn dust jacket with previous owner's signature on free endpaper.

Einführung v. J. Leymarie. Übersetzung: Hans Schmoidthüls u. Urusla Stadlr. Freiburg / Basel / Wien: Herder Verlag, 5. Auflage 1986. Farb. illustr. olivgrüne OBrosch. 111 Seiten mit 48 Farbtafeln und 24 einfarbigen Vorzeichnungen. - 26,5 x 21. * Die zwölf großen Glasfenster Chagalls für die Synagoge des Hadassah-Klinikzentrums der Universität Jerusalem, die er 1959-61 entwarf, wurden 1962 fertiggestellt und gelten als eines der größten sakralen Kunstwerke der Moderne. - Sauber und sehr gut erhalten .…

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. First THUS. Publisher: George Braziller, New York, 1967. NEAR FINE hardcover book in GOOD mylar-protected dust-jacket. Dj's front panel has small chips. Rear panel has a large chip and some tears. Not remainder marked. Not price-clipped ($7.95). Not a book club edition. Not an ex-library copy. First Revised Edition, First Printing.…

Hardcover. Condition: Very Good. New York.: Braziller., 1967. 1st. revised., red cloth., VG/G.Sl.shelfwear to bk. DJ surface soil, sl water damage, Translated from the French by Elaine Desautels.Symbolizing the 12 ancient tribes of Israel,outstanding 20th Century art. t, Illus, every page., Art. Color. Jewel tones. Design. Hadassah. Sacerdotal raiments. …

Hardcover. Condition: Near Fine. Dust Jacket Condition: Fair. Revised Edition. In a red hardcover with gilt titles to spine. With an unclipped dust jacket with white titles to spine and black titles and a colour illustration to front. Black end papers. Unpaginated, extensively illustrated in colour and black and white. The book is in near fine condition with just very minor shelf-wear to the extremities. The binding is tight and the pages clean and unmarked. The dust jacket is fair with quite heavy shelf-wear to the extremities including numerous chips, creases and tears; there is a 1.4" tear to the top of the front and a 1.2" tear to the bottom of the back. Marc Chagall (illustrator).…

kart. Condition: Gut. 4. Auflage [Sonderausg.]. 117 S., mit 48 farbtafeln und 24 einfarbigen Vorzeichnungen Enband unmerklich lagerspurig, insgesamt jedoch sehrguter, saubererund ordenlicher Zustand. Innen nahezu ungelesen. Sprache: Deutsch Gewicht in Gramm: 470.

Cloth. Condition: VG/G. First Revised. New York, NY: George Braziller. VG/G. (1967). First Revised. Cloth. 4to., 118 pp., DJ rubbed, yellowed, edges frayed . Color, Black & White Plates (illustrator).

Couverture souple. Condition: Bon. Edition originale. Publié à l'occasion d'une exposition présentée par la Pierre Matisse Gallery, New York, du 17 mai au 11 juin 1977. Vingt-deux oeuvres reproduites : onze sont en couleurs (9 à pleine page) et onze en noir et blanc (9 à pleine pages). Double-page centrale consacrée à la première exposition américaine de l'artiste chez Pierre Matisse en 1941 (novembre et décembre) : 4 vues de l'exposition et fac-similé du catalogue de l'exposition - Retrospective exhibition of paintings and gouaches from 1910 to 1941 (21 oeuvres). Catalogue conçu par Marcus RATLIFF. - New York, Pierre Matisse Gallery, 1977, 20,3 x 25,4 cm, plaquette agrafée, couverture bleu acier, non paginé (36 pages). TEXTE FRANÇAIS/ANGLAIS.…

4to, xx + 120pp. Original cloth in predominantly white pictorial dustwrapper, noticably marked, edgeworn and chipped. Numerous full-page, full-colour reproducitons of Chagall's stained-glass windows installed in the Hadassah-Hebrew Medical Center in Jerusalem, in addition to b/w reproductions of initial sketches. A very good copy. . 'First revised edition'.…

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Softcover, 476 pages; text in French; very good condition except small chip at top of spine and small crease to upper right corner tip of most pages; no internal marks. Priority and foreign shipping may be extra for this book.

Hardcover. Condition: Good. First Revised Edition. xix, [1], 111, [11] pages. Note on fep. Includes Introduction, as well as the dimensions of the preparatory drawings, The Stained-Glass Windows, and the Details. Some scuffing and wear to cover and corners. Minor spine weakness at third color plate, restrengthened with glue. Each of the twelve stained-glass windows reproduced is preceded by a preparatory set of drawings and models, whose number, media, dimension, and order of presentation are exactly the same in the sequence of each Tribe and are arranged as follows: -------------------------------------------------------------------------------------------------------------Height Width First sketch, pencil pen and India ink.7-7/8'' X 5-7/8'', Preparatory drawing, India ink and wash.15-7/7-8" X 11 -5/8" First color skitch, India ink and watercolor.7-7/8'' X 5-7/8", Small model, gouache and collage.8-5/8'' X 18-7/8" Final model, gouache and collage.16-1/2'' X 12-1/2" Marc Chagall[a] (born Moïche Zakharovitch Chagalov;[7] 6 July 1887 - 28 March 1985) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramic tapestries and fine art prints. Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra. He had two basic reputations: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." In 1960, he began creating stained glass windows for the synagogue of Hebrew University's Hadassah Medical Center in Jerusalem. Leymarie writes that "in order to illuminate the synagogue both spiritually and physically", it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as "a crown offered to the Jewish Queen", and the windows as "jewels of translucent fire", she writes. Chagall then devoted the next two years to the task, and upon completion in 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem in February 1962. Each of the twelve windows is approximately 11 feet high and 8 feet (2.4 m) wide, much larger than anything he had done before. Cogniat considers them to be "his greatest work in the field of stained glass". In 1973 Israel released a 12-stamp set with images of the stained-glass windows. The windows symbolize the twelve tribes of Israel who were blessed by Jacob and Moses in the verses which conclude Genesis and Deuteronomy. In those books, notes Leymarie, "The dying Moses repeated Jacob's solemn act and, in a somewhat different order, also blessed the twelve tribes of Israel who were about to enter the land of Canaan. In the synagogue, where the windows are distributed in the same way, the tribes form a symbolic guard of honor around the tabernacle." Leymarie describes the physical and spiritual significance of the windows: The essence of the Jerusalem Windows lies in color, in Chagall's magical ability to animate material and transform it into light. Words do not have the power to describe Chagall's color, its spirituality, its singing quality, its dazzling luminosity, its ever more subtle flow, and its sensitivity to the inflections of the soul and the transports of the imagination. It is simultaneously jewel-hard and foamy, reverberating and penetrating, radiating light from an unknown interior. At the dedication ceremony in 1962, Chagall described his feelings about the windows: For me a stained glass window is a transparent partition between my heart and the heart of the world. Stained glass has to be serious and passionate. It is something elevating and exhilarating. It has to live through the perception of light. To read the Bible is to perceive a certain light, and the window has to make this obvious through its simplicity and grace. The thoughts have nested in me for many years, since the time when my feet walked on the Holy Land, when I prepared myself to create engravings of the Bible. They strengthened me and encouraged me to bring my modest gift to the Jewish people-that people that lived here thousands of years ago, among the other Semitic peoples. Marc Chagall (illustrator). …