Malkine (18 results)

paperback. Condition: Good. First of this edition. First of this edition. Light foxing to wraps, else good+. Tight copy. No former owner marks.

AUDIO CD You get a lot of Mikhail, and a lot and a lot of William Blake. Recorded in Rhinebeck NY. Mint in manufacturer's shrink wrap.

Couverture souple. Condition: Bon état. In-4 broché 27 cm sur 21. 160 pages. Bon état d'occasion.

14 x 24, 155 pp., quelques dessins, broché, couverture à rabats, bon état. En couverture, Oiseaux vagues, vagues oiseaux de G. Malkine.

Condition: Very Good. Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.

in-12 relié sous jaquette éditeur, 477p. Petite déchirure sur la jaquette, bon état. Bibliographie. Sommaire. NB. Nous exposons au Salon de la Bibliophilie place Saint-Sulpice à Paris, du 28 au 31 mai (10h à 19h et nocturne le samedi 30 mai jusqu'à 21h) Entrée gratuite. STAND 103 face à l'entrée rue Bonaparte. Les questions et commandes seront traitées en fin de journée et les expéditions reprendront début juin. Merci !

Broché. Condition: Bon. Georges Malkine (illustrator). Ed. originale. Edition originale. Tirage à 501 exemplaires numérotés. Un des 500 exemplaires sur Navarre. Illustrations de Georges Malkine. ENVOI AUTOGRAPHE SIGNE DE L'AUTEUR.

Condition: Good. 67x50 cm. Good. Tape marks on upper corners. Color poster. Text in French.

Couverture souple. Condition: bon. RO50063400: Non daté. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 24 pages augmentées de partitions en noir et blanc. Pour saxo alto mi b, , violon, saxo ténor si b, clarinette, violoncelle,contrebasse, banjo, flute, batterie, trombone. . . . Classification Dewey : 780.26-Partitions.

52 Seiten. Widmung im Buch, Einband, Ecken und Kanten berieben, Seiten insgesamt nachgedunkelt, Schnitt leichte Lagerspuren, sonst guter Zustand. Abgleich des Titelbildes bitte bei nika-books. Sprache: Französisch Gewicht in Gramm: 550.

Condition: Used: Good. Occasion - Bon Etat - 5 - A bord du violon de mer (1977) - Grand Format.

MALKINE (Georges). (illustrator). Paris, Éditions Sagesse, Aux Nourritures Terrestres, 1933. Plaquette in-8 (165 X 218 mm) brochée ; 35 pages, (2) ff. Le feuillet de faux-titre a été presque entièrement découpé, sans doute pour faire disparaître un envoi autographe de l'auteur. ÉDITION ORIGINALE ILLUSTRÉE de 3 COMPOSITIONS hors-texte en noir de Georges MALKINE (1898-1970). Tirage limité à 501 EXEMPLAIRES. UN des 450 numérotés sur papier Hélio Navarre (n°139). Lié au premier groupe surréaliste, ami de Robert Desnos, d'André Masson, de Max Morise, Georges Malkine est le seul peintre à figurer sur la liste du "Manifeste du surréalisme" de 1924. Avec son ami éditeur Louis Tschann, le poète Fernand MARC (1900-1979) fait publier de jeunes poètes dans les "Feuillets de Sagesse" et "Anthologie de la poésie vivante". Exemplaire broché, en BEL ÉTAT. NICE COPY. PICTURES AND MORE DETAILS ON REQUEST.

In very good condition, in transparent plastic waller. Accompanied by two booklets in French, containing extensive scholarly text on each painting. From the Philip West archive.

Editions Gallimard / Le Point du jour 1953. In-8 cartonnage éditeur de 420 pages, relié d'après la belle maquette de Robert Desnos, au format 13,5 x 3,5 x 19 cm. Complet du rhodoïd. Dos daté par erreur 1955. Portrait de l'auteur en frontispice par Georges Malkine. Un des 750 exemplaires numérotés sur vélin labeur en cartonnage éditeur ( n° 92 ) après 85 sur pur fil. Rare édition originale collective surtout dans un tel état de fraicheur.

Editions Gallimard / Le Point du jour 1953. In-8 cartonnage éditeur de 420 pages, relié d'après la belle maquette de Robert Desnos, au format 13,5 x 3,5 x 19 cm. Complet du rhodoïd. Dos daté par erreur 1955. Portrait de l'auteur en frontispice par Georges Malkine. Un des 750 exemplaires numérotés sur vélin labeur en cartonnage éditeur ( n° 662 ) après 85 sur pur fil. Rare édition originale collective surtout dans un tel état de fraicheur.

Sheet music for 99 anarchistic and revolutionary songs bound together by D'Avray as a gift for his lover/friend Sonia May Malkine. Eight poems are also bound in (likely one-offs as there is no publication data). All but seven of the 99 pieces retain their original (and often outre) covers. Most of the songs run about 4 pages. It is very apparent that this was a very meaningful gift (and at no small expense either). For on the opening pastedown we see an original large photograph of D'Avray at his piano; and on the opposing recto we find another original photograph and this one is of the very attractive Sonia May, and above it a farewell verse to her in pen by D'Avray. Both of these intellectuals were swept up in the politics of the day and it is easy to see how they formed such a tight bond. At 18, Sonia was forced to flee occupied Paris to Toulouse under cover of night, having refused to assist in the distribution of anti-Allied literature by her employer. She became an agent of the Resistance group called the Maquis (the F.F.I., or the French Forces of the Interior). From 1942 until the liberation of Europe in 1945, she served as a liaison agent in the 15th Division of the Guerrilleros of Spain. Her functions included smuggling arms, explosives, orders, messages, and money. Often invited to speak in later years, she shared many stories of the innumerable close calls she experienced during that time. Sonia came to the United States in 1948 with her husband, Georges A. Malkine, and two infant children. Sonia had a natural singing voice of remarkable purity, and in the 1960s launched a lifelong career as a folk singer, traveling all over the United States and to other countries to sing the folk music of France. Daring as she had been in war, she was vehemently outspoken against it in her music; among her many performances was the 1965 Sing-In for Peace at Carnegie Hall. She remained a popular folk singer in America for many years. The composer, Charles D'Avray, was of equal or greater importance in this new world of radicalism. Charles d?Avray, like many others, came to anarchism after the Dreyfus case. His opinion was that ?propaganda by song gives the most sure and effective results? He organized tours all around the country, first of all, in 1907, with the anarchist Mauricius, who also wrote songs, then on his own. At his ?spectacles-conferences? he interpreted his repertoire and discussed his ideas with the audience. His topics were patriotism, parliament, free love, the future society. He was continually harried by the authorities and banned in Grenoble. He wrote 1,200 pieces and his songs became an integral part of the anarchist song repertoire. His rousing song Le Triomphe de l?Anarchie (The Triumph of Anarchy) is still popular to this day. In 1905, he was among the founders of La Muse Rouge, "Revolutionary propaganda group through the arts", where in 1919 Lucien Noel, who was to become Christmas-Christmas, began, and André Isaac, the future Pierre Dac. Mobilized in August 1914, he remained there until March 1919. In 1920, he again participated in anarchist galas both in Paris and in the provinces. From 1922 to 1925, he was the artistic director of the famous Montmartois cabaret "Le Grenier de Gringoire". On February 1st, 1928, D'Avrey was charged with "direct incitement to murder for the purpose of anarchist propaganda", he was sentenced by default - he took refuge in Belgium - one month in prison and 200 francs fine. On September 3, on appeal, the 11th Correctional Chamber reduced his sentence to one month suspended prison sentence. History was not quite so magnanimous with the legacy of Charles D'Avray. After the Second World War, he continued to host libertarian galas. In 1949, he opened a new cabaret, ?Chez l'vieux? where he sang with his former comrades from the ?Red Muse? In March 1954, to honor him, a gala was organized at the Salle des Societes Learned. In 1958, on the occasion of its 80th birthday, a new gala g.

Condition: Très bon. Paris, Galerie Surréaliste 16, rue Jacques Callot Paris VI, 5 au 20 janvier 1927, 221x175mm, carton d'invitation imprimé en noir et rouge pour la première exposition personnelle de l'artiste. Liste des 30 uvres présentées avec pour certains le nom des propriétaires, parmi lesquels André Breton, Aragon, Nancy Cunard.Au verso reproduction d'un dessin représentant un chaise-guillotine.Très bon état.

Pas de couverture. Paris 1927 | 17.50 x 22.10 cm | une feuille | Rare carton d'invitation à la première exposition personnelle de Georges Malkine, tenue à la Galerie surréaliste rue Jacques-Callot, du 10 au 30 janvier 1927 (initalement du 5 au 20 janvier, ces dates ayant été biffées et remplacées à la plume). Le carton d'invitation est illustré d'une reproduction d'une oeuvre de Malkine, représentant une guillotine placée sous une galerie à arcades. Important pli central, ainsi qu'une déchirure marginale. Le plus aventurier des Surréalistes, Georges Malkine s'adonna à la peinture à partir des années 1920, suivant sa rencontre avecRobert Desnos, avec qui il partagea un atelier à Paris, rue Blomet, où ils fumaient ensemble l'opium, et celle d'André Breton qui lui décerna un certificat de «surréalisme absolu». Sa série de tableaux poétiques ou abstraits fut pour la première fois exposée en 1927 à la Galerie surréaliste, rue Jacques-Callot, et rencontra un vif succès. | [ENGLISH DESCRIPTION FOLLOWS] Rare invitation card to attend the first and only international exhibition of Surrealism held in Paris at the Beaux-Arts Gallery from January 17 to January 22, 1938. Beautiful and rare copy despite two traces of glue on the back of the invitation card. The signal of the departure of the exhibition given at 22:00 by André Breton will be followed by animations all more surreal than the others: appearances of beings-objects, interpretation of the trilogy "Hysteria - The crimson clover - L 'Missed act' by Hélène Vanel, cocks attached, fluorrescents clips, bedside hydrophilic sides, more beautiful streets of Paris, rainy taxi, sky flying bats. The invitation card is illustrated with a photograph of Frankestein's authentic descendant, the "Enigmarelle" automaton built by the American engineer Ireland, which "will cross, at midnight and a half, in false chaity and fake bone, the room of the Surrealist Exhibition ". *.