Balthus, Signed (29 results)

Soft cover. Condition: Very Good. 1st Edition. signed by author on title page. light pencil notations throughout. black and gray covers. minor shelf wear, light folding to corners. small staining marks on table of contents and page opposite. Signed by Author(s).

Paperback. Condition: Very Good. 1st Edition. Qto., 176 pages, illustrated. The last few pages have a little marginal crinkling to the top edge of the page. Signed and inscribed by Sabine Rewald. Signed by Author(s).

Condition: Very Good. 2001. paperback. From the library of Michel D?on. Signed and inscribed to D?on by the author. Texte en fran?ais. Text in French. Very good clean copy in glassine wrapper. . . . Signed Copy.

Couverture souple. Condition: Comme neuf. 13pages, signé de Claude Minière. Signé par l'auteur.

Hardcover. Condition: Fine. Dust Jacket Condition: Near Fine. 1st Edition. Knopf, New York, 1999. First edition. First printing. Hardbound. Fine in a near-fine jacket. The jacket is sunned on spine. A clean tight copy, with publisher's price intact on front jacket flap ($40.00). SIGNED AND INSCRIBED by author on half-title page to prior owner. Comes with archival-quality mylar jacket protector. Smoke-free. Ships in well padded box. Inscribed by Author(s).

Softcover/Paperback. Condition: Fine. 2nd Edition. Characters from the artist Balthus' painting walk out of the canvas and take on lives of their own, sharing spaces in an ancient chateau. 'Auguste has only one eye. No one knows where the other is, and Auguste himself isn't telling the Countess feels her blue blood bruised, contagion breaking out upon it like potato-mould the Professor dreams he is a large white cat in a dark cellar infested with rats the concierge spends her sleepless nights talking to Madame Berry who lives in another century there is the sound of sobbing, which echoes between rooms and across years; there is desire stretched so taut the page seems to vibrate with it, and the pain of lives where desire is no longer allowed'; first published in 1995; inscribed by the author in 1997. Pictorial wrappers. Fine. inscribed by author. book.

8°, OPpd., 1. Aufl., Insel-Bücherei Nr. 1305;. 126 S. mit Ill., pers. Widmung der Autorin auf Vorblatt (2008), Rücken leicht ausgeblichen, innen sauber Sprache: Deutsch Gewicht in Gramm: 550.

Kt. 478 S. Zustand: Exemplaire avec une dédicace personelle de l'auteur. Bon etat. Photos sur demande.

Originalbroschur. Condition: Wie neu. 82 Seiten. 20 cm FRISCHES, SEHR schönes Exemplar der ERSTAUSGABE. - WIr bieten AUCH an: MIT einer beiliegenden nummerierten und von STILLER signierten Originalgraphik. ( XXX/ C ) 46 Euro. - ( Wir bieten zahlreiche Bände der EREMITEN-PRESSE an, viele auch in VORZUGSAUSGABE, SIGNIERT und mit WIDMUNG ) (Wir haben zahlreiche Titel in diesem Sachgebiet auf unserer HP.) Sprache: Deutsch Gewicht in Gramm: 300 ERSTAUSGABE. Nummer 16 von 200 römisch nummerierten Exemplaren, im Impressum von Böhme und Stiller signiert.

Originalbroschur. Condition: Wie neu. 82 Seiten. 20 cm FRISCHES, SEHR schönes Exemplar der ERSTAUSGABE. - ( Wir bieten zahlreiche Bände der EREMITEN-PRESSE an, viele auch in VORZUGSAUSGABE, SIGNIERT und mit WIDMUNG ) Sprache: Deutsch Gewicht in Gramm: 300 ERSTAUSGABE. Nummer XXXV von 100 römisch nummerierten Exemplaren, im Impressum von Böhme und Stiller signiert. MIT einer beiligenden nummerierten und von STILLER signierten Originalgraphik. ( XXX/ C ).

Originalbroschur. Condition: Wie neu. 82 Seiten. 20 cm FRISCHES, SEHR schönes Exemplar der ERSTAUSGABE. - ( Wir bieten zahlreiche Bände der EREMITEN-PRESSE an, viele auch in VORZUGSAUSGABE, SIGNIERT und mit WIDMUNG ) Sprache: Deutsch Gewicht in Gramm: 300 ERSTAUSGABE. Nummer XXX von 100 römisch nummerierten Exemplaren, im Impressum von Böhme und Stiller signiert. MIT einer beiliegenden nummerierten und von STILLER signierten Originalgraphik. ( XXX/ C ).

Hardcover. Condition: Fine. Balthus (illustrator). Unpaginated. Elephant folio, 59.5 x 56.5 cm. Limited edition, copy 89 of 300, signed by Paz and Balthus, printed in Lutetia type designed by Jan van Krimpen, printed at Wild Carrot Press; the three Balthus multi-color woodcuts editioned by Keiji Shinohara, and printed on handmade Kozo Uwazen paper from Japan. The English translation by Elbert Weinberger, French translation by Claude Esteban. Paz received the Nobel Prize for literature in 1990. Laid-in the LEC Newsletter. Orig. boards covered with pure linen on the sides, overlapped at the spine with goatskin, front cover paper label. Fine in fine matching clam shell box with beige goatskin front cover label printed in brown. Signed by Author(s).

First Edition. Pp. [viii]+204; pictorial stiff paper wrappers with flap folds, fore-corners a trifle creased; text block slightly browned; Allen & Unwin, Sydney, 1995. First edition. *Inscribed and signed by the author on the title page. Signed.

Couverture souple. Condition: Très bon. Ed. originale. 1 fascicule broché, couverture illustrée à rabats, 202 pages [3], avec 28 illustrations hors texte en noir et blanc, dont Christian Bérard, Balthus, André Masson, Mayo, Jean Hugo, Maurice Brianchon, Pierre Cabanne, Lucien Coutaud, Félix Labisse, Jean Denis Malclès, Etienne Bertrand Weil. Jean Louis Barrault, 1910-1994. Edition originale. Exemplaire numéroté sur Alfa. Envoi autographe signé par l'auteur. Bel exemplaire. Signé par l'auteur.

Gr.-8°, Hardcover/Pappeinband. 644 pp. With 116 b/w and 16 coloured illustrtions. A very good copy. Presentation copy. Sprache: Englisch Gewicht in Gramm: 1250.

Couverture souple. Condition: bon. RO20205965: 2000. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 12 pages - ENVOI DE L'AUTEUR. . . . Classification Dewey : 97.2-Dédicace, envoi.

Brossura editoriale a stampa con cucitura a vista, cm 18.5 x 12, pp 22 (6) con alcune illustrazioni a colori. Piccola strenna di Giorgio Soavi per il Capodanno 1995, tirata in 171 esemplari fuori commercio numerati a mano; il volume, stampato a Milano, porta come luogo di edizione la Casa Rosa di Montemarcello, buen retiro dell'autore alla foce del Magra. Contiene un breve racconto dedicato a «una giovane donna che ha scelto di dormire il più a lungo possibile per non affrontare le sgradevolezze della vita», illustrato con ritratti femminili di alcuni degli artisti più amati dall'autore. Questo esemplare impreziosito da una bella dedica autografa dell'autore, che si firma semplicemente Giorgio, datata 10 marzo 1995. Molto ben conservato. Con invio autografo.

Condition: Très bon état. in-8, broché, couverture à rabats, 104 pp., reproductions photographiques en noir et blanc. Édition originale. Bel exemplaire enrichi sur le premier feuillet blanc d'un grand dessin original avec dédicace autographe signée du peintre à Henri Causse. Prière d'insérer conservé.

BALTHUS; LIMITED EDITIONS CLUB (illustrator). First Edition. BALTHUS, [artist]. LIMITED EDITIONS CLUB. Wuthering Heights [LEC]. Fifteen Lithographs and an Afterword by Balthus New York: The Limited Editions Club, 1993. Full Description: BRONTË, Emily. BALTHUS, [artist]. Wuthering Heights. Fifteen Lithographs and an Afterword by Balthus. New York: The Limited Editions Club, 1993. First edition. One of 300 copies signed by Balthus, this being number 69. With fifteen lithographs by Balthus and an Afterward by the artist. Folio (16 1/4 x 12 1/4 inches; 410 x 313 mm). Printed on Arches paper. Publisher's full tan leather, lettered in brown on front board. Spine very lightly toned. Housed in full cloth velvet-lined clamshell, with leather spine label. About fine. Publisher's prospectus laid in. "But when he made the early drawings for Wuthering Heights back in 1933, he stopped at a point about halfway through the book. As Jean Leymarie has noted, 'Only the artist's interest continued so long as the world of Heathcliff and Catherine Earnshaw is that if childhood and adolescence. In these drawings Balthus clearly identifies himself with Heathcliff, the willful outsider unamenable to morality and society, in his vengeful satanism and headlong transgressions-an exemplary creation and an undying presence on the absolute level of art and human destiny.' .Unable to forget his early fascination with Wuthering Heights, Balthus agreed to have the entire suite of fifteen drawings presented here for the first time in their destined context, if in a strictly limited edition. He was 25 when he began these remarkable illustrations; today he is 85, happy to behold their fruition, and to write a personal Afterword for the book." (from the LEC newsletter). LEC Bibliography. HBS 69329. $4,500. Signed.

MOZART, Wolfgang Amadeus; BALTHUS|LIMITED EDITIONS CLUB (illustrator). First Edition. composer]. BALTHUS, [illustrator]. LIMITED EDITIONS CLUB. Cosi Fan Tutte [LEC]. Xilografie di Balthus New York: Limited Editions Club, 2001. Full Description: MOZART, Wolfgang Amadeus, [composer]. BALTHUS, [illustrator]. Cosi Fan Tutte. Xilografie di Balthus. New York: Limited Editions Club, 2001. First edition. One of 300 copies initialed by Balthus this being number 32. Folio (16 1/2 x 16 inches; 418 x 410 mm). With numerous color woodcuts by Balthus. Also includes three compact discs containing Hans Rosbaud's opera in a pocket in the inside rear cover. Text in Italian. Publisher's full peacock green silk. Front board with black leather label on, lettered in gilt. Fine. Housed in the publisher's matching suede-lined silk clamshell with black leather label, lettered in gilt on spine. With Limited Editions Club prospectus laid in. LEC Bibliography. HBS 69330. $1,250. Signed.

BALTHUS; LIMITED EDITIONS CLUB (illustrator). BALTHUS, [artist]. LIMITED EDITIONS CLUB. Sight and Touch. In Spanish, English and French. With Three Woodcuts by Balthus New York: The Limited Editions Club, 1994. Full Description: PAZ, Octavio. BALTHUS, [artist]. Sight and Touch. In Spanish, English and French. With Three Woodcuts by Balthus New York: The Limited Editions Club, 1994. Limited to 300 copies signed by Paz and Balthus on the limitation page. This being number 152. Large folio (23 1/4 x 22 1/2 inches; 590 x 565 mm). With three full-color woodcuts by Balthus. Publisher's quarter tan morocco over tan cloth. Font cover with printed paper label, lettered in brown. Housed in publisher's tan, felt-lined cloth clamshell. Clamshell with tan morocco lettering label on front. With publisher's perspectus laid in. A fine copy. LEC Bibliography. HBS 69331. $1,300. Signed.

Hardcover. Condition: Very Good. Limited Edition. This book is in Very Good condition. There are no bookplates, signatures, or markings of any kind. The pages are clean and free of any foxing. This is the limited edition #191/300 signed by both Octavio Paz and Balthus. The book contains 3 colored woodcuts by Balthus. The book comes with its rare original clamshell box also in very good condition. The original newsletter from the Limited Editions Club is present. Signed by Author(s).

Couverture souple. Condition: Très bon. Edition originale. Signé par Balthus (Cte Balthazar Klo. de Rola). Signé par l'auteur.

First collected edition of Messiaen's detailed accounts of each of Mozart's piano concertos, which had appeared individually in concert programs. Olivier Messiaen (1908-1992) was the pre-eminent French composer of the second half of the 20th century. From a total edition of 100 numbered copies, this is ONE OF ONLY 50 COPIES WITH A LOOSE COLOR LITHOGRAPH BY BALTHUS. The lithograph, in soft colors, depicts a bay with a smoking volcano in the background. Balthus (Balthazar Klossowski de Rola, 1908-2001) was one of the great French artists of the 20th century. In theory, the book is supposed to be signed by Messiaen and the lithograph by Balthus, but in fact neither is signed. The publication of this book was carried out in the most chaotic possible way: Messiaen ended up signing only presentation copies, and Balthus ended up signing only a few impressions of the lithograph. Large folio (56 x 38.5 cm). Loose as issued in printed wraps and publisher's cloth portfolio/clamshell box. FINE AND BRIGHT, with no defects.

FIRST EDITION, one of 750 copies. 240 x 147 mm. (9 1/2 x 5 3/4"). 1 p.l., ix, [1], 45 [1] pp., [1] leaf. Publisher's orange buckram, front cover blind-stamped with the author and title, flat spine lettered in gilt, top edge stained red. In original dust jacket. SPECIALLY (and flamboyantly) SIGNED BY THE AUTHOR on the title page. Dust jacket a little yellowed at bottom of back panel, but still a very fine copy. This is an excellent signed copy of an art-inspired poetry anthology that comes from a poet's library. Writer and teacher Stephen Dobyns (b. 1941) is known for poetry that The Poetry Foundation describes as "narrative and sometimes absurdist," juxtaposing humor and reverence on a wide variety of topics. Here, his verses are inspired by art, with each poem taking its title from a work by the French modernist painter known as Balthus (Balthasar Klossowski de Rola, 1908-2001), whose often overtly sexual work caused frequent controversy through his career. Dobyns cautions that these are not direct interpretations of the artworks--in the foreword he writes that "rather, I tried to turn each painting into a personal metaphor to create narrative poems seemingly free from the lyrical first-person voice." Our copy is from the library of Laure-Anne Bosselaar (b. 1943) and her husband Kurt Brown (1944-2013). Bosselaar is a Belgian-American poet, translator, and editor who has published numerous works of poetry in multiple languages, including five collections of her own works. She has received various prizes and recognitions (Pushcart, Isabella Gardner, Breadloaf) and was named Poet Laureate of Santa Barbara in 2019. Sometimes publishing jointly with Bosselaar, Brown was also a prolific poet and editor of anthologies, as well as the founder and first director of the Aspen Writer's Conference, playing a pivotal role in shaping its early vision and establishing Aspen as a literary center.

Paris, Gallimard, 1999. In-4, 576 pp., cartonnage éditeur de toile noire, jaquette originale illustrée, étui original illustré (quelques petits frottements à l'étui). Catalogue raisonné de l'oeuvre complet du peintre Balthus. Cet exemplaire est enrichi d'un envoi autographe signé de Jean Clair. Il comprend de très nombreuses reproductions de ses oeuvres ainsi qu'une préface de Jean Clair sur le peintre et son oeuvre. Voir photographie(s) / See picture(s) * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte du lundi au vendredi de 14h à 19h. Merci de nous prévenir avant de passer,certains de nos livres étant entreposés dans une réserve.

autre. Paris s. d. [circa 1955] | 13 x 9 cm | une feuille | Billet autographe signé de Jean Paulhan, 16 lignes rédigées à l'encre bleue adressée à Felia Leal l'éditrice des "Paroles transparentes", ouvrage de Jean Paulhan orné de 14 lithographies originales de Georges Braque. Jean Paulhan regrette leur rendez-vous manqué à une exposition: "Votre jolie carte portait : cocktail à 4 heures. J'étais là à 4h. Je suis revenu à 4h 1/2, à 4h 3/4. Alors il m'a bien fallu partir sans vous avoir vue." et évoque une rencontre incongrue : "Rien, et la porte était bouclée. (J'ai même rencontré M. Benoist-Méchin, qui s'imaginait voir Balthus)" | [ENGLISH DESCRIPTION FOLLOWS] Autograph letter signed by Jean Paulhan, 16 lines written in blue ink addressed to Felia Leal, publisher of "Paroles transparentes", a work by Jean Paulhan decorated with 14 original lithographs by Georges Braque. Jean Paulhan regrets their missed appointment at an exhibition: "Votre jolie carte portait : cocktail à 4 heures. J'étais là à 4h. Je suis revenu à 4h 1/2, à 4h 3/4. Alors il m'a bien fallu partir sans vous avoir vue." (Your lovely card read: cocktail at 4 o'clock. I was there at 4. I came back at 4:30, at 4:45. So I had to leave without having seen you.) and mentions an incongruous encounter: "Rien, et la porte était bouclée. (J'ai même rencontré M. Benoist-Méchin, qui s'imaginait voir Balthus)" (Nothing, and the door was locked. I even met Mr. Benoist-Méchin, who thought he was going to see Balthus.) *.

Pas de couverture. Antonin et son double | Paris 27 Avril 1934 | 21 x 27 cm | une feuille | Lettre autographe datée et signée d'Antonin Artaud, à en-tête de la brasserie Le Dôme, adressée à Maurice Martin du Gard, fondateur et directeur des Nouvelles Littéraires, 29 lignes à l'encre bleue d'une écriture nerveuse. Traces de pliures et petites déchirures marginales inhérentes à l'envoi postal et à la manipulation. Petites taches au début de la lettre. Antonin Artaud se bat pour publier son article sur la peinture de Balthus, exposée pour la première fois en France. Il défend avec férocité celui qu'il considère comme son «?double?», tant ils étaient semblables physiquement et intellectuellement. * Lors de cette première exposition de Balthus en galerie en 1934, ses représentations de jeunes femmes pubères tendant vers un voyeurisme empreint de rêves excitants ont scandalisé le public parisien. Artaud, justement, se retrouve dans l'atmosphère étrange des toiles balthusiennes et compte parmi les premiers écrivains à reconnaître l'importance de son uvre. Les deux hommes s'étaient rencontrés (ou retrouvés, peut-on dire) par hasard au café de Flore deux ans auparavant. «?Un lien étrange les unissait, croyait Balthus, d'autant qu'il lui devait d'être encore en vie. C'est en juillet 34, que le poète sauva de justesse le peintre, victime d'une intense dépression, du suicide qu'il venait de mettre à exécution. 'Curieusement, il est arrivé ce jour-là en courant dans mon atelier au moment où j'allais déjà très mal, et il s'est précipité sur moi et comme il avait lui-même pris beaucoup de drogues dans sa vie, il a tout de suite compris'?» (Zoé Balthus, citant Balthus lui-même). Quelques mois avant cette grave crise du peintre, Artaud réclame son manuscrit écrit à l'occasion de la première exposition individuelle de son ami à La Galerie Pierre, ouverte le 13 Avril 1934 au 6 de la rue des Beaux-Arts. L'auteur d'Héliogabale ou l'anarchiste couronné (qui paraît la même année) se montre surpris et un brin courroucé du peu d'intérêt que témoigne la revue?: «?Je vous ai adressé il y a quinze jours un article sur l'exposition Balthus dont tout le monde parle. Il me semblait que les Nouvelles littéraires se devaient d'en parler.?» Sa prose poétique et sibylline chantera souvent les louanges de Balthus, cet alter ego qui refusera également les dogmes du Surréalisme. La rédaction des Nouvelles littéraires semble même négliger le travail de l'écrivain ce qui l'irrite au plus haut point?: «?Bien que les manuscrits non insérés ne soient pas rendus, on me rend toujours mes manuscrits, et en général après les avoir publiés.?» Il insiste donc pour récupérer son bien et s'insurge encore contre l'incompréhensible et aveugle silence de la revue pour l'uvre du grand peintre?: «?Je vous serai donc reconnaissant de me dire ce que vous comptez en faire car la peinture de Balthus est d'une actualité suffisante pour se passer de l'actualité. Un article sur lui peut donc paraître en tout temps. Si vous pensiez ne pas devoir le publier je vous demande de vouloir bien me le renvoyer.?» Cet article est probablement le même qu'Artaud publiera finalement dans le quotidien mexicain El Nacional deux ans plus tard, célébrant une nouvelle fois la peinture de son ami. Belle lettre manuscrite du fougueux et irascible Antonin Artaud, découvreur de la peinture de Balthus. | [ENGLISH DESCRIPTION FOLLOWS] Autograph letter dated and signed by Antonin Artaud on Le Dôme brasserie letterhead, addressed to Maurice Martin du Gard, founder and director ofNouvelles Littéraires. 29 lines in blue ink in a nervous handwriting. Traces of folds and small marginal tears inherent to postal dispatch and handling. Minor stains at the beginning of the letter. Antonin Artaud fought to have his article on Balthus's painting, exhibited for the first time in France, published. He fiercely defended the artist he considered his 'double', so similar were they physically and intellectually. * During Balthus's first g.

1 lettre autographe signée 1 p. In-4 24 novembre En anglais. Feutre noir. Bon Lettre de Balthus écrite en anglais. Iln'a pu répondre à lademande de sacorrespondante, arrivée en décembre dernier, car il a eu un accident très sérieux et subi une opération au cours de laquelle ila frôlé la mort "and nearly died". Il a été coupé du monde pendant de longs mois, "a strange and rather painful experience". Il revient à la vie et à son travail et lui envoie le livre écrit par son fils aîné, Stanislas Klossowski de Rola, dit lePrince Stash (né en 1942, qui a écritplusieurs livres sur l'alchimie). "But since a few weeks I am returning to life and slowly returning to my work". Peintre figuratif.