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Publicado por Published by Bonfini Press Corporation, Naefels, Switzerland First UK Edition . 1979., 1979
Librería: Little Stour Books PBFA Member, Canterbury, Reino Unido
Miembro de asociación: PBFA
Original o primera edición
First UK edition hard back binding in publisher's original buttermilk paper covered boards, red title to the spine and the front cover. 4to 11'' x 9''. Contains 95 printed pages of text with colour illustrations throughout and two illustrations tipped-in to page 5 and 92. Fine condition book in near Fine condition dust wrapper with age darkening to the spine, not price clipped. Dust wrapper supplied in archive acetate film protection, it does not adhere to the book or to the dust wrapper. Member of the P.B.F.A. ART [Russian].
Publicado por Published by George Wittenborn, Inc., New York Offset Reprint . 1966., 1966
Librería: Little Stour Books PBFA Member, Canterbury, Reino Unido
Miembro de asociación: PBFA
Publisher's original laminated card wrap covers (soft back). 4to. 10'' x 7½''. Contains 93 pp with monochrome illustrations and photographs throughout. In Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. ART [Russian].
Publicado por Berlin, 25. VI. 1933., 1933
Librería: Kotte Autographs GmbH, Roßhaupten, Alemania
Manuscrito
(Oblong)8vo. 2 pp. With typed address. To Andre de Ridder, a Belgian art critic and strong supporter of Expressionism, whose periodical Selection published a special Kandinsky issue in July of 1933: Je m presse de vous dire que j ai envoié les epreuves à M. Grohmann. Je vous prie bien de lui faire envoyer le plus tôt possible la correction des textes. Il faudra donc qu il fasse l ordre des pages. Vous m enverrez peut être aussi la correction des textes je vous serrais reconnaissant. Il faudra couper les rands du cliché Komposition 4 . Vous le ferrez sur l épreuve de cette toile (les rands n appartient pas au tableau!). Ne l oubliez pas s. v. b.! Ayez la complaisance de faire envyoer un exemplaire du cahier immédiatement après la parition à M. Zervos: il voulait faire une notice sur ce cahier dans le prochain Cahier de sa Revue. Je regrette que les reproductions des grandes toiles ( Komposition 4 et Komp. 6 ) sont si petites: Komp. 6 a trois métres de longeur! [.]". As critic Andre de Ridder prepared the July 1933 Kandinsky issue of his periodical Selection , the artist remained in Berlin to wrap up business as the Bauhaus closed. Facing constant accusations of teaching un-German, degenerate art and fostering Communism, the school could no longer function under the pressure of the Nazi Party. Kandinsky reviewed de Ridder s pieces from afar and passed them along to his friend and future biographer Will Grohmann. Two decades after their creation, his Compositions continued to spark discussion; his abstract style of painting based on the nonrepresentational properties of color and form, intended to create the same emotional impact that music did, challenged the art world both theoretically and aesthetically. The artist requests that de Ridder send a copy to publisher Christian Zervos, and suggests contacting prominent gallery owners Erhard Weyhe and John Becker, along with Galka Scheyer, the American representative for Die Blaue Vier (a group of Bauhaus artists Kandinsky, Klee, Jawlensky, and Feininger who exhibited and lectured together) to secure orders. This letter, with an abundance of important references to modern art figures as well as its discussion of his famous Compositions, holds spectacular content regarding the groundbreaking artist s life and career. Sprache: fr.
Publicado por Berlin-Südende, 8. VI. 1933., 1933
Librería: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscrito
4to. ½ p. To the Belgian art historian and editor of the periodical "Sélection" André de Ridder (1888-1961), concerning payments and photographs for a forthcoming issue devoted to Kandinsky: "Je vous enverrai les RM. 200 de suite après avoir reçu les corrections. Malheureusement ça m'est impossible d'acheter les clichés!". Kandinsky hints at his dire financial situation due to the forced closure of the Bauhaus by the Nazis since April 1933 which led to its ultimate dissolution on 19 July: "Les conditions pecuniaires sont difficiles et mon revenu personnel a subit un changement peu agréable - je suis forcé de faire des économies." He also mentions that his friend, the important art critic Will Grohmann, would finish the corrections for the issue within a day: "J'ai parlé à M. Grohmann en le priant de se bien dépecher avec les corrections. Il est de mon avis que c'est très important de se dépecher avec la parition du cahier. Quant à lui il ferra les corrections dans un seul jour." In closing, Kandinsky underlines that a two month delay caused by another publication was not his fault so he should not have to bear the consequences, and apologizes for the scant response: "Che M. de Ridder, ce n'est pas ma faute que le Cahier de M. W. [Edward Wadsworth] était en retard de deux mois! Ça ne saurrait pas consequent de me faire porter les resultats de ce retard. Excusezbien la breveté de ma reponse [.]". - The special issue entitled "Sélection Chronique de la Vie Artisque XIV Wassily Kandinsky - Éditions Sélection Anvers 1933" appeared in July when Kandinsky and his wife were about to move to Paris, fleeing the Nazi regime. - With an adhesive mark on the upper edge, folded, and slightly browned.
Publicado por Dessau, 1 May 1928., 1928
Librería: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscrito
4to. 1 p. With typed envelope, 3 photos made by Lucia Moholy, and some addenda. To art historian R. W. P. de Vries in Hilversum, sending four photographs for publication ("3 of which were made for you and the fourth belongs to me, I've had it in stock"; transl. from the German original). - Three of the four mentioned photos (all with the photographer's stamp on their reverse) belong to "Einige Kreise 1926", "Spannung in Rot 1926", and "Akzent im Rosa 1926"; the fourth picture seems to be returned as Kandinsky has asked to do so. - Additional addenda comprises a copy of "Der Sturm" (vol. III, October 1912, no. 129), in which Kandinsky's long essay "Ueber Kunstverstehen" ("On Understanding Art") was published, 4 newspaper clippings with reviews of his exhibition at the gallery "L'Époque" in Bruxelles, and another contemp. photo of a painting by Kandinsky.
Publicado por Dessau, 15 May and 13 Oct. 1926., 1926
Librería: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscrito
4to and 8vo. Altogether 4 pp. on 2 ff. With two typed envelopes. To John Schikowski (1867-1934), editor of the Berlin magazine "Vorwärts", about hostility toward abstract art: "Various opponents who remained silent for several years have become courageous again by various processes and are happy about the almost universal reaction that overwhelmed the arts. But mostly they are happy because they can again write about the arts in their ancient, superficial tone [.] The attitude that abstract art has value merely as arts and crafts and can produce only pure ornamentation has become the received point of view. The latter, for example, was claimed by Carl Einstein in the 'Propylaea Art History' where he discussed my work [.]" (15 May 1926; transl.). In his letter of 13 October, Kandinsky discusses Schikowski's book on modern dance in detail. - At the time John Schikowski was considered one of the best critics of modern art and modern dance.
Publicado por N. p., 27 Oct. 1936., 1936
Librería: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscrito
4to. ½ p. To "Dear Mr. Nicholson", agreeing with him and his colleagues Messrs. Gabo and Martin, promising to send a photograph of his work "Developpement en brun," requesting that the other photos be returned, asking when the first issue of the magazine is expected, expressing interest in an essay entitled "Constructive Point of View," and objecting that the author might too readily associate: "[.] Si vous m'avez pas besoin de mes autres photos, je vous prie bien de me les retourner - je vous serais très reconnaissant. On me demande assez souvent des photos et mon 'dépot' est as[s]ez modeste. Quand pensez vous de faire parraitre le premier numéro de votre revue? [.]". - Folds.
Publicado por Dessau, 28. III. 1930., 1930
Librería: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscrito
Folio. 2 pp. Letter in Russian to Alexej von Jawlensky (1864-1941) concerning the preparation of the exhibition "30 deutsche Maler aus unserer Zeit" which would be held from April to July 1930 at the "Nassauischer Kunstverein" in Wiesbaden. - Kandinsky explains that despite his difficulties in communicating with the Germans, not being German himself, he managed to get Jawlensky to present seven paintings there. He pointed out to him that he should not be disappointed because it was more than for most of the other participants, and asked him not to be angry with him since the decision was not up to him. Kandinsky also writes about the two other members of the exhibition group "The Blue Four", which he founded with Jawlensky in 1924: Paul Klee and Lyonel Feininger. - Left margin with punched holes (no loss to text).
Publicado por Dessau and Neuilly-sur-Seine, 21. XII. 1927 to 8. XII. 1936., 1936
Librería: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscrito
Large 4to and oblong 8vo. 4 pp. on 3 ff. (letters) and 1 p. on 1 f. (card). Fine letters to Georg Schmidt (1896-1965), who was operating from 1927 to 1938 as librarian at the Basel Trade Museum and, at that time (1927), organized an exhibition of paintings by August Babberger, Arnold Brügger, Hanns Joerin, Otto Morach, and Wassily Kandinsky. In his early letters, Kandinsky discusses some details of organizing this exhibition.