Russian ballet (32 resultados)

Soft cover. Condición: VG+. A VGF or better pressbook with no cuts or missing pages. Book.

Soft cover. Condición: VG+. A VGF or better pressbook with no cuts or missing pages. Book.

viii, 344 pages. Large paperback: H 27.75cm x L 21.5cm. Mustard yellow paper covers rubbed; light wear and some curling at corners with crease to front cover's bottom corner; spine ends scuffed. Some soiling and light stains at edges; past owner's ink signature on title page. Interior pages are otherwise clean. Binding is firm. A very good- copy. With Preface by M.J. Czarniecki III, mostly b/w illustrations, Index of Artists to the Exhibition, and an extensive Bibliography (pages 329-344). Primary essay "Modern Russian Stage Design" (pages 17-43) by John E. Bowlt. "Catalog of the Exhibition" by John E. Bowlt on pages 46-327. Published as the accompanying catalog for "An exhibition in commemoration of the II International Ballet Competition in Jackson, organized by the Mississippi Museum of Art in collaboration with the Institute of Modern Russian Culture at Blue Lagoon, Texas, and the Archer M. Huntington Art Gallery of the University of Texas at Austin." Please note that this thick book has an approximate shipping weight of 3.25 pounds (1.47 kg) and may require additional postage for any postal class other than domestic Media Mail. {PerformArtsShelf#2}.…

Condición: Very Good. 5 pages, illustrated, 1 photograph. An authentic standalone article, extracted from a larger volume. Not a reprint or reproduction, but an original work in its own right. Preserved in a modern card cover, prepared for practicality - an unassuming but serviceable presentation that favours function over finery. Size: 24 x 29 cms. Category: Apollo Arts Magazine; Cosmo Books : 29 years on ABE, 47 years taking care of customers. A bookseller you can rely on. Softcover (Booklet - Unbound Pages).…

viii, 344 pages. Large paperback: H 27.75cm x L 21.5cm. Mustard yellow paper covers rubbed with some creasing/curling to fore-edge corners; scuffing to spine head. Slight toning to text block edges. Past owner's ink signature (Jackson, Mississippi artist and costume designer "Theo Inman") at top of title page. Interior pages are otherwise clean. Binding is firm. A very good copy. With Preface by M.J. Czarniecki III, mostly b/w illustrations, Index of Artists to the Exhibition, and an extensive Bibliography (pages 329-344). Primary essay "Modern Russian Stage Design" (pages 17-43) by John E. Bowlt. "Catalog of the Exhibition" by John E. Bowlt on pages 46-327. Published as the accompanying catalog for "An exhibition in commemoration of the II International Ballet Competition in Jackson, organized by the Mississippi Museum of Art in collaboration with the Institute of Modern Russian Culture at Blue Lagoon, Texas, and the Archer M. Huntington Art Gallery of the University of Texas at Austin." Please note that this thick book has an approximate shipping weight of 3.25 pounds (1.47 kg) and may require additional postage for any postal class other than domestic Media Mail. {PerformArtsShelf#4}.…

viii, 344 pages. Large paperback: H 27.75cm x L 21.5cm. Mustard yellow paper covers lightly rubbed with a few negligible spots of soiling; minor nick at spine heel. Light toning to edges. Interior pages are bright and clean. Binding remains fairly crisp. A very good+ copy. With Preface by M.J. Czarniecki III, mostly b/w illustrations, Index of Artists to the Exhibition, and an extensive Bibliography (pages 329-344). Primary essay "Modern Russian Stage Design" (pages 17-43) by John E. Bowlt. "Catalog of the Exhibition" by John E. Bowlt on pages 46-327. Published as the accompanying catalog for "An exhibition in commemoration of the II International Ballet Competition in Jackson, organized by the Mississippi Museum of Art in collaboration with the Institute of Modern Russian Culture at Blue Lagoon, Texas, and the Archer M. Huntington Art Gallery of the University of Texas at Austin." {PerformArtsShelf#3}. …

Audio Book (Cassette). Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition. The author has followed the spectacular career of Natalia for many years and draws on his understanding & appreciation of her talents to present an original view of her. Profusely illustrated with wonderful b/w photo-plates. Please see our images of the actual book offered for sale for further details and condition. 295x130mm. 64pp. Nr.Fine/VG [ Book- no insc. fine throughout ] Dust Jacket is price clipped, no other loss, indentation scratch to rear base area 40mm. not effecting the boards.…

Soft cover. Condición: Very Good. 1st Edition. 12mo. Original paper wrappers with glassine cover. B/w plaes. Glassine creased.

Soft cover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition. Ballet programme in cardboard slipcase for Christmas 2000 Swan Lake and Nutcracker performances in Dublin by the Russian Stanislavski Ballet. Edge wear to both programme and slipcase. Creasing at spine of programme and top left corner of slipcase. Internally clean bright and tight. No pen marks or inscriptions. Please examine all seller photos.…

TAPA DURA. Condición: Bien. Arte CONSULTE NUESTRAS CONDICIONES Y GASTOS DE ENVÍO.

8°. 124 pp., 2 ff., several illustrations Original softcover Text in French, preface by Veronique Schiltz. - Fine, clean.

Scarce programme for a concert forming part of the 1921 season of the Russian Ballet, conducted by Ernest Ansermet, featuring first performances in England of a number of pieces by "Strawinsky, Poulenc and Prokofieff", among others. Single sheet folded. Creased lenghtways from having been popped into a concert-goer's pocket or purse - as such unconsidered trifles often are - but in very good condition.…

Sheet. Condición: Fine. Broadside. 12 x 7 in. Two punch holes in upper part, folding marks. Sol Hurok (1888-1974) was an American impresario known for his numerous shows of Russian ballets. Scarce. Art, affiches et gravures.

The Andrieff Trio was a popular terpsichorean act in the 1920s Vaudeville scene made up of married couple Yasha and Marie Andrieff and Yasha's brother, Andrew Andrieff. All three dancers were Russian and trained in both classical and popular dance styles. Their headlining act was what they called the "double face dance" where Marie danced with both men simultaneously and through clever costuming and choreography seemed to be perpetually facing the audience as her partners spun her around the stage. The group was scheduled to perform at the Bushwick Theater (part of B.F. Keith's network of Vaudeville performance venues) the week of September 3, 1923. The picture of just Yasha and Marie is dated September 10 and inscribed to "our dear friend Mr. and Mrs. Klawans" likely referring to Bernard "Barney" Klawans the Broadway producer. Two black and white 8x10 photographs with some fading, very good.…

Sheet. Condición: Fine. Broadside. 18 x 6 1/4 in. Two punch holes in upper part, folding marks. Sol Hurok (1888-1974) was an American impresario known for his numerous shows of Russian ballets. Scarce. Art, affiches et gravures.

Sheet. Condición: Fine. Broadside. 25 1/4 x 6 1/4 in. Two punch holes in upper part, folding marks. Sol Hurok (1888-1974) was an American impresario known for his numerous shows of Russian ballets. Scarce. Art, affiches et gravures.

Soft Cover. Condición: Very Good. 7 programs octavos, 40 pages each. Illustrations. Ads. Sol Hurok (1888-1974) was an American impresario known for his numerous shows of Russian ballets. Col. W. De Basil (1888-1951) was a Russian ballet impresario.

Sheet. Condición: Fine. Broadside. 18 x 6 1/4 in. Two punch holes in upper part, folding marks. Sol Hurok (1888-1974) was an American impresario known for his numerous shows of Russian ballets. Special ad inserted for La Argentinita and her sister Pilar Lopez featuring in the Spanish Festival as well as Jose Iturbi with a decor by Salvador Dali. Scarce. Art, affiches et gravures.…

Sheet. Condición: Fine. Broadside. 20 1/4 x 6 3/4. Punch hole in upper part, folding marks. Sol Hurok (1888-1974) was an American impresario known for his numerous shows of Russian ballets. He produces also Afro-American dancer Katherine Dunham (1909-2006) and her company in Tropical Revue as stated on the broadside. Scarce. Art, affiches et gravures.…

Soft cover. Condición: Good. 1st Edition. 4to. Original paper wrappers. pages 58-66 have been detached and preserved (these are the pages featuring photographs of Nijinsky, with decorative borders at top and lower edges. Other decorative and phtographic illusts of the dancers in 'Daphnis and Chloé'. Covers rubbed and frayed at spine. …

Softcover. Condición: Very Good. 20 programs octavos, 32 pages each. Illustrations. Ads. Sol Hurok (1888-1974) was an American impresario known for his numerous shows of Russian ballets.

Soft cover. Condición: Very Good. 1st Edition. Folio. Original gilt-paper covered wrappers, with mounted colour plate. Introduction by Arnold Haskell, b/w portraits, Mounted colour plates of costume designs by Gontcharova, Jean Hugo, Larionov, Picasso, Sert, Bakst, Derain etc. Coversa little thumbed.and worn at spine.…

Soft cover. Condición: Fine. Young stars of the Bolshoi ballet, second half of the sixties. Photographs of several ballets and dancers. Approximately 350 photographs in total.

Oblong-8vo. (100 : 150 mm). 1 p. Signed and inscribed card of the Russian ballet dancer and choreographer, with an image affixed. From the collection of the late Kurt Schimmelpfennig, Düsseldorf. As chief choreographer of the Bolshoi Ballet for more than three decades, he shaped the company's repertory and international reputation.…

Condición: Very good. 1947., 1947. Very good. - An original 9 inch high by 6-1/2 inch wide silver-hued black & white photograph of the Russian prima ballerina Tamara Karsavina by Edmund Harrington, though the photographer is not here identified. The image portrays Tamara Karsavina attired in her costume with pinafore dress, jacket and kokoshnik designed by Natalia Goncharova. The photograph is inscribed & signed in Russian within the image by the Prima Ballerina. Roughly translated, the inscription reads: ["To dear Grigory Vasilyevich, in memory of pleasant friendly meetings and as a pledge of a future reunion / Tamara Karsavina / 1947"]. The photograph is mounted onto 10-1/4 inch high by 7-1/7 inch wide heavy cream stock. The edges of the mount are soiled and there is tiny tear in the top left of the photograph. Very good. "One of the solos danced by Karsavina was the Russian Dance for which her blue costume, pinafore-dress, jacket and kokoshnik was designed by Natalia Goncharovs. Karsavina was photographed by Apeda in a first version of this costume, wearing the dress over a white? long-sleeved round-necked blouse, reproduced in the Sketch, 29 April 1925, and in the second version, the jacket replacing the blouse by Edmund Harrington, ca.1929". [Quoted from the "Victoria & Albert Museum"]. Renowned for her beauty, the Russian prima ballerina Tamara Platonovna Karsavina (1885-1978) was a principal dancer of the Imperial Russian Ballet and subsequently of Sergei Diaghilev's Russian Ballet. Settling in Great Britain, she is recognized as one of the founders of modern British Ballet and assisted in the establishment of The Royal Ballet and the Royal Academy of Dance. The costume designer Natalia Goncharova (1881-1962) was a Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer. She and her partner Mikhail Larionov were founding members of Moscow's first radical independent exhibiting group, the Jack of Diamonds, and the radical Donkey's Tail. She and Larionov invented Rayonism. She moved to Paris and was a member of the German art movement Der Blaue Reiter.…

Oblong-small-8vo. 2 pp. With a stamp of Serge Lifar. In this warm and reflective postcard, written from Monte Carlo, Serge Diaghilev writes to his protégé Serge Lifar, expressing both affection and concern. Diaghilev comments on their artistic work, logistical matters, and shared acquaintances. The tonepersonal, direct, and at times mentoringreveals the depth of the relationship between the great impresario of the Ballets Russes and his young star dancer and choreographer.I received your letter at my new address, and today I'm writing to you from Monte Carlo, where I arrived this morning. Ruda and Pusha send you their regards.Tcherepnin feels much better nowhe had suffered from nervous exhaustion, which I think came from overwork. I am now completely immersed in literary mattersour performances in Paris and Biarritz went wonderfully well.Your absence has been deeply felt; everything would have gone even better if you had been here. Please write to me at this address until further notice.I have just received a letter from our Florence agent, who writes about Massine's unreliability, and says that Ronald has once again made something inappropriate and unprofessional (his behavior is intolerable!).We think our troupe will leave around the 15th20th of April, so please tell me whether you will be able to join us then or not. If you cannot, perhaps you could come to Monte Carlo for 45 days at least. You would be a great help."The references to Massine (Léonide Massine) and Ronald (possibly Ronald D. Coates or another company member) reflect internal Ballets Russes tensions of the late 1920s. Diaghilev's concern for Lifar's presence underlines how crucial Lifar had become to the company's creative and moral stability in its final years.…

Oblong-small-8vo. 1 p. With a stamp of Serge Lifar. Rare postcard written to Serge Lifar. My dear Serge, I will be in Moscow on the 29th.I am leaving here (from Petrograd) at 9:25 in the morning and will arrive in Moscow at 3:35 in the afternoon. Please buy me a second-class ticket and meet me at the station at 10:50 in the morning. You will arrive in Moscow at 1:30 in the afternoon; if you can, wait for me at the station so that we can go together to the rehearsal. I am sending the money for the ticket today. Please take care of it immediately. Many thanks and kisses, Serge Diaghilev". - Russian art critic, patron, and ballet impresario (1872-1929) who was the founder of the Ballets Russes, from which many famous dancers and choreographers would arise.…

Oblong-small-8vo. 2 pp. With a stamp of Serge Lifar. In this intimate and detailed letter, written on a Saturday, Serge Diaghilev expresses concern about Lifar's silence and shares updates about mutual acquaintances, artistic preparations, and upcoming travel plans. The tone is affectionate but tinged with anxiety Diaghilev's typical mixture of mentorship, authority, and dependence on his young collaborator. He writes about the Ballets Russes' artistic life in Monte Carlo, American contacts, and literary figures in Paris, revealing his constant networking and restless mind.Why haven't you written? It's bad that you remain silent I was beginning to think something was wrong. Have you received my last letter? I'm writing to tell you that the preparations and rehearsals here are all going well. The "old man" still hasn't arrived in Monte Carlo, but I think he'll come soon, when everything is ready.You must take care of yourself I'm told you've lost a lot of weight and are weak, you must get some fresh air! Keep working but don't exhaust yourself. I'm doing the same every day, but often have to rush between rehearsals, meetings, and dinners with writers like Delacostelle, Kessel, Radiguet, Proust, and others.I hope you'll soon come here to Monte Carlo. Americans are beginning to arrive I think it would be useful for you to come too. Perhaps not for long, just for two days. Among them is Professor Carpenter, who gives lectures in Chicago an interesting man, very cultured and educated.At the end of the month I plan to go to Milan to finalize some engagements; then I'll be back here again for 810 days, after which I'll go to Paris. Please write to me more often your letters bring me great joy."This letter was likely written in the late 1920s, during Diaghilev's final years, when his health was declining but his artistic energy remained intense. The references to Radiguet and Proust evoke his literary circles in Paris, while his mention of Monte Carlo and American contacts highlights the Ballets Russes' international reach and Diaghilev's tireless drive to sustain it.…

Oblong-small-8vo. 2 pp. With a stamp of Serge Lifar. In this letter, written from Venice on a Saturday, Serge Diaghilev informs Serge Lifar about his arrival and the start of preparations there. The tone is affectionate and practical, showing both Diaghilev's dependence on Lifar's involvement and his characteristic mixture of managerial focus and personal concern. He speaks of work, company matters, and his wish for Lifar to rejoin him soon revealing again their close collaboration in the Ballets Russes' final years.Yesterday I finally arrived in Venice and found our house charming. I'm very happy with everything here the weather is wonderful, and the mood is cheerful. Only one thing troubles me: your silence. I absolutely need to hear from you. Please pay attention to this!Write to me soon, tell me if you have begun rehearsals in Paris, and whether you are preparing the costumes and sets. Tcherepnin's lessons have gone very well, but there is still much to be done. I'm worried about your health they tell me you've been feeling tired again.Try to rest a little and recover. Everything is going beautifully in Monte Carlo so far; I'm waiting impatiently for news from you. Tell me if Branson's ballet will be ready soon, and whether you plan to come to Venice. People here keep asking about you they all miss you terribly.I'm writing this just after breakfast the weather in Venice is glorious, the air mild, and the water glittering. Everything here brings peace and calm, and I'm already working on some new ideas for next season."This letter was likely written in the late 1920s, when Diaghilev was living in Venice between Ballets Russes seasons. His reference to rehearsals in Paris and to Tcherepnin (composer Nikolai Tcherepnin) places it in the company's later period, when both Diaghilev's health and finances were declining, yet his creative spirit and attachment to Lifar remained deeply alive.…

Hardcover. Condición: Fine. BLUE PHOTOALBUM 90 photographs black and white various sizes. A few color ones. Madame Golovkina & Marianne Leonova., Vyacheslav Gordeyev, Vladmir Perov, Vladimer Petrunin.Outside Golden Green Hippodrome. 22 September 1960? RED PHOTOALBUM. 123 Photographs of various sizes. Many of them signed. A few in color. Madame Golovkina (?) London 1967. Natalia Mikhailovna Dudinskaya class (1912-1990) the Tsarist-era ballerina who trained generations of Russian dancers, Natalia Dudinskaya made her name in the 1930s in the roles of Odette-Odile in Swan Lake and Masha in Tchaikovsky's Nutcracker, and was known as one of the best of all interpreters of Giselle. Her exuberance and technical mastery combined the discipline of the Russian classical tradition with the fluid grace of French and Italian ballet. Later as artistic director of the Kirov and then of the Vaganova Academy, she inspired new generations of dancers with her ruthless commitment and technical virtuosity.Prince of the Pagodas, May 12, 1967 Natalia Igorevna Bessmertnova (1941 2008) was a Soviet prima ballerina of the Bolshoi Ballet and a People's Artist of the USSR (1976) Nina Sorokina , (1942 2011) was a Russian principal dancer of the Bolshoi Ballet. Plus 150 photographs in an envelope from the beginning of the seventies: Liubov Kunakova, Maria Kondratieva, Hanna Vlachilova, A Poulseh, A. Weinreich.…