HUBERT STOWITTS (7 résultats)

Etat : Good. Color poster. 28 x 20 inches. Reproduction is from The Work of Stowitts for Fay-Yen-Fah, Paris, 1927, depicting authentic Chinese Court costumes of the Han and T'ang Dynasties.Pictured in the garb used by court ladies of the 4th Century.Anna Pavlova discovered Stowitts dancing at the Greek Theater in Berkeley in the summer of 1915 and invited him to join her ballet company. He canceled graduate studies at Harvard and embarked on an adventure of excitement and romance that took him to the major stages of the Americas and Europe where stardom awaited. He left Pavlova's company to settle in Paris and pursue a solo career. Now a star in his own right he appeared in London, Stockholm, Madrid and New York. In Paris Stowitts starred in the 1924 Folies-Bergère with dazzling costumes by Erté. Few dancers have the courage to retire in their prime, especially when "trained down to racehorse shape," as Stowitts described himself. Even fewer have the courage at age 33 to launch themselves in an entirely new medium. By 1925, he was creating a career for himself as a painter from his studio on Montmartre's Avenue de Clichy. From his experiments with palette and brush ambitious collections of paintings soon followed: The Golden Age of Dance; The Fall of the Angels; and The Work of Stowitts for Fay Yen Fah, costumes and stage designs for a Chinese opera.

Etat : Good. Color poster. 28 x 20 inches. Reproduction is from The Work of Stowitts for Fay-Yen-Fah, Paris, 1927, depicting authentic Chinese Court costumes of the Han and T'ang Dynasties.Piccuted is a runner who brings the Vicroy information about visitors.Anna Pavlova discovered Stowitts dancing at the Greek Theater in Berkeley in the summer of 1915 and invited him to join her ballet company. He canceled graduate studies at Harvard and embarked on an adventure of excitement and romance that took him to the major stages of the Americas and Europe where stardom awaited. He left Pavlova's company to settle in Paris and pursue a solo career. Now a star in his own right he appeared in London, Stockholm, Madrid and New York. In Paris Stowitts starred in the 1924 Folies-Bergère with dazzling costumes by Erté. Few dancers have the courage to retire in their prime, especially when "trained down to racehorse shape," as Stowitts described himself. Even fewer have the courage at age 33 to launch themselves in an entirely new medium. By 1925, he was creating a career for himself as a painter from his studio on Montmartre's Avenue de Clichy. From his experiments with palette and brush ambitious collections of paintings soon followed: The Golden Age of Dance; The Fall of the Angels; and The Work of Stowitts for Fay Yen Fah, costumes and stage designs for a Chinese opera.

Etat : Good. Color poster. 28 x 20 inches. Reproduction is from The Work of Stowitts for Fay-Yen-Fah, Paris, 1927, depicting authentic Chinese Court costumes of the Han and T'ang Dynasties.Pictured in the garb used by the Empress Dowager.Anna Pavlova discovered Stowitts dancing at the Greek Theater in Berkeley in the summer of 1915 and invited him to join her ballet company. He canceled graduate studies at Harvard and embarked on an adventure of excitement and romance that took him to the major stages of the Americas and Europe where stardom awaited. He left Pavlova's company to settle in Paris and pursue a solo career. Now a star in his own right he appeared in London, Stockholm, Madrid and New York. In Paris Stowitts starred in the 1924 Folies-Bergère with dazzling costumes by Erté. Few dancers have the courage to retire in their prime, especially when "trained down to racehorse shape," as Stowitts described himself. Even fewer have the courage at age 33 to launch themselves in an entirely new medium. By 1925, he was creating a career for himself as a painter from his studio on Montmartre's Avenue de Clichy. From his experiments with palette and brush ambitious collections of paintings soon followed: The Golden Age of Dance; The Fall of the Angels; and The Work of Stowitts for Fay Yen Fah, costumes and stage designs for a Chinese opera.

Etat : Good. Color poster. 28 x 20 inches. Reproduction is from The Work of Stowitts for Fay-Yen-Fah, Paris, 1927, depicting authentic Chinese Court costumes of the Han and T'ang Dynasties.Pictured is an ascetic in the garb of Confucius. From his staff hangs a bunch of sacred leave,a gourd and fruit.Anna Pavlova discovered Stowitts dancing at the Greek Theater in Berkeley in the summer of 1915 and invited him to join her ballet company. He canceled graduate studies at Harvard and embarked on an adventure of excitement and romance that took him to the major stages of the Americas and Europe where stardom awaited. He left Pavlova's company to settle in Paris and pursue a solo career. Now a star in his own right he appeared in London, Stockholm, Madrid and New York. In Paris Stowitts starred in the 1924 Folies-Bergère with dazzling costumes by Erté. Few dancers have the courage to retire in their prime, especially when "trained down to racehorse shape," as Stowitts described himself. Even fewer have the courage at age 33 to launch themselves in an entirely new medium. By 1925, he was creating a career for himself as a painter from his studio on Montmartre's Avenue de Clichy. From his experiments with palette and brush ambitious collections of paintings soon followed: The Golden Age of Dance; The Fall of the Angels; and The Work of Stowitts for Fay Yen Fah, costumes and stage designs for a Chinese opera.

autre. - Culver Pictures Inc., New York s.d. (1921), 19,5x24,6cm, une photographie. - Photographie originale noir et blanc en tirage argentique d'époque représentant Anna Pavlova et Hubert Stowitts dans La Péri. Quelques manques angulaires et deux déchirures sans manques restaurés au dos à l'aide bandes adhésives. Mentions manuscrites au crayon et tampons d'agence au dos. La Péri est un ballet composé par Paul Dukas entre 1909 et décembre 1910 et dédié à la ballerine Natacha Trouhanova. L' uvre fut créée le 22 avril 1912 au théâtre du Châtelet à Paris. Le ballet entra au répertoire de l'Opéra de Paris en 1921, avec Anna Pavlova et Hubert Stowitts dans les rôles de la Péri et d'Iskender [ENGLISH DESCRIPTION ON DEMAND].

Dessin original (131 x 130 mm), avec signature autographe en capitales sur toute la largeur, gouache, encre de Chine et or, monté sur papier noir, représentant la tête de face d'un démon ailé et griffu. (CN1) On joint, sous une chemise cartonnée avec rabats de papier irisé, lacets de fermeture en soie noire. : - 41 reproductions en couleurs (sur 53), petit in-4 sur vélin blanc glacé collées par deux ou quatre coins (aquarelles pour décors et costumes dont 2 planches pour les accessoires), planches extraites de "L' uvre de Stowitts pour Fay-Yen-Fah. Opéra en trois actes" (P., M. et J. de Brunoff, 1927, in-4), paru à l'occasion de l'exposition à la Galerie Charpentier. Sous couverture de papier marron, contrecollée sur le portefeuille, prospectus de Brunoff (395 x 325 mm) imprimé en brun foncé et rouge avec rehauts d'or à la main sur les lettres rouges du premier plat. Au centre de celui-ci est collée une lettrine carrée imprimée en or sur fond ocre, représentant en idéogramme la signature de l'artiste. Au second plat figure la mention suivante : "Un magnifique ouvrage grand in-4 colombier (33 x 40 cm) sur papier marron pur chiffon à la forme, contenant la reproduction fac-similé en couleurs des 52 tableaux de Stowitts pour les décors et costumes de Fay-Yen-Fah. Le texte imprimé en trois couleurs, est enrichi de nombreux en-têtes, lettres ornées, culs-de-lampe et vignettes dessinées par l'artiste. L'édition française comporte 200 ex. numérotés". - 39 vignettes collées sur 5 ff. in-4 dont 19 reproductions en couleurs de lettrines, bandeaux. et 20 petits dessins originaux pour culs-de-lampe sur papier blanc fort, à l'aquarelle, encre de Chine et or, figurant par paire (chacune inversée) 10 thèmes différents : trio d'oies, oiseaux fantastiques, dragons, dieu chevauchant le renard, dame et magot, entrelacs et livres enrubannés. - Catalogue d'exposition à l'Indian Museum de Calcutta, vernissage le 17/12/1928 (147 x 114 mm) imprimé en noir sur papier vert et illustré d'un autoportrait en couleurs : "(.) Stowitts Exhibition of (40) Portraits of Javanese Rulers European Celebrities and Royal Artists of the Java Court Theatres". Parmi les Occidentaux, citons Mussolini, Ezra Pound en 1928, Gennaro Favai et Petrella da Bologna (peintres vénitiens), et le pianiste californien Paul Mc Coole. - Catalogue d'exposition de 150 oeuvres de Stowitts, relatives aux arts et métiers de l'Inde britannique. Bruxelles, Musées royaux d'art et d'histoire, 1932, in-8, br., 32 pp., 8 photos h.-t., texte en néerlandais et français.Hubert J. Stowitts (1892-1953), né au Nebraska, exerça ses multiples talents dans la danse, les arts et la décoration. En 1915, Anna Pavlova le recruta pour sa compagnie et en fit le premier danseur étoile américain dans le ballet russe. Il quitta Pavlova pour s'installer à Paris vers 1920 et poursuivre sa carrière en solo en Europe. Il triompha aux Folies Bergère en 1924 dans des costumes éblouissants d'Erté. Au faîte de sa gloire et au sommet de sa forme, il s'arrêta et se tourna en 1925 vers la peinture et le décor, oeuvrant dans son studio de l'avenue de Clichy. Le riche esthète californien Charles Templeton Crocker lui demanda de concevoir les décors et costumes de son opéra Fay-Yen-Fah. Il fit des recherches poussées sur les costumes, la vie et les coutumes à la cour de Chine ancienne. Malheureusement pour lui, l'Opéra de Monte-Carlo fit représenter en février 1925 The Land of Happiness de Crocker et Redding, mais avec Balanchine. Stowitts commença en 1926 les dessins pour Fay-Yen-Fah et les exposa en 1927 à Paris en même temps que son livre. Il fit son premier film "The Magician" en 1926, vécut en Indonésie et en Inde, revint à Paris en 1931 chargé de peintures et accompagna ses collections asiatiques dans les musées d'Europe et des États-Unis. 55 tableaux d'athlètes nus grandeur nature, les "American Champions" furent exposés aux Olympiades de Berlin en 1936, mais ses Noirs et Juifs firent fermer l'exposition par Rosenberg. Il versa dans la spiritualité à la fin de sa vie et réalisa des mandalas de la sagesse secrète. Bel ensemble.

Buckram cloth. Etat : Near Fine. Limited Signed Edition. No. 371 of 400 limitation. Printed by Bernard Freres and plates engraved by Deichel-Ploquin in 1928. Folio, 15.5 by 13.5 inches, 40 by 34 cm. 44 pp, followed by 50 color plates with text on versos. With a total of 53 tipped-in, full page color plates, and 6 other tipped-in color illustrations, along with some red and gilt text illustrations or ornamentation. This is an elaborately produced, unique volume containing the classic Chinese Opera "Fay-Yen-Fah", along with the traditional designs, costumes and decor, as illustrated in Stowitts decorations and color plates. Hubert Julian "Jay" Stowitts (1892-1953) was a true polymath -- a gifted athlete, he willed himself to become a dancer after being swept away watching a performance, and within a few years he was discovered by the famed Russian ballerina Anna Pavlova and traveled as a successful dancer throughout the Americas and Europe, becoming the first American to star with a Russian ballet troupe. After a solo career, Stowitts retired from dancing and began a new career as a painter and occasional film actor. He traveled and lived in the Far East and South Asia, where he produced 155 paintings he called "Vanishing India." At the 1936 Olympics in Berlin, his exhibition of fifty-five paintings of nude male American athletes caused a "sensation." The Nazis closed the exhibit down, partly because it showed depictions of Jewish and African-American athletes. Stowitts was fascinated by Eastern religion and philosophy and much of his later work reflects his exploration of these ideas. In this Stowitts can be viewed rightly as a kind of visionary and precursor for ideas that gained wider acceptance in the West in the 1960s and after. The buckram binding, which appears to be a bit later, has washed out color and minor deterioration in the front upper spine area and a few limited spots of washed out discoloration. Otherwise, the binding is tight and the interior is bright and fresh.