Georges BRAQUE

First edition of this issue devoted to Antonin Artaud, one of 50 numbered copies on Marais wove, the only copies on deluxe paper.
Contributions by Antonin Artaud, Georges Braque, René Char, Charles Dullin, Jacques Audiberti, Camille Bryen, André Pieyre de Mandiargues, Arthur Adamov...
A rare and attractive copy.

First edition, one of 170 numbered copies on vélin du Marais, the only issue after 30 copies on Arches.

Custom chemise and slipcase, chemise in half blue box calf, flat spine with blind and palladium-stamped lettering, date in palladium at foot, patterned paper boards, slipcase edged in blue box calf, patterned paper boards, sides and spine in petrol blue paper, signed by Boichot.
A very fine copy.
Illustrated with 3 original etchings in black by Georges Braque and one in black and grey as frontispiece.
Signed by René Char and Georges Braque on the colophon.

First edition of this illustrated issue with 5 reproductions of works by Georges Braque.
Spine slightly warped with a small tear at foot.
Contributions by Jean Paulhan: "Braque, le patron", André Frénaud: "Noël 39", Robert Ganzo: "Poèmes", Georges Ribemont-Dessaignes "Le grand désert", Gabriel Audisio: "Paris, la poésie"...

First edition.
Contributions by Alfred Jarry with letters, poems by Guillaume Apollinaire, Blaise Cendrars, Max Jacob, Vincent Muselli, Jean Royère, Jacques Dyssord...
Issue illustrated after 8 recent paintings by Georges Braque.
Small corner lacks to boards, boards tending to detach.

First edition.
Contributions by Alfred Jarry with letters, poems by Guillaume Apollinaire, Blaise Cendrars, Max Jacob, Vincent Muselli, Jean Royère, Jacques Dyssord...
Issue illustrated after 8 recent paintings by Georges Braque.
A small stain to first cover, handsome copy.
Rare.

First edition.
Literary contributions by Georges Braque “Pensées et réflexions sur la peinture”, Guillaume Apollinaire “Chant d'amour”, Léonard Pieux “Clameurs”, Vincent Huidobro “Poème”, Paul Dermée “Poème”, Roch Grey “Ténare”, J. Frantz Simon “Chanteuse” and Pierre Reverdy “Galeries”.
A small mark at the foot of the page featuring “Clameurs” by Léonard Pieux, first leaves slightly turned down at the foot.
Rare copy of this significant Dada magazine.

First edition.
Contributions by Jean Paulhan "Braque le patron", Georges Ribemont-Dessaignes "Le grand désert" and "D'une figure de cire", André Frénaud "Nöel 39", Robert Ganzo and Eugène Guillevic "Poèmes"...
Spine slightly sunned, one gathering poorly cut with marginal lacks on one leaf.
Illustrations by Georges Braque.

First edition of the inaugural issue of this review, directed in part by Albert Camus and René Char.

 

 

Contributions by Albert Camus, “Le meurtre et l’absurde”; René Char, “Recherche de la base et du sommet”; Georges Braque, “Suite aux cahiers”; Herman Melville, “Dialogue sur le créateur et la critique”; Jean Grenier, “L’histoire a-t-elle un sens?”; Louis Guilloux, “En mon bel âge”; Yves Battistini, “Empédocle”...

 

 

Covers slightly and marginally soiled.

 

First edition of this program for the gala evenings organized around the "Soirées de Paris" and for the benefit of the war widows' assistance charity and the Russian refugees' relief committee.
Prefaces by Lucien Daudet at the end of the program and by Count Etienne de Beaumont, the patron of the event.
Issue illustrated with reproductions of paintings by Georges Braque, Pablo Picasso, André Derain and drawings by Jean Victor-Hugo.
Some worming to margins of front cover, small tears to spine, handsome interior condition.

First edition of this review edited by Maurice Raynal and Efstrathios Tériade, and in particular illustrated by Georges Braque, Balthus, Roger Vitrac published between April 1935 and February 1936.
An artistic and literary review created by the writers Maurice Raynal and Michel Leiris, La Bête noire was conceived as an attempt at an intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The review was baptized by the wealthy banker Marcel Moré, a friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
La Bête noire was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of the Cubists and author of monographs on Fernand Léger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blinds" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine issues of the luxurious review Minotaure founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire over , Tériade enjoyed great success with his art review Verve and his illustrated books made in collaboration with Picasso.
Directed against the “cowards of the modern spirit”, La Bête Noire favored novelty and literary innovation, and sifted through contemporary pictorial tendencies: Marinetti's futurism, the posterity of cubists and wild beasts, young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and notably wrote a dithyrambic article on New York, entitled " I am an American ". The pre-first edition contains Antonin Artaud's essays on the theater of cruelty, Doctor Allendy's thesis "Fascism and Homosexuality", and a podium by André Breton, delivered at the Writers' Congress. The review was also a privileged place of poetic research, where Raymond Queneau published for the first time his theatrical poem "Muses and Lizards ", Henri Michaux his poem "But you, when will you come?" " , And Jules Supervielle an extract from La fable du monde, published in its entirety in 1938.
The review includes among others the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles-Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Régnier, Pierre Reverdy, André de Richaud, Roger Vitrac ...
We can also admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsbourg, Roger Vitrac and Jacques Audiberti.

First edition of this review edited by Maurice Raynal and Efstrathios Tériade, and in particular illustrated by Georges Braque, Balthus, Roger Vitrac published between April 1935 and February 1936.
An artistic and literary review created by the writers Maurice Raynal and Michel Leiris, La Bête noire was conceived as an attempt at an intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The review was baptized by the wealthy banker Marcel Moré, a friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
La Bête noire was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of the Cubists and author of monographs on Fernand Léger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blinds" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine issues of the luxurious review Minotaure founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire over , Tériade enjoyed great success with his art review Verve and his illustrated books made in collaboration with Picasso.
Directed against the “cowards of the modern spirit”, La Bête Noire favored novelty and literary innovation, and sifted through contemporary pictorial tendencies: Marinetti's futurism, the posterity of cubists and wild beasts, young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and notably wrote a dithyrambic article on New York, entitled " I am an American ". The pre-first edition contains Antonin Artaud's essays on the theater of cruelty, Doctor Allendy's thesis "Fascism and Homosexuality", and a podium by André Breton, delivered at the Writers' Congress. The review was also a privileged place of poetic research, where Raymond Queneau published for the first time his theatrical poem "Muses and Lizards ", Henri Michaux his poem "But you, when will you come?" " , And Jules Supervielle an extract from La fable du monde, published in its entirety in 1938.
The review includes among others the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles-Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Régnier, Pierre Reverdy, André de Richaud, Roger Vitrac ...
We can also admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsbourg, Roger Vitrac and Jacques Audiberti.

First edition of this review edited by Maurice Raynal and Efstrathios Tériade, and in particular illustrated by Georges Braque, Balthus, Roger Vitrac published between April 1935 and February 1936.
Marginal tears.
An artistic and literary review created by the writers Maurice Raynal and Michel Leiris, La Bête noire was conceived as an attempt at an intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The review was baptized by the wealthy banker Marcel Moré, a friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
La Bête noire was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of the Cubists and author of monographs on Fernand Léger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blinds" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine issues of the luxurious review Minotaure founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire over , Tériade enjoyed great success with his art review Verve and his illustrated books made in collaboration with Picasso.
Directed against the “cowards of the modern spirit”, La Bête Noire favored novelty and literary innovation, and sifted through contemporary pictorial tendencies: Marinetti's futurism, the posterity of cubists and wild beasts, young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and notably wrote a dithyrambic article on New York, entitled " I am an American ". The pre-first edition contains Antonin Artaud's essays on the theater of cruelty, Doctor Allendy's thesis "Fascism and Homosexuality", and a podium by André Breton, delivered at the Writers' Congress. The review was also a privileged place of poetic research, where Raymond Queneau published for the first time his theatrical poem "Muses and Lizards ", Henri Michaux his poem "But you, when will you come?" " , And Jules Supervielle an extract from La fable du monde, published in its entirety in 1938.
The review includes among others the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles-Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Régnier, Pierre Reverdy, André de Richaud, Roger Vitrac ...
We can also admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsbourg, Roger Vitrac and Jacques Audiberti.

First edition of this review edited by Maurice Raynal and Efstrathios Tériade, and in particular illustrated by Georges Braque, Balthus, Roger Vitrac published between April 1935 and February 1936.
Marginal tears.
An artistic and literary review created by the writers Maurice Raynal and Michel Leiris, La Bête noire was conceived as an attempt at an intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The review was baptized by the wealthy banker Marcel Moré, a friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
La Bête noire was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of the Cubists and author of monographs on Fernand Léger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blinds" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine issues of the luxurious review Minotaure founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire over , Tériade enjoyed great success with his art review Verve and his illustrated books made in collaboration with Picasso.
Directed against the “cowards of the modern spirit”, La Bête Noire favored novelty and literary innovation, and sifted through contemporary pictorial tendencies: Marinetti's futurism, the posterity of cubists and wild beasts, young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and notably wrote a dithyrambic article on New York, entitled " I am an American ". The pre-first edition contains Antonin Artaud's essays on the theater of cruelty, Doctor Allendy's thesis "Fascism and Homosexuality", and a podium by André Breton, delivered at the Writers' Congress. The review was also a privileged place of poetic research, where Raymond Queneau published for the first time his theatrical poem "Muses and Lizards ", Henri Michaux his poem "But you, when will you come?" " , And Jules Supervielle an extract from La fable du monde, published in its entirety in 1938.
The review includes among others the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles-Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Régnier, Pierre Reverdy, André de Richaud, Roger Vitrac ...
We can also admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsbourg, Roger Vitrac and Jacques Audiberti.

First edition of this review edited by Maurice Raynal and Efstrathios Tériade, and in particular illustrated by Georges Braque, Balthus, Roger Vitrac published between April 1935 and February 1936.
Marginal tears.
An artistic and literary review created by the writers Maurice Raynal and Michel Leiris, La Bête noire was conceived as an attempt at an intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The review was baptized by the wealthy banker Marcel Moré, a friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
La Bête noire was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of the Cubists and author of monographs on Fernand Léger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blinds" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine issues of the luxurious review Minotaure founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire over , Tériade enjoyed great success with his art review Verve and his illustrated books made in collaboration with Picasso.
Directed against the “cowards of the modern spirit”, La Bête Noire favored novelty and literary innovation, and sifted through contemporary pictorial tendencies: Marinetti's futurism, the posterity of cubists and wild beasts, young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and notably wrote a dithyrambic article on New York, entitled " I am an American ". The pre-first edition contains Antonin Artaud's essays on the theater of cruelty, Doctor Allendy's thesis "Fascism and Homosexuality", and a podium by André Breton, delivered at the Writers' Congress. The review was also a privileged place of poetic research, where Raymond Queneau published for the first time his theatrical poem "Muses and Lizards ", Henri Michaux his poem "But you, when will you come?" " , And Jules Supervielle an extract from La fable du monde, published in its entirety in 1938.
The review includes among others the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles-Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Régnier, Pierre Reverdy, André de Richaud, Roger Vitrac ...
We can also admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsbourg, Roger Vitrac and Jacques Audiberti.

First edition of this catalog of the exhibition Georges Braque-René Char at the library Jacques Doucet, one of 50 numbered copies on vellum, reimposed and nominative, ours printed especially for Pierre Bartoli, secretary general of the Academy of Paris.
Nice copy.
Foreword by Georges Blin.
Autograph dedication dated and signed by Georges Blin to Pierre Bartoli below the justification of the draw.
Our copy is complete of the original lithography that Georges Braque composed for the edition of René Char "Lettera Amorosa".
Our lithography is exceptionally justified and signed with his initials by Georges Braque.

First edition of this review directed by Maurice Raynal and Efstrathios Tériade, and illustrated by Georges Braque, Balthus, Roger Vitrac. The collection is complete with eight issues published between April 1935 and February 1936. Joints, three newsletter subscriptions to the magazine accompanied by a humorous text.
Folds, marginal tears.
A rare complete collection of The Black Beast, an artistic and literary magazine created by the writers Maurice Raynal and Michel Leiris. It was conceived as an attempt at intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The magazine was baptized by the rich banker Marcel Moré, friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
The Black Beast was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of Cubists and author of monographs on Fernand Leger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blind" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine deliveries of the luxurious magazine Minotaur founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire completed, Teriade was a great success with his art magazine Verve and his illustrated books made in collaboration with Picasso.
Directed against the "cowardice of the modern spirit," the Black Beast privileged novelty and literary innovation, and sifted the contemporary pictorial tendencies: the futurism of Marinetti, the posterity of cubists and beasts, the young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and wrote including a dithyrambic article on New York, entitled " I am an American ". There is in pre-first edition the essays of Antonin Artaud on the theater of cruelty, Dr. Allendy's thesis "Fascism and Homosexuality", and a tribune of André Breton pronounced at the Congress of Writers. The journal was also a privileged place of poetic research, where Raymond Queneau published for the first time his poem-theatrical "Muses and Lizards ", Henri Michaux his poem "But you, when will you come? " And Jules Supervielle an excerpt from The Fable of the World, published in its entirety in 1938.
The magazine includes, among others, the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Regnier, Pierre Reverdy, Andre de Richaud, Roger Vitrac ...
In addition, we can admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsburg, Roger Vitrac and Jacques Audiberti.
Very rare complete collection of a monthly that played the role of Parisian avant-garde forum.

First edition printed in 120 numbered copies on Japon and illustrated as frontispiece with a copper engraving by Georges Braque.
Nice and rare copy complete with its chemise and slipcase.
Handwritten signature of Georges Braque to colophon.

First edition, one of 200 copies numbered on handmade paper, only draw with 50 out of trade.
Illustrated book frontispiece of a drawing by Georges Braque.
Pleasant copy despite a small tear in the foot of the first board.
Handwritten signature of René Char at the colophon.

first edition.
Binding of the publisher in full navy, smooth back, first board illustrated, complete copy of its rodhoïd which includes a small tear at the head of the first board.
Autograph signed by Maurice Gieure to Pierre Dumayet .
Rich iconography.

Edition first in part, one of 120 numbered copies on pur fil paper, the only large paper copies.
A very good copy.

First edition.
Publisher's binding in full navy cloth, smooth spine, illustrated front cover, complete with its cellophane wrapper which has small marginal tears of no consequence.
Rich iconography.
Foxing to endpapers, otherwise handsome interior condition.