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COLLECTIF

COLLECTIF

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5385 results
  3. La bête noire n°5
    COLLECTIF, Maurice RAYNAL
    La bête noire n°5
    S. n.|s. l. • (Paris) 1er octobre 1935|32 x 48 cm|un numéro
    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.
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  4. La bête noire n°7
    COLLECTIF, Maurice RAYNAL
    La bête noire n°7
    S. n.|s. l. • (Paris) 1er décembre 1935|32 x 48 cm|un numéro
    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.
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  5. La bête noire n°4
    COLLECTIF, Maurice RAYNAL
    La bête noire n°4
    S. n.|s. l. • (Paris) 1er juillet 1935|32 x 48 cm|un numéro
    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.
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  6. La bête noire n°3
    COLLECTIF, Maurice RAYNAL
    La bête noire n°3
    S. n.|s. l. • (Paris) 1er juin 1935|32.50 x 46 cm|un numéro
    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.
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  7. La bête noire n°2
    COLLECTIF, Maurice RAYNAL
    La bête noire n°2
    S. n.|s. l. • (Paris) 1er mai 1935|28 x 38 cm|un numéro
    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.
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  13. Bulletin officiel des Forces françaises libres N°1
    Charles DE GAULLE, COLLECTIF
    Bulletin officiel des Forces françaises libres N°1
    [Joint :] carton d'invitation au premier anniversaire de l'appel du 18 Juin organisé par les « Français de Grande-Bretagne » au Royal Albert Hall, le 18 juin 1941.
    15 août 1940|18.60 x 24.60 cm|broché

    15 août 1940 | 18.6 x 24.6 cm & 16 x 20 cm | loose leaves under custom slipcase
    First edition of the first and only issue to appear of the Bulletin Officiel de la France Libre which, as well as reproducing the Affiche à tous les Français, presented for the first time the original text of the Appeal of the 18th June, the agreement of the 7th August 1940 between General de Gaulle and Winston Churchill and the legal bases of the «Free French» government thus brought into being. Remarkably rare, this first official organ of Free France was without doubt distributed in a very small number of copies, essentially aimed at the members of this nascent government, seeking legitimacy.
    The two documents are arranged in a full bleu de France morocco box, author and title engraved in gilt on the first board, magnetic fastener, interior lined with brown lamb, made-to-measure rhodoïds protecting and presenting the leaves, remarkable box signed by Thomas Boichot.
    Highly symbolic, this bulletin brings together the three foundational elements of the new French State: the General's declaration, the recognition of other countries, and the presentation of an organized government.
    Published only on the 15th August, the bulletin was composed from the times of the signature of the British agreement on, which was the decisive element allowing the French Resistance to assert itself.
    «With this agreement, General de Gaulle was officially recognized as 'leader of the Free French' by his British allies. It was now a case of giving the Free French the form of a government in exile. This is the task to which René Cassin has set himself; an eminent lawyer who rallied to the General's cause a few days after the Call of the 18th June. This enormous task cannot be achieved quickly. Nonetheless, Free France has to define and communicate the rules of its functioning. This is why this Bulletin Officiel des Forces Françaises Libres appeared on the 15th August, taking the form of an official publication of the French Republic without actually using any of its symbols.» (in Résistance 09/10, published by the Musée National de la Résistance). It was later in the Journal Officiel de la France Libre that every month from January 1941 the laws and decrees organizing Free France were published.
    However, the key part of this bulletin refers to a past event as yet unpublicized. As the article in Résistance 09/10 highlights, «this first issue carried on its first page, under the heading 'General de Gaulle recognized by the British Government' the first Appeal by the General and the text of the poster that was posted on the walls of England.» Despite the fact that the bulletin appeared almost two months after the Appeal of 18th June, the text of the first and most important of de Gaulle's speeches is here published for the first time in its original version, as the General wrote it. The radio version was, in fact, modified at the request of the British Government in order to keep options open if the Pétain government refused to sign the armistice.
    In his memoirs, de Gaulle noted this initial precaution: «nonetheless, while taking my first steps along the path of this unprecedented career, I had the duty of making sure that no power with more claim than mine was ready to put France and the Empire back into the fight. Before the armistice was in effect, one could still imagine, despite all evidence to the contrary, that the Bordeaux government would in the end choose war. Even if it was the slimmest change, we had to entertain it.»
    Thus on the 18th June 1940, four days before Pétain signed the armistice, the General's speech opens on this false note of union:
    «The French government has asked the enemy under what honorable conditions a ceasefire would be possible. It has declared that if these conditions were contrary to the honor, dignity and independence of France, the fight must go on.»
    It was this version that was printed in the very few French papers that took note of this historic event, Le Petit Provençal and Le Petit Marseillais of the 19th June 1940. The British press (he Times and he Daily Express) published the English translation of the speech written by the General and distributed by the Ministry of Information (MOI) rather than the radio version.
    «From London, General de Gaulle broadcasts in the evening an appeal to the French people not to cease resistance. He says: 'The generals who for many years have commanded the French armies have formed a Government. That Government, alleging that our armies have been defeated, has opened negotiations with the enemy to put an end to the fighting'.»
    It was thus in the Bulletin Officiel des Forces Françaises Libres that the original text of General de Gaulle's first major speech was finally printed on the 15th August 1940 and which – though it was not the spoken version – was to become the historic text of the «Appel du 18 juin».
    (The parts of the radio speech that were cut from publication in Le Petit Provençal are in bold):
    «'The generals who for many years have commanded the French armies have formed a Government. That Government, alleging that our armies have been defeated, has opened negotiations with the enemy to put an end to the fighting'.
    Certainly, we have been, we continue to be, swamped by the mechanized force, both on land and in the air, of the enemy.
    So much more than their numbers, it is the tanks, the airplanes and the tactics of the Germans that have made us retreat. It is the tanks, the airplanes and the tactics of the Germans that have taken our leaders by surprise, o the point of leading them to where they are today.
    But has the final word been spoken? Should hope be abandoned? Is this defeat definitive? No!
    Believe me, I speak to you with full knowledge of the facts and tell you that nothing is lost for France. The same means that overcame us can bring us to a day of victory.
    For France is not alone! She is not alone! She has a vast Empire behind her. She can align with he British Empire that holds the sea and continues the fight. She can, like England, use without limit the immense industry of United States.
    his war is not limited to the unfortunate territory of our country. This war is not finished by the battle of France. This war is a world wide war. All the faults, all the delays, all the suffering, do not prevent there being, in the world, all the necessary means to one day crush our enemies. Vanquished today by mechanical force, we will be able to overcome in the future by a superior mechanical force. The destiny of the world lies here.
    I, General de Gaulle, currently in London, invite the officers and French soldiers who are located in British territory or who would come there with their weapons or without their weapons, I invite the engineers and the special workers of armament industries who are located in British territory or who would come there, to put themselves in contact with me.
    Whatever happens, the flame of the French resistance must not be extinguished and will not be extinguished.
    omorrow, like today, I will speak on the radio in London.
    London, 18 June 1940».
    This copy, in an exceptional state of conservation, is addressed in a manuscript pencil note on the verso of the final leaf to one of the very first soldiers to have joined de Gaulle in London in July 1940, the airman Julien Le Tessier, (Resistance ID number: GR16P368409), an early member of the Free French Air Force, who was to become a training Lieutenant, training pilots during the war; he was later given the Légion d'Honneur.
    Also included is the very rare invitation card to the first anniversary celebrations
    for the Appeal of the 18th June organized by the «Français de Grande-Bretagne» at the Royal Albert Hall, on the 18 June 1941.
    Much more than a commemoration, this «anniversary» in the very thick of the war, was a major political act and a celebration of the General who, in the space of a year, had managed to unite around him the French Resistance forces and impose the sovereignty of the Free French.
    We have found only five copies of this bulletin, all in institutions in France and abroad: Musée de l'ordre de la Libération, Bibliothèque nationale de France
    Tel Aviv University, Israel, Harvard University, Stanford University, Université de Sherbrooke, Québec, Canada.

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  14. Le diable à Paris
    COLLECTIF, Paul GAVARNI
    Le diable à Paris
    Devil in Paris
    J. Hetzel|Paris 1845 & 1846|18.50 x 27 cm|2 volumes reliés + 1 volume d'atlas
    Le Diable à Paris [Devil in Paris]
    J. Hetzel | Paris 1845 & 1846 | 18.5 x 27 cm
    | contemporary romantic shagreen
    First edition and first printing of the 207 plates by Gavarni and 4 plates by Bertall. Many vignette illustrations.
    Contemporary Romantic binding of half red shagreen over red paper boards, spines with gilt Romantic arabesques, gilt name of a previous owner to foot, marbled paper endpapers and pastedowns.
    Contributions from George Sand, Charles Nodier, Honoré de Balzac, Gérard de Nerval, Théophile Gautier, Alfred de Musset, Léon Gozlan and others.
    This copy without any trace of foxing. A few pale and tiny dampstains to margins of some leaves.
    Complete with the extremely rare and famous «Plan de Paris fortifié, 1845, publié dans Le Diable à Paris, dressé par J. Andriveau-Goujon, J. Hetzel» (map of fortified Paris), which was distributed separately and which is missing from most copies.
    The atlas bound in half red shagreen over marbled paper boards, spine with gilt typographic motifs, marbled endpapers and pastedowns.
    Jules Hetzel, to compete with his rival Curmer's Les Français peints par eux-mêmes (1840-1842) called upon the same contributors as the Scènes de la vie privée et publique des animaux (1840-1842) that had brought him such signal publishing success.
    This artistic and literary pantheon glorifying the capital concentrated on sketches. The conceit is of a minor demon called Flammèche, Satan's private secretary. The Devil entrusts him with a mission: he has to write a weekly report to keep him updated on the life of the capital. The indolent secretary, however, relies on the talents of the writers and illustrators of the day to chronicle Parisian life in his place.
    At first appearance simplistic, this great mosaic of portraits should be considered in the context of the social statistics in Paris in the 1840s. At the end of the work, there is a 17 page chapter edited by Alfred Legoyt – a statistician and Director of the Bureau d'Administration Générale – devoted to this question. Far from being superficial, his study enlightens the reader on the various lives of Parisians at the dawn of the industrial age. Hetzel's overall tends to denounce the immense poverty of the capital, as witnessed by the literary texts, but also the touching realism of the illustrations. Gavarni, as usual producing humorous caricatures, here shows himself deeply pessimistic, illustrating the mortal nature of the condition of the city's inhabitants and testing the dominant deterministic social theory of the age.
    «Look at this world of layabouts marching about in gold, silk, furs, and embroidered clothes; while just beside them, the bundles of living rags dragging themselves along, called ‘the dregs' of the people!...The greater part of the population condemned to excessive labour, abasement, and suffering so that certain privileged castes can have a smooth, gracious, poetic existence full of whims fulfilled!» (George Sand, «Coup d'œil général sur Paris», Le Diable à Paris).
    A very good copy superbly bound of one of the most famous illustrated books of the Romantic period, complete with the exceedingly rare map of fortified Paris.
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  23. Origines et développement de l'art international indépendant
    COLLECTIF
    Origines et développement de l'art international indépendant
    Musée du Jeu de Paume|Paris 1937|16 x 25 cm|agrafé
    Origines et développement de l’art
    international indépendant
    [Origins and Developments of Independent International Art]
    Musée du Jeu de Paume | Paris 1937 | 16 x 25 cm | stapled
    Rare first edition of the catalogue for this exhibition that took place at the Jeu de Paume from 30 July to 31 October 1937 at the initiative of a committee composed of Georges Braque, Jean Cassou, Mme Cuttoli, André Dezarrois, Paul Eluard, Henri Laugier, Fernand Léger, Louis Marcoussis, Henri Matisse, Pablo Picasso, Maurice Raynal, Georges-Henri Rivière and Christian Zervos.
    Small sections of sun-exposure and marks on the margins of the boards.
    This exhibition intends to embrace and show all of the pictorial trends from Cézanne to non-figurative art: Fauvism, Cubism, Purism, Neoplasticism, Dadaism,
    Surrealism, Constructivism and, therefore, non-figurative art.
    Amongst the many artists exhibited: Pablo Picasso, Juan Gris, Roger de La Fresnaye, Jean Metzinger, Alexander Calder, Francis Picabia, Léopold Survage, Albert Gleizes, Paul Gauguin, Paul Cézanne, Georges Seurat, Edgar Degas, Vincent Van Gogh, Henri Rousseau, Odilon Redon, Auguste Renoir, Pierre Bonnard, André Derain, Henri Matisse, Marc Chagall, Georges Braque, Fernand Léger, Constantin Brancusi, Salvador Dalí, Giorgio de Chirico, Max Ernst, Joan Miro, Paul Klee, Man Ray, Piet Mondrian, Robert Delaunay, Wassily Kandinsky, Hans Arp, René Magritte, Hans Hartung
    and also sculptures and objects from Oceania and black Africa.
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  30. Ensemble de jeux de papier dreyfusards et anti-dreyfusards
    COLLECTIF
    Ensemble de jeux de papier dreyfusards et anti-dreyfusards
    Collection of Anti-Dreyfusards and Dreyfusards paper games
    s. d. [autour de 1898]|divers formats|1 caricature animée et 3 affiches
    Collection of Anti-Dreyfusards and Dreyfusards paper games

    [ca 1898] | various formats
    Collection of four original documents published at the end of the 19th century, when the Dreyfus Affair was in full swing:
    – Game of the Dreyfus goose, in colour and bearing the title «L'Affaire Dreyfus et de la Vérité» «The Dreyfus Affair and the Truth,» Seal printed by E. Charaire in 1898 (64.7 x 47.8 cm). It was a bonus offered with the Aurore newspaper.
    – Game of the anti-Dreyfus goose lithographed in colour and entitled «Jeu des 36 têtes» «Game of 36 heads» printed by L'Anti-Juif, antisemitic weekly magazine by Jules Guérin (no date [12 February 1899], 61.2 x 43 cm).
    – An anti-Dreyfus caricature with a system printed on cardboard entitled «Zola dans la mé...lasse !» by P. Dous Y'Nell, published by Léon Hayard (no date [1898], 12 x 17.4 cm). A brad fastener is used to activate the arm mechanism of a Soldier, wearing trousers and a red cap, plunging the writer into a barrel bearing the word «vidange» («draining»).
    – Colour illustrated poster entitled «Histoire d'un traître» printed by Libre parole (42.1 x 54 cm).
    Skillfull repairs.
    hese extremely fragile ephemeral paper games were distributed to influ
    ence public opinion. Using the iconographic codes of popular mediums (game of the goose, articulated puppet or comic strip) these pamphlet caricatures contributed to the social and political divide in France. Rapidly released for the written press – at the same time as the famous «J'accuse!» by Emile Zola in L'Aurore – they had a strong influence on public opinion. hese seemingly playful propaganda documents had a significant impact on the young generations and heralded the ideological violence of the 20th century.
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  33. Mission scientifique du Bourg de Bozas de la Mer Rouge à l'Atlantique à travers l'Afrique tropicale (Octobre 1900 - Mai 1903)
    COLLECTIF
    Mission scientifique du Bourg de Bozas de la Mer Rouge à l'Atlantique à travers l'Afrique tropicale (Octobre 1900 - Mai 1903)
    F.R. de Rudeval|Paris 1906|19 x 28.50 cm|broché
    First edition illustrated with 172 photographic reproductions in and off-text, a photographic frontispiece and 3 in-thin flyers.
    Covers and back uniformly insolated as generally, a little lack in foot of the back.
    Pleasant interior state despite tiny foxing margins of some leaflets.
    Signed autograph of a member of the scientist misson Léon Bérard, then Minister of Education.
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  79. Lot de 12 cartes postales photographiques
    COLLECTIF
    Lot de 12 cartes postales photographiques
    Cinémagazine édition|Paris s. d. [circa 1930]|9 x 14 cm|12 cartes photographies
    Very nice lot of 11 photographic postcards of the Cinémagazine editions, printed in the 1930s.
    Each photograph has a handwritten dedication.
    These cards show the movie stars of the time: Jean Murat, Jaque Catelain, Robert Burnier, Bach, Meg Lemonnier, Simone Cerdan, Marcelle Chantal, Josseline Gael, Fernand Gravey, Raymond Galle, Andre Roanne and Jacqueline Francell.
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  83. Tapies
    COLLECTIF
    Tapies
    Galerie Maeght|Barcelona 1983|23 x 32 cm|en feuilles
    First edition of this issue entirely dedicated to Antoni Tapies on the occasion of the exhibition of his works at the gallery Maeght in Barcelona in 1983
    Beautiful illustrated copy of reproductions of works by Antoni Tapies.
    Poems in Catalan dedicated to Antoni Tapies by Josep Vicenç Foix, Joan Brossa.
    Text by Pere Gimferrer.
    Signed autograph dedication of Antoni Tapies, in French, to his friend Georges (Raillard), great specialist of the work of Antoni Tapies, and his wife Alice.
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