New edition, the same year as the first edition which appeared in London and Paris.
Contemporary full marbled brown calf binding. Decorated spine with raised bands. Red morocco title label. Upper joint cracked at head and foot. Headcap worn. Rubbing. Handsome copy.
Rare first edition of the catalogue of the first exhibition of Benjamin Rabier's watercolors, showing 41 works at the Galerie d'art Deplanche from 8 June to 4 July 1910.
A very good copy despite slight staining to edge of upper cover.
An important and amusing preface by Guillaume Apollinaire who awards Rabier the prize for the "most spiritual of our animal painters."
The catalogue is illustrated with a reproduction of one original watercolor by Benjamin Rabier on the cover.
Erotic manuscript consisting of two beveled wooden boards with two paintings and 10 leaves with a painting on the recto and a handwritten Tibetan text on the recto. The text is the same on the 10 leaves, it is a mantra. On two of the leaves it is almost completely erased. On the recto of the two wooden boards there are also two different handwritten mantras. The paintings are executed directly on the wood and the leaves. The dimensions of the paintings vary somewhat, from 5.5 cm, 6 cm to 12, 14 cm in width.
This form, 2 pieces of wood with leaves in the middle, is traditional. The whole was often attached by a string, or by holes in the wood through which a string was passed. Very good condition overall, with small stains on the paintings on wood.
The paintings unfold 12 sexual positions in an abstract and geometric environment, composed of curves. In several paintings the colors of the background, of the ground change. The woman systematically wears a crown. It is easy to distinguish the religious or sacred character of sexuality in these images. The colors used are vivid, with an omnipresence of orange, golden and white strokes, yellow...
First edition. Royal families of Europe. Set of the French administration.
Copy with the cipher of Marie Amélie d'Orléans, wife of Louis-Philippe, who also used a simple monogram for bindings from the time he became king. Some of the almanacs were directly bound by the publisher for the royal family, these copies often bear simple marks, the publisher not having the stamps belonging to the sovereigns. Nothing formally attests however that this is a copy for Marie Amélie d'Orléans, it is on the other hand certain that this copy was intended for a member of the royal family whose M is the first name. Furthermore Marie Amélie is only the name known today of the queen, who, like all members of the nobility at this time, had several names: Marie Amélie Louis Hélène.
Deluxe publisher's binding in full straight-grained olive green morocco. Spine with false raised bands decorated with 4 elaborately gilt compartments. Covers bearing a large ornamental panel with rococo and floral garlands. Edges gilt. Rich decorative gilt board-edges. Small lacks to head. 2 corners slightly bumped and the other 2 damaged. Some foxing on the first leaves and the last (more heavily marked).
Very handsome and rare copy in full green morocco with cipher.
