Paris (France)

Rare greeting card, printed with 75 numbered copies on Lana vellum, illustrated with an original etching by Joan Miro.
Several prints of this etching have been made in different colors by Maeght publisher.
This engraving inspired Joan Miro for the illustration of André du Bouchet's poem, "The Light of the Blade", published in 1962, with the poems of Yves Bonnefoy "Anti-Plato" and Jacques Dupin "Saccades" at Maeght .

First edition of this Eskimo story told and illustrated by Paul-Emile Victor.
Small traces of angular creases without gravity on the boards.
Autograph dedication dated and signed by Paul-Emile Victor to Jean-Louis (Flamme).

First edition for which it was not drawn from great papers.
Pleasant copy despite the second marginally curled.
Signed autograph of Jeanne de Berg to G. (eorges) and A. (Lice) Raillard: "... where we pay homage, in the same gesture, Pollock and Battle."

First edition on current paper.
Nice copy despite a trace of crease at the head of the first board.
Ilustrated book of 225 full-color reproductions of watercolors and drawings by Pierre Alechinsky.
Texts by Pierre Alechinsky and Georges Duby, poem by Hugo Claus.
Autograph signed by Pierre Alechinsky to his friend Georges Raillard.

First edition, false mention of fourth edition, punch press service at the head of the second board.
A small tear in the head of the back, light dumps of adhesive paper in heads and feet of the guards.
A moving autograph dated and signed by Henri Bosco to his godson Henri Raillard: "For Henri Raillard my dear godson, listen well to the reed and the source because the reed says what the source thinks ..."

ANQUETIN Louis
Invitation card to the Louis Anquetin Exhibition held at Cubat Galerie Cubat, Paris 1910, 24 x 15.5cm, one leaf folded over.
Rare invitation card, printed on laid, to the exhibition of Louis Anquetin's works, collected and presented at Cubat from 11 May to 15 June 1897.
Beautiful copy.
The invitation card is illustrated with a woodcut block by Louis Anquetin.

Rare newsletter of the sixth book of the author he had printed on his account.
Nice copy despite a trace of vertical bend.
It should be noted that, in addition to the 30 Holland paper luxury draws, only Japan was planned, while the justification for the draw indicates 14.

Rare invitation card to attend the exhibition of tunics created by Raymond Duncan, in the theater-gallery he founded at 34, rue du Colisée, from April 25 to June 1, 1922.
Beautiful and rare copy.
Raymond Duncan was fascinated by ancient Greece since his childhood: the aesthetics and fashion of
The life he promoted at the Akademia was marked by this influence.
The press of the time glossed over the clothes worn
by Raymond Duncan and his disciples: "Greek-style" tunics
that he / she was making himself. Behind the supposed ridicule of
this accoutrement, these unisex tunics was a way of abolishing the
differences in gender and class. Raymond Duncan would have
adopted this dress after his coachman was denied access to a
beach because of his livery that betrayed his social status.
The life of the Akademia was organized around many activities: dance,
music, weaving, gymnastics, crafts, spinning, Orphic singing, language and
Greek philosophy. These courses included students from outside - who
paid according to their possibilities - and members of the living community
between its walls for a few days, a few months or a few years.
Housed and fed - according to the vegetarian diet promoted by Duncan - these
last, in return, participated in the community's economy
making sandals, spinning wool, weaving tunics on
primitive crafts. These artifacts were then sold - at high prices
- in the Akademia shop located rue du Faubourg Saint-Honoré.

Poster for the representation of the play Le Partage de midi by Paul Claudel at the Grenier Jaune, 4 February 1922 [The Break of Noon]Rare first edition of the poster of the remake of Paul Claudel's play performed at the “Grenier jaune,” 66, rue Lepic, 4 February 1922.
Beautiful copy.
The association “Art et Action,” successor to the Passy artistic club led by Guillaume Apollinaire, founded the “Grenier Jaune” studio in 1919 on the Montmartre hill. With a motto of “lace of experimentation”, where the audacious works of futurist Filippo Marinetti, of Ribemont-Dessaignes, Louis Aragon, Romain Rolland or Paul Méral were played free-of-charge in front of a secret audience. In 1922, the Grenier Jaune's troop of amateur comedians gave a new lease of life to one of Paul Claudel's masterpieces, le Partage de midi, by making the actors evolve in almost total darkness, their silhouettes standing out against the projected sets.
The poster of the play is illustrated with an original “natural” woodcut from the Ukrainian artist Chana Orloff, framed by quotations from Claudel's play. This original contribution adds to the Grenier Jaune's numerous artistic collaborations for the creation of first drafts, sketches, paper scenery, transformation costumes and masks.

First edition for which it was not drawn from great papers.
Nice copy.
Autograph dedication signed by Jean-François Lyotard to Anne Sarraute.

First edition on current paper.
Back and flat slightly and uniformly yellowed without gravity.
Signed autograph of Alain Robbe-Grillet to his friend Georges Raillard: "... I raise to you my big glass.The mirror that comes back, with the image of the bride! Faithful friendship."

First edition on current paper.
Small light spots without gravity on the boards.
Autograph dedication signed by Claude Simon to Henri Raillard, the son of art critic Georges Raillard.

First Edition printed 1500 copies numbered on "bouffant" paper.
Pleasant copy despite a small tear in the back of the head.
Signed autograph Jacques Dupin to his great friend and biographer Georges (Raillard) and his wife Alice: "... with all my affection ..."

First edition for which it was not drawn from great papers.
boards slightly and marginally insolated.
Autograph signed by Gérard Genette Georges Raillard.

First edition.
Nice copy.
Signed autograph from Charles Juliet to Anne Sarraute: "... a faithful reader of the QL Charles Juliet."

Complete edition of the French translation prepared by Alice Raillard and for which it was not drawn from great papers.
Nice copy.
Preface by Georges Raillard.
Signed autograph dedication of Jorge Amado, in Portuguese, to his translator Alice (Raillard) and her husband the art critic Georges.

First edition printed with 95 numbered copies on Muguet du Moulin, ours one of the 15 out of trade.
Nice copy.
Illustrated book of 2 original etchings by Josef Sima.
Handwritten signature of Yves Peyré to the colophon.

Les Peintres impressionistes. Pissarro, Monet, Sisley, Renoir, Morisot, Cézanne, Guillaumin
[History of the Impressionist Painters]
First edition printed on ordinary paper.

Bradel binding in green glazed half calico, title piece in black shagreen, marbled paper boards, wrappers and spine preserved, contemporary binding blind tool signed by Stroobants. Endpapers lightly and fully discolored, title piece marginally damaged.
Illustrated with 6 original engravings by Camille Pissarro “Les faneuses,” Claude Monet “Impression soleil levant,” Auguste Renoir “Femme nue assise” and “Femme nue couchée,” Paul Cézanne “Portrait de Guillaumin” and
Paul Guillaumin “Vue prise de Saardam,” which is in color.
Also illustrated with several reproductions of works, 17 of which are inset plates.
A pleasant copy which includes a supplementary original engraving, the prestigious “Impression soleil levant” by Claude Money, the majority of copies include five of them, whereas ours includes six.

COLLECTIF
Souvenir programme of the “Chat Noir” cabaret
Imprimerie P. Sergent, Paris s.d. (circa 1910), 13 x 19.5cm, one leaf held by a lace.
Rare original edition of this souvenir programme of the famous Montmartre cabaret that, according to Laurent Tailhade, was “L'Assommoir et la Divine Comédie amalgamés” “The Watering Hole and the Divine Comedy amalgamated.”
Beautiful copy despite two small tears from the pink silk string.
Programme decorated with illustrations by Red.
We attach a second “Chat Noir” programme showing the different attractions that brought memorable evenings at this picturesque cabaret to life.

(Francis POULENC & Georges AURIC & Guillaume APOLLINAIRE
& Jean COCTEAU & Paul CéZANNE & Auguste RENOIR et al.)
Double invitation program to a Groupe des Six concert and the second exhibition of the Jeune Peinture Française, Cézanne – Renoir from 17 June to 4 July 1920, Galerie Manzi-Joyant et Cie
Paris 1920 | 11.5 x 14.7 cm | one folded leaf
Rare first edition of the double invitation program to a “Groupe des Six” concert, held on 19 June 1920, and the second exhibition of the Jeune Peinture Française, from 17 June to 4 July 1920, at the Galerie Manzi-Joyant et Cie
This document combines the musical event (with works from Francis Poulenc, Louis Durey, Arnold Schoenberg, Georges Auric, Arthur Honegger, Darius Milhaud and Germaine Tailleferre) and the exhibition of paintings by Paul Cézanne, Auguste Renoir, Pierre Bonnard, Henri Matisse, Félix Vallotton, Paul Sérusier and Paul Signac among others, as well as sculptures by Aristide Maillol and Antoine Bourdelle.
The program announces the avant-garde concert by “Groupe des Six,” formed the same year by the poet Jean Cocteau. It is part of a long series of memorable performances, organised since 1917, by the young pianist-composers of the “Groupe des Six,” where music was played and poems were recited (this program indeed mentions the reading of the Bestiaire by Guillaume Apollinaire and four poems by Paul Claudel).
On the reverse we find an invitation for four people to the second exhibition of the “Jeune Peinture Française,” an association of which Pierre Bonnard and Auguste Renoir were the honorary presidents.

Original photograph of Simon Hantaï in his workshop, contemporary silver argentic print
Original photograph, contemporary silver argentic print, of Simon Hantaï in his workshop organising, with a cigarette in his mouth, the bones for his painting-sculpture entitled “Femelle-miroir II.” This painting is on display today at the Centre Pompidou.
Stenciled inset glued on the back of the picture: “The last word of Surrealist painting. A painter produces his canvas with a skeleton. A young painter Simon Hantaï, who has just discovered André Breton, the father of Surrealism, unveils a conception of modern painting that is at least said to be approved using the skeletal parts of different animals such as sheep, cows, horses, etc.... he adorns and completes his canvasses that become true works in relief. If we are to believe the fortune tellers, it will be the painting of tomorrow and to confirm these predictions, we add that Simon Hantaï already has buyers. Here is Simon Hantaï in front of one of his latest works. Eclair mondial 4 2 53.”

The pictures showing Simon Hantaï at work are an extraordinary rarity.

Edition printed on vellum and illustrated with 4 full-color full-page engravings of Foujita.
Pleasant copy despite a tiny tear in the back and a slight trace of sunstroke in his foot.
Translation of Kuni Matsuo and Emile Steinilber-Oberlin.
Book decorated with a portrait of Bashô by Kyoroku and a thumbnail of Kiyoshi Hasewaga on the cover.

Exposition Salvador Dalí

Galerie Pierre Colle, Paris 1932, 24 x 15,5 cm, stapled

First edition of the catalogue of Salvador Dalí's second personal exhibition, presenting 27 works by the artist (of which 2 were Surrealist objects), held at the Galerie Pierre Colle between 26 May and 17 June 1932.
Ink stains on the wrappers.

A long and beautiful poem by Paul éluard, entitled “Salvador Dalí” serves as a preface to this rare catalogue.
The poem marks éluard's cooling down and renunciation, two years after his split from his wife Gala, whom she left for Dalí. Amongst Dalí's 25 paintings cited in this catalogue, there are some that are well known today: The Persistance of Memory, Six Images of Lenin on a Piano, Agnostic Symbol.

[“ART NèGRE” – PRIMITIVE ARTS] GUILLAUME Paul & MODIGLIANI Amedeo & PICASSO Pablo
1st Exhibition (from 19 March to 5 December 1916) Kisling, Matisse, Modigliani, Ortiz de Zarate, Picasso, Sculptures nègresVery rare original catalogue of the first French exhibition of “Art nègre” judged according to aesthetic, and not ethnographic, criteria.
After Debussy's concert, then the concert of Satie and Ravel, in April 1916, this first artistic exhibition of the Parisian workshop “Lyre et Palette” presented 35 works by the painters Picasso, Modigliani, Kisling, Ortiz de Zarate and 25 “sculptures Nègres” from Paul Guillaume's collection, founder of the Société d'Art et d'Archéologie Nègre et de l'Art Africain. Eric Satie played the piano, in honor of which the catalogue is enriched with two original poems by Cendrars and Cocteau celebrating the modernity of the composer. However, it is mainly thanks to the note, a true manifesto – anonymous, but attributed to Apollinaire – in favor of “l'Art nègre”, that this exhibition would become a major event in the history of Modern Art.
Beautiful copy despite one sign of a horizontal fold in the middle of the catalogue.
Extremely rare.
Thanks to the Trocadéro museum and to several private exhibitions of exotics works, the Parisians were not strangers to the arts of the colonies (in 1913, Charles Vignier revealed around twenty Art nègre statuettes at the closing of his exhibition dedicated essentially to the Asian arts).
However, a unique and scandalous initiative, Lyre et Palette declared the end of the ethnocentric vision of art by presenting Paul Guillaume's collection as equal to the works of modern artists.
Thus, fifteen portraits of Modigliani, so many paintings of whom had never before been gathered together, paintings by Picasso and drawings by Matisse were compared with many Gabon masks, Congo heads and Sudanese idols (it is noteworthy that the styles and ethnicities had not yet been identified).
The only previous attempt at artistic confrontation between Modern Art and African Art took place in New York in 1914, despite the relative absence of African works in the United States at the beginning of the century. In his 291 gallery, Alfred Stieglitz exhibited preparatory drawings by Braque and Picasso together with Koto masks already coming from the collection of... Paul Guillaume.
Former employee in a garage, Paul Guillaume fell in love with African art during a visit in Gabon when discovering a Kota reliquary amid consignments of rubber intended for tire manufacture. He soon became one of the most prominent figures in the interest of the American market for primitive art and notably served as Albert Barnes's advisor. Thanks to him, works still considered in France as “exotic” are in the United States immediately associated with other artists of his collection such as Brancusi, Picabia or Picasso to whom Paul Guillaume was introduced by his friend Apollinaire.
The “Lyre et Palette” exhibition was more ambitious and did not intend to show the sources of inspiration of the exhibited artists, but aimed to re-establish equality between the artistic expressions. Picasso's works are not, incidentally, those from his “African period,” and the works by Kisling or Ortiz de Zarate are barely linked with Africa. The “sculptures nègres” are, therefore, presented here for their aesthetic modernity, just like the cubist investigations of the young painters. Yet, this equality is not only suggested through the proximity of the works, but it is assumed through the typographical composition of the catalogue and affirmed in the introductory note to the sculptures.
It is Jean Bourret, in his article “Une amitié esthétique au début du siècle : Apollinaire et Paul Guillaume” “An aesthetic friendship at the beginning of the century: Apollinaire and Paul Guillaume,” who attributes this anonymous note introducing the collection of his friend, Paul Guillaume, to Apollinaire:
“Art nègre. It is the first time that it is being exhibited in Paris, not for its ethnic or archaeological characteristics, but for its artistic character: the black sculptures that are fetishes in Africa and Oceania. The art from these parts of the world has, these last few years, played a significant role in aesthetic development in France. It is unfamiliar to the masses, the Trocadéro museum is exclusively ethnographical and does not showcase the beauty of the works it exhibits anywhere...”
It is a perfect synthesis of an article by the poet published in 1912. In it he defended “the masterpieces by the African artists” until then relegated to the rank of “crude fetishes, grotesque testimony to ridiculous superstitions” and “exhibited haphazardly at the Trocadéro museum” “almost completely abandoned by the administration to which he belongs.” So, he campaigned for the creation of a “large exotic art museum, which would be for this art, what the Louvre is for European art” (cf. “Exotisme et ethnographie” in Paris-Journal, 10 September 1912).
The initiative will certainly not come from the public authorities who, on the brink of the Great War, have many other worries. It is thus to “Lyre et Palette” that the privilege of the primitive arts' first emergence in the collective consciousness returns. Apollinaire did not fail to participate in this important event and, having just undergone surgery, he opened the exhibition with a reading of his war poems on the evening of 26 November, as Paul Morand testifies in his Journal d'un attaché d'Ambassade:
“Been, rue Huyghens in a Montparnasse workshop, with the cubists. Three hundred people in a little room: cubist paintings on the walls; Jean Cocteau, Mme Errazuriz, Eric Satie, Godebski, Sert, in big driving coats, well-worn fedoras over their noses, as if in a bad place. I see Apollinaire for the first time, in uniform, his head bandaged. The only funny thing is the verse of the little Durand-Viel girl who is five years old.”
Despite Morand's severe judgement – who did not even mention the African sculptures – this first “Lyre et Palette” exhibition in Emile Lejeune's gallery will become a deciding event in the history of Modern Art. It will not only contribute to the aesthetic recognition of the so called primitive arts, but also mark the return of Erik Satie, rediscovered by Cocteau in this same place during a concert on 18 April 1916.
The bond between the artists born out of this avant-garde exhibition will be at the origin of the famous ballet Parade, created in 1917 by Cocteau, Satie and Picasso for Diaghilev and remains “one of the greatest scandals in the entire history of music.”
Significant and extremely rare catalogue-manifesto signaling the end of artistic ethnocentrism.

Invitation à l'inauguration de la nouvelle galerie de la Compagnie des Arts Français [Invitation to the inauguration of the new Compagnie des Arts Français gallery]Invitation written by the poet Blaise Cendrars for the inauguration of the new Compagnie des Arts Français gallery.
The precious leaflet is illustrated on the verso with an aerial view of the Champs-Elysées in photographic iridescent printing, a small corner section missing.
In 1919, the painter André Mare and the architect Louis Süe founded the Compagnie des Arts Français, a decoration and furniture company joining together architecture, tableware, lighting, wall paper, upholstery fabrics, silverware, glasswork, ceramics and ironwork. The company introduced the French embassy in Washington to Art Deco in the luxury cabins onboard the “Paris” liner, as well as in the first class grand lounge on the “Île-de-France.” Its magnificent creations for the pavilions of the International Exhibition of Decorative and Industrial art in 1925 contributed to the birth of the term “Art Deco,” also called “1925 style.” In 1928, the founders Süe and Mare sold the company to decorator Jacques Adnet, who updated the gallery and joined forces with Francis Jourdain, Charlotte Perriand and René Gabriel (and with painters Fernand Léger, Jean Lurçat, Raoul Dufy and Marc Chagall).
The leaflet is an invitation to the inauguration of the entirely renovated gallery on 10 October 1928, which brings together work by Picasso, Foujita, Djo-Bourgeois, Francis Jourdain and René Herbst, Louis Marcoussis, François Pompon, Joseph Bernard, Paul Vera, Bela Voros, Henry de Waroquier, Jean Besnard, Antoine Bourdelle, Carlo Bugatti, Emile-Othon Friez, Laure Albin-Guillot.
Blaise Cendrars, the author of the famous Prose du Transsibérien, was called upon to write the publicity text; he composed an ode to modernity and depicted new avant-garde orientation of the Compagnie des Arts: “I was often asked what the seven wonders of the world were? The seven wonders of the world are: 1. The internal combustion engine, 2. The ball bearing, 3. The cut of a great tailor, 4. Satie's background music (that you can listen to without taking your head in your hands), 5. Money, 6. The naked neck of a woman who has just had her hair cut, and this final novelty: 7. All modern furniture.”
An extremely rare document marking the peak of the Art Deco style in France, bringing together all of the avant-garde craftsmen, painters and sculptors of the 1920s.
To our knowledge there is only one other copy of this invitation, kept in the André Mare collection at the IMEC (Institut Mémoires de l'édition contemporaine, in Normandy).

Extremely rare first edition printed in 32 numbered copies of the first issue – only three were published – of this journal presented by the group “Les Réverbères.”

Small marginal tears on the boards as well as the top and bottom of the spine.
Unique copy complete with the two double-page color supplement (missing and unknown in the already preserved rare copies).
This journal of exceptional visual and literary quality marks one of the last productions of the French artistic avant-garde before the start of the German oppression.
Le Cheval de 4 was published during 1940 by a collective of Dada artists, the “Réverbères” club. This club was founded in 1938 in the painter Jean Marembert's workshop by the literary critic Michel Tapié de Céleyran, cousin three times removed of Henri de Toulouse-Lautrec. The members of the club, amongst which were the neo-dadaist writers Jacques Bureau, Pierre Minne and Henri Bernard, denounced the denomination of Surrealism in the French literary landscape and campaigned for the rehabilitation of Dada at impromptu evening parties in the Montparnasse district.
With the same objective, they published this typically Dada journal, designed and produced on a small scale in an entirely traditional manner. The pages of Cheval de 4, the first issue in this collection, are real typographical masterpieces, combining literary texts using humour and vibrant color wood engravings. There are magnificent puns and spoonerisms, recapturing the extravagant spirit of the Dada pioneers, Tristan Tzara or Marcel Duchamp.

Extremely rare first edition printed in 31 numbered copies of the second issue – only three issues were published – of this journal presented by the group “Les Réverbères.” Illustrated with wood cuts of painters Aline Gagnaire and Michel Tapié.
Small marginal tears on the top and bottom of the spine.
Unique copy complete with the 2 double-page color supplement (missing and unknown in the already preserved rare copies).
This journal of exceptional visual and literary quality marks one of the last attempts of the French artistic avant-garde before the start of the German oppression.
Dédal-e was published during the first months of the Occupation by a collective of Dada artists, the “Réverbères” club. This club was founded in 1938 in the painter Jean Marembert's workshop by the literary critic Michel Tapié de Céleyran, cousin three times removed of Henri de Toulouse-Lautrec. The members of the club, amongst which were the neo-dadaist writers Jacques Bureau, Pierre Minne and Henri Bernard, denounced the denomination of Surrealism in the French literary landscape and campaigned for the rehabilitation of Dada at impromptu evening parties in the Montparnasse district.
With the same objective, they published this typically Dada journal, designed and produced on a small scale in an entirely traditional manner. The pages of Dédal-e, the second issue in this collection, are real typographical masterpieces, combining literary texts using humour and vibrant color wood cuts. There are magnificent puns and spoonerisms, recapturing the extravagant spirit of the Dada pioneers, Tristan Tzara or Marcel Duchamp.

Henri de TOULOUSE-LAUTREC
Original lithography for the play
L'Argent by émile Fabre
Imprimerie Eugène Verneau | Paris [1895] | 23.5 x 31.5 cm | one leaf
Original print by Henri de Toulouse-Lautrec created for the production of émile Fabre's play entitled L'Argent, first performed on 5 May 1895 at the Théâtre Antoine-Simone Berriau (then called Théâtre des Menus-Plaisirs). First edition of the poster, that will be published several years later in a small format with white borders.
Very rare and beautiful lithography of the highest quality, printed in six colors on vellum paper.
This work of rare symbolist intensity subtly hints at Fabre's bourgeois satire through the roughly sketched silhouettes of his two main characters.
Embodying the paradigm of the modern poster, Toulouse-Lautrec's prints today enjoy wide recognition and are very much sought after.

First edition, one of 52 numbered copies on ivory laid Vizille, ours ours one of the first 15 containing a page of the manuscript of the book , only leading copies.
Nice copy.

First edition, one of 80 numbered copies, only leading copies.
Nice copy.
Handwritten signature of Yves Bonnefoy below the justification of the draw.

PRINCET Maurice
FLEURET Fernand
Les peintres R. Delaunay Marie Laurencin
Galerie Barbazanges, Paris 1912, 14.5 x 19cm, stapled.
Rare first edition of the catalogue of Robert and Marie Laurencin’s work presented at the Galerie Barbazanges from 28 February to 13 March 1912.
Beautiful copy.
Maurice Princet’s presentation for Robert Delaunay and Fernand Fleuret’s for Marie Laurencin.
Rare catalogue of the first exhibition of works by Marie Laurencin and Robert Delaunay’s most important cubist works, including the famous portrait of his friend Guillaume Apollinaire.

Catalogue-invitation card to the Bonnard Exhibition
Rare catalogue-invitation card to the exhibition of 41 of Pierre Bonnard's works presented at the Galerie Bernheim jeune from 9 November to 20 November 1906, serving as a catalogue.
A slight sunned trace of the verso of the invitation card.
Invitation to Bonnard's first personal exhibition organised at the Galerie Bernheim-Jeune.
Beautiful copy printed on laid paper and illustrated with an original lithograph by Pierre Bonnard (A. Terrasse, 1989).

Card invitation catalogue to the Vallotton Exhibition
Rare invitation card to the exhibition of 44 of Félix Vallotton's works presented at the Galerie Bernheim Jeune from 4 May to 17 May 1906, serving as a catalogue.
Very beautiful copy printed on laid paper and illustrated with an original lithograph by Félix Vallotton.

Exhibition catalogue, Galerie Bernheim: œuvres de Pierre Bonnard, Maurice Denis, Henri-Gabriel Ibels, Aristide Maillol, Hermann Paul, Paul-Élie Ranson, Ker-Xavier Roussel, Paul Sérusier, Félix Vallotton, Édouard Vuillard
Galerie Bernheim Jeune Fils | Paris 1909 | 10.5 x 14 cm | stapled
Rare first edition of the exhibition catalogue of works presented at the Galerie Bernheim Jeune et Fils from 2 to 22 April 1900.
Beautiful copy.
Rare catalogue illustrated with 10 reproductions of works by the artists exhibited.

First edition illustrated with 75 inset on wood for volume 1, 66 for volume 2, 74 for volume 3, 94 for volume 4, and 85 for volume 5, all designed by Alphonse de Neuville, Philipoteaux. .. The fifth volume was written by Madame de Witt, daughter of the author, according to the notes left by him. Some color cards. Good meeting of the first prints of this text which appeared from 1872 to 1876.
Charles Magnier, signed in the tail box, green and gold, much rarer than the current red print. Half green pine tree chafing flat percaline. Back to false nerves adorned with four emblems of French royalty: the salamander, the sun, dolphins and a crescent moon. Plates adorned with a large green and gold plate bearing in medallions the figures of several kings, against a background of green foliage. White moiré guards. Some slight traces of friction in caps and bits and on the boards, as well as on the edges and on the corners, otherwise, magnificent copy , in a superb condition, perfectly fresh, with very white, immaculate paper (in spite of sometimes pale foxing scattered scattered in the margins).
Minister of Public Education, Guizot played a key role in the history of education and this book is the fruit of his reflections.

Liberté, j'écris ton nom [Liberty]Second edition after the rare first edition that was published the same year.
Fold-out poem by Paul Eluard with color designs and drawings by his friend the French artist Fernand Léger.
Silk-screen printed on strong beige paper.
Skillfully repaired, otherwise very rare copy.

First edition of the French translation for which it was not drawn from great papers.
Nice copy.
Signed autograph dedication of Jorge Amado, in Portuguese, to his translator Alice (Raillard) and her husband the art critic Georges: "Para Alice e Georges, amigos querispine ..."

First edition for which it was not drawn from great papers.
Small traces of creases in the margins of the first board.
Autograph signed by Gérard Genette Georges Raillard.

First edition of the catalogue of the work of Henri Rousseau, known as “le Douanier” presented to Galerie Bernheim Jeune & C^ie from 28 October to 9 November 1912.

Rare and very beautiful copy of this brochure of the exhibition of Henri Rousseau's personal works, which greatly contributed to the recognition of the artist after his death two years earlier.

During his lifetime, Henri Rousseau never had the opportunity to exhibit his works individually. In turn, both discredited and acclaimed at the Salon
des Indépendants, to which he contributed for many years, he died relatively alone in September 1910. In the months that followed his death, three exhibitions dedicated to his work were organised in New York, at the Salon des Indépendants and at the famous Galerie Bernheim Jeune in Paris, a legendary place of French avant-garde painting for half a century.
This rare Galerie Bernheim-Jeune catalogue is prefaced by William Uhde, organiser of the exhibition and author of a monograph on the artist published the previous year. This retrospective presented 50 paintings and drawings by Henri Rousseau: “One of the events of the season [...] is the superb exhibition of Henri Rousseau at Berheim-Jeune – such true beauty. I am extremely enthusiastic about these beautiful things – a portrait of a child standing is surely one of the most truly beautiful pictures to be seen anywhere” (letter from Marsden Hartley to the art dealer Alfred Stieglitz, 30 October 1912).
Illustrated brochure comprising reproductions of 4 of Henri Rousseau's works.
To our knowledge, there have not been any copies of this precious catalogue on public sale since 1999.

Rare first edition of the first issue of this mythical Avant-garde magazine, directed and entirely written by Pierre Albert-Birot and his wife Germaine.
Signs of use and small marginal tears on the plates.

First edition for which it was not drawn from great papers.
A trace of insolation in the margin of the second board.
Autograph signed by Gérard Genette Georges Raillard.

First edition for which it was not drawn from great papers.
Back insolated and wrinkled.
Autograph dedication signed by Jean Ricardou to Georges Raillard: "... these few so-called theoretical places, which I forget, once again, to be friendly to him."

First edition for which it was not drawn from great papers.
Nice copy.
Signed autograph of Jean Ricardou Georges Raillard: "... fighting partner, and friendly, the other night ..."

Dada Poster – Dada Festival at the Salle Gaveau, Wednesday 26 May 1920

Paris Wednesday 26 May 1920 | 27.2 x 37 cm | single sheet

First edition of this program leaflet announcing the festival of the Paris dadaist group at the Salle Gaveau on Wednesday 26 May 1920. The first draft of this poster was designed by Tzara and Picabia.
Superimposed mechanical illustration by Picabia.
Catalogue of Sans pareil publications on the verso.
Contributions by Breton, Draule (anagram of Éluard), Picabia, Tzara, etc.
Very beautiful copy of great quality and having preserved its fragile green color.

First edition for which it was not drawn from great papers, one of the review copies service.
Pleasant copy despite small traces of angular folds on the second plate.
Iconography.
Autograph signed by Roland Barthes to Georges Raillard.

First edition for which it was not drawn from great papers.
Nice copy.
Iconography.
Autograph signed by Roland Barthes to Georges Raillard.

First edition, one of 880 numbered copies on white laid, only leading copies after 120 vellum Arches paper.
Nice copy.
Autograph dedication dated and signed by Michel Butor to his friend Georges Raillard.

First edition, one of 880 numbered copies on white laid, only leading copies after 120 vellum Arches paper.
Nice copy.
Autograph dedication dated and signed by Michel Butor to his friend Georges Raillard.

First edition, one of 74 numbered copies on laid Vizille, only leading copies.
Nice copy.
Autograph dedication signed by Christian Gailly to Alain Bonnefoy.

Illustrated edition of 15 original lithographs by Jacques Thévénet (including the cover, 1 frontispiece, 1 title sticker, 9 headers, 2 full page and one, at the end of the volume, which accompanies the completed print) and printed 150 copies numbered on Arches paper, ours one of 25 copies reserved for foreign amateurs of the society of bibliophiles of Provence.
Nice copy.
Our copy is exceptionally enriched with a suite on China lithographs at the beginning of which Jacques Thevenet has split an autograph dedication signed to Edmond Raillard for whom our copy was printed.
We also join a proof of title vignette lithography enriched by an autograph dedication signed by Jacques Thévénet to the wife of Edmond Raillard.
Finally, a menu "Dinner Regain", decorated with an illustration by Jacques Thévénet, accompanies this set.