Photography

The first edition, of which there were no deluxe copies.
Handsome copy.
Work illustrated with photographs by Michel Houellebecq.

Original albumen photograph representing Jules Verne, carte-de-visite format, mounted on heavy cardboard from the Nadar studio "51 rue d'Anjou St Honoré".
Pen annotation on verso, with advertising information for the Nadar studio. Gold medal. Universal Exhibition 1878. Blue stamp; Publisher J. Kuhn, Paris.
Jules Verne met Nadar in 1861 and the two men became friends, the man left a deep impression on him and his adventures inspired him for Five Weeks in a Balloon [Nadar would join with Jules Verne to create a Society for the encouragement of balloon transport], From the Earth to the Moon and Around the Moon. The author describes him thus in From the Earth to the Moon: "He is a man of 42 years, tall, but already a little stooped, like those caryatids who carry balconies on their shoulders. His strong head, a veritable lion's mane, shook at moments a fiery hair, which made him a true mane. A short face, broad at the temples, adorned with a bristling mustache like a cat's whiskers and small somewhat disheveled tufts, a myopic gaze, completed this eminently feline physiognomy."
Handsome portrait of the writer by Nadar where he appears particularly warm and benevolent.

Photographic postcard depicting Franklin Delano Roosevelt in a car. Vintage silver gelatin print.
Handsome copy.

Original photograph of Blaise Cendrars by Pablo Volta in vintage silver gelatin print. Stamp "Photographie de Pablo Volta" as well as a discreet pencil annotation on the verso.

Charming mirror portrait of Blaise Cendrars taken by Pablo Volta in January 1956, on rue Jean-Dolent where the writer lived.
This photograph was taken by photographer Pablo Volta (1926-2011) in the company of his wife Ornella. One of the five founding members of the Italian photographic agency, I Fotografi associati, Pablo Volta became known for his portraits of writers and artists, such as Aragon, Breton, Ionesco, Tzara, Vian, Duchamp, Foujita, Calder...
Very satisfied with this photo session, Cendrars sent a letter to the Volta couple after their visit: "Merci de ces photos qui nous font grand plaisir et nous amusent beaucoup. Ma main amie, Blaise Cendrars" ["Thank you for these photos which give us great pleasure and amuse us greatly. My friendly hand, Blaise Cendrars"]
The photograph was reproduced in Continent Cendrars, Bulletin annuel du Centre d'études Blaise Cendrars de l'Université de Berne, n°3, 1988, p. 63.

Original photographic portrait of Nicolas de Staël in his atelier.
Paris n.d. (circa 1954), photo: 14,5x20,4cm ; leaf : 18,2x24cm.
Original silver print portrait of Nicolas de Staël by Denise Colomb.
The painter sits in his Parisian atelier in rue Gauget, one year before his death.
The photograph was taken by Denise Colomb, great portraitist of the 20th century, known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studio.

“It is said that his workshop was the cave of a palaeontological potter. With sediment, layers of paleo... A crucible, a large material well, riddled with pigments, paintbrushes, pots of plastered trowels, buckets, rags. In a strong smell of turpentine. A workshop covered, soiled, stained with dirt, with masonry clay. Its wingspan, its strength, its topsail height springs into this crater of Vesuvius. Slightly disoriented, he leans, he pours. To paint, for him, is to be prey to vertigo, to unpredictable, accidental, chance junctions. (Patrick Grainville, Les Yeux de Milos).

Original photographic portrait of Nicolas de Staël sitting in front of one of his paintings
Paris s.d. (circa 1954), photograph: 17.4 x 20.4cm; leaf: 18.2 x 24cm

Original silver print portrait of Nicolas de Staël by Denise Colomb.
Beautiful candid shot of the painter, preparing to speak, in his atelier in rue Gauget in Paris, one year before his death. Seated in front of one of his works, we see the piling up of the painter's canvases in the room behind him.
The photograph was taken by Denise Colomb, great portraitist of the 20th century, known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studio.

“It is said that his workshop was the cave of a palaeontological potter. With sediment, layers of paleo... A crucible, a large material well, riddled with pigments, paintbrushes, pots of plastered trowels, buckets, rags. In a strong smell of turpentine. A workshop covered, soiled, stained with dirt, with masonry clay. Its wingspan, its strength, its topsail height springs into this crater of Vesuvius. Slightly disoriented, he leans, he pours. To paint, for him, is to be prey to vertigo, to unpredictable, accidental, chance junctions. (Patrick Grainville, Les Yeux de Milos).

Original photographic portrait of Nicolas de Staël in his atelier.
Paris n.d. (circa 1954), photo: 19,1x29cm ; leaf: 20,5x30,5cm.
Exceptional original silver print portrait of Nicolas de Staël by Denise Colomb.
A small tear in the lower part of the leaf, not affecting the photograph.
Large format picture of the painter, eyes lost in the distance, in his Parisian atelier rue Gauguet one year before his death. Sitting in front of one of his works, we see the piling up of the painter's canvases in the room behind him.
The photograph was taken by Denise Colomb, great portraitist of the 20th century, known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studio.
“It is said that his workshop was the cave of a palaeontological potter. With sediment, layers of paleo... A crucible, a large material well, riddled with pigments, paintbrushes, pots of plastered trowels, buckets, rags. In a strong smell of turpentine. A workshop covered, soiled, stained with dirt, with masonry clay. Its wingspan, its strength, its topsail height springs into this crater of Vesuvius. Slightly disoriented, he leans, he pours. To paint, for him, is to be prey to vertigo, to unpredictable, accidental, chance junctions. (Patrick Grainville, Les Yeux de Milos).

Original view of Nicolas de Staël's atelier
Paris n.d. (circa 1954), 24,2x31,1cm, one leaf.
Original silver print photograph of Nicolas de Staël's atelier by Denise Colomb.
Traces of folds, small pieces of paper missing in the lower left corner.
Splendid "still life" in large format of the painter's Parisian atelier rue Gauguet, taken one year before his death. His masterpieces are jumbled together with firewood and numerous pots of paint.
The photograph was taken by Denise Colomb, great portraitist of the 20th century, known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studio.
“It is said that his workshop was the cave of a palaeontological potter. With sediment, layers of paleo... A crucible, a large material well, riddled with pigments, paintbrushes, pots of plastered trowels, buckets, rags. In a strong smell of turpentine. A workshop covered, soiled, stained with dirt, with masonry clay. Its wingspan, its strength, its topsail height springs into this crater of Vesuvius. Slightly disoriented, he leans, he pours. To paint, for him, is to be prey to vertigo, to unpredictable, accidental, chance junctions. (Patrick Grainville, Les Yeux de Milos).

Original view of Nicolas de Staël's atelier with his palette and three paintings
Paris n.d. (circa 1954), photo:17,3x12,2cm ; leaf: 24x18,2cm.
Original silver print photograph of Nicolas de Staël's atelier by Denise Colomb.
Small trace of rust on the upper right corner.
Charming view of the painter's atelier, 7 rue Gauguet in Paris, taken one year before his death. Featuring his palette as well as two paintings from his Flowers series (1952-1953), and an abstract composition on the right.
Taken by Denise Colomb, great portraitist of the 20th century known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studios.
“It is said that his workshop was the cave of a palaeontological potter. With sediment, layers of paleo... A crucible, a large material well, riddled with pigments, paintbrushes, pots of plastered trowels, buckets, rags. In a strong smell of turpentine. A workshop covered, soiled, stained with dirt, with masonry clay. Its wingspan, its strength, its topsail height springs into this crater of Vesuvius. Slightly disoriented, he leans, he pours. To paint, for him, is to be prey to vertigo, to unpredictable bifurcations of accident, of chance. (Patrick Grainville, Les Yeux de Milos)

Original view of Nicolas de Staël's atelier with his palette and brushes
Paris n.d. (circa 1954), photograph :17,3x12,2cm ; leaf : 24x18,2cm.
Original silver print photograph of Nicolas de Staël's atelier by Denise Colomb.
Intimate view of the painter's atelier, 7 rue Gauguet in Paris, taken one year before his death. In the background is one of his paintings from his famous series Flowers (1952-1953).
Taken by Denise Colomb, great portraitist of the 20th century known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studios.
“It is said that his workshop was the cave of a palaeontological potter. With sediment, layers of paleo... A crucible, a large material well, riddled with pigments, paintbrushes, pots of plastered trowels, buckets, rags. In a strong smell of turpentine. A workshop covered, soiled, stained with dirt, with masonry clay. Its wingspan, its strength, its topsail height springs into this crater of Vesuvius. Slightly disoriented, he leans, he pours. To paint, for him, is to be prey to vertigo, to unpredictable bifurcations of accident, of chance. (Patrick Grainville, Les Yeux de Milos)

Set of 11 original photographs of Nicolas de Staël's studio by Denise Colomb, in period printing.

Small fold marks at the corners of some photographs.

Superb views of the building housing the painter's studio, at 7 rue Gauguet in Paris, taken one year before his tragic end. The cracked and textured walls bear a striking resemblance to his "brushed, indeed masoned painting" (Marcelin Pleynet and Michel Seuphor), those knife-applied impastos that had considerable influence on abstract painting in the second half of the century.

The photographs were taken by Denise Colomb, great portraitist of the 20th century, who immortalized Antonin Artaud, and created spectacular views of the studios of Giacometti, Picasso, Soulages and Miro.

"They say his studio was a paleontological potter's cave. With sediments, paleolithic layers... A crucible, a great material well, riddled with pigments, brushes, pots of plastered trowels, buckets, rags. In a strong smell of turpentine. A studio gorged, soiled, plumed with grime, the pastes of masonry. His span, his strength, his topgallant height soar in this Vesuvius crater. Slightly off course, he leans, he pours. To paint, for him, is to be prey to vertigo, to unpredictable bifurcations of accident, of chance." (Patrick Grainville, Les Yeux de Milos).

Original black and white photographs of 3 Nicolas de Staël's paintings
Paris n.d. (circa 1954), two nudes: 33x23cm ; flowers and nude painting: 24x30,5cm, three leaves.
Set of 3 original silver prints of Nicolas de Staël's paintings by Denise Colomb.
Folds and small tears to the margins of the photo featuring two nudes. Traces left by a typed paper to the margins of the flower painting. Darker traces and folds to the margins of the standing nude.
Photos of de Staël's paintings taken in the painter's Parisian atelier rue Gauguet, one year before his death: a painting from his famous Flowers series (1953-1954), as well as two paintings of nudes, a subject that became a leitmotiv in his work from 1951 until his death in 1955.
Taken by Denise Colomb, great portraitist of the 20th century known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studios.

Set of 8 photographs of Nicolas de Staël's family circa 1942-1944, in original silver gelatin prints.

The photographs were taken around 1944, two years after the birth of Anne de Stäel, daughter of the painter and his companion, the artist Jeannine Guillou. In September 1943, the family consisting of Anne and young Antek (future writer known under the name Antoine Tudal), son from Jeannine Guillou's previous marriage, arrived in Paris and settled, thanks to the friendship of gallerist Jeanne Bucher, at 54, rue Nollet, in the private mansion of architect Pierre Chareau. Staël transformed the large ground-floor salon into a studio where he devoted himself entirely to abstraction characterized by interlaced geometric lines, rhythming a dark canvas.

- Portrait of the complete family (Nicolas de Staël, Jeannine Guillou holding Anne in her arms, Antek Teslar aged 14), in front of the private mansion on rue Nollet
- Jeannine Guillou and Anne in the garden of the private mansion on rue Nollet
- Jeannine smiling, holding Anne in her arms, rue Nollet.
- Jeannine smiling, holding Anne in her arms in front of a Moroccan decor, rue Nollet.
- Reproduction of Jeannine Guillou's identity photograph, in profile.
- View of the interior facade of the private mansion on rue Nollet.
- Jeannine Guillou in beach costume
- Contact sheet with two of the previous photographs, as well as two others showing Antek Teslar studying in the attic of the private mansion (25.2x20.4cm).

First edition of this exhibition catalogue of the painted works and photographs of François-Marie Banier.
Handsome copy, rich iconography.
Dated autograph inscription signed by François-Marie Banier to Ulrike (Bergweiler) expanded with an original multicolored double-page composition.

Handwritten signed photographic postcard from Tristan Bernard addressed to his friend the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob (21 lines in black ink on Hotel Windsor letterhead in Cannes).
A small pinhole at the head of the photograph showing all the affection that Carlo Rim had for his venerable friend Tristan Bernard, having certainly hung this postcard in his home.
The postcard shows Tristan Bernard facing forward with his handsome and imposing beard. On the verso, he added:
"Le monsieur du verso, c'est évident, c'est sûr... c'est le plus beau vieillard de la Côte d'Azur.
Je vous embrasse bien affectueusement chère Alice et cher Carlo. Tristan Bernard." ["The gentleman on the back, it's obvious, it's certain... he's the most handsome old man on the Côte d'Azur. I embrace you both very affectionately dear Alice and dear Carlo. Tristan Bernard."]
During the Occupation, Tristan Bernard took refuge in Cannes and resided at the Hotel Windsor while his friend Carlo Rim offered in vain for him to stay at his home so that he would be safe from denunciation or arrest; to which Tristan Bernard, never short of witticisms, replied: "At my age, one no longer sleeps away from home!" adding: "Do you know that I appear in the Petit Larousse? They don't arrest someone who appears in the Petit Larousse."
He was nevertheless arrested in September 1943 as a Jew and interned with his wife at Drancy then released through the intervention of Sacha Guitry and Arletty the following month.
His grandson François-René was also arrested as a Resistance member and deported to Mauthausen where he died.

First edition of the exhibition catalog for the retrospective of photographic works by William Klein, Jörg Krichbaum and Anton Corbijn at the Morsbroich Museum in Leverkusen.
Richly illustrated.
Complete with dust jacket which has a scratch to the lower left corner of the front panel.
Autograph inscription signed by William Klein to Thierry Marlat on the dust jacket, with William Klein having crossed out the surnames of the two other photographers participating in the exhibition.

First edition of this program illustrated with photographs.
A slight fold at head of second board.
Rare and handsome copy, the black velvet cover, illustrated by Vinci being well preserved.

The first edition, of which there were no deluxe copies.
Handsome copy, iconography.
Fine full-page autograph inscription, dated and signed, from Odette Joyeux to Jean-Paul Gibiat.

First edition, a Service de Presse (advance) copy.
Minor tear at foot of spine, small worming on final endpaper.
A rare and handsome copy of the author's first book.

Original photograph depicting Édith Piaf and Alice Rim on a pedalo in the port of Cassis in 1942
Original photograph taken by Carlo Rim depicting his wife Alice sitting on a pedalo next to Edith Piaf, the latter raising her right hand to shield her face from the sun, contemporary silver print.
Details handwritten in black felt tip by Carlo Rim on the back of the photograph: “Alice [et] Edith Piaf à Cassis 1942.” , other annotations in pencil and red pencil.


In its newspaper Le Grenier d'Arlequin 1916-1940, Carlo Rim recounts the first Édith Piaf concert he attended: “9 December 1935. La môme Piaf, at Gerny's where the smart set begin to flock to listen to her. Some small woman, humble and pitiful in her cheap black dress. The hounded air of someone who has just received a good beating. But we barely only see, in the brutal light of the spotlight, her huge white forehead, her child-like hands clenched on her chest or pressed against her thighs like a starfish. Muffled, as if choked with tears, her voice elevates, rises, tears off into an interminable cry of a mortally wounded animal, an almost inhuman voice that takes you by the throat, grabs your heart – a voice that feels misery and disturbance. And in that moment, la môme Piaf becomes the most beautiful girl in the world.”


Provenance: Carlo Rim, then his son Jean-Pierre Richard. A Provençal writer, caricaturist and filmmaker, Carlo Rim was the friend and confident of many of the greatest artists and authors of the 20th century: Antonin Artaud, Marcel Pagnol, Fernandel, Raimu, Max Jacob, Tristan Bernard, Jacques Prévert...

Original photograph depicting Édith Piaf embraced by Norbert Glanzberg next to Alice and Carlo Rim in the port of Cassis in 1940
Original photograph depicting Edith Piaf embraced and kissed on the neck by the composer Norbert Glanzberg, then a refugee in France, with, to their right, Alice and Carlo Rim, the latter slightly set back, the first three being perched on a low wall, contemporary silver print. While Edith Piaf and Alice Rim are all smiling, Carlo Rim is the only one to take an ironically solemn break, standing almost to attention and with his eyes closed.

Back in France, to the free zone, after having been demobilised from the Polish army, Norbert Glanzberg met Félix Marouani who hired him for Édith Piaf's tours. This is the beginning of a fruitful and intense collaboration, Norbert Glanzberg composed the music of several of Edith Piaf's most famous songs, such as “Padam, padam”... and “Mon manège à moi”.
Details handwritten in pencil by Carlo Rim on the back of the photograph: “Édith Piaf, Norbert Glansberg [sic], Alice Carlo Rim, Carlo Rim à Cassis 1940.”In its newspaper Le Grenier d'Arlequin 1916-1940, Carlo Rim recounts the first Édith Piaf concert he attended: “9 December 1935. La môme Piaf, at Gerny's where the smart set begin to flock to listen to her. Some small woman, humble and pitiful in her cheap black dress. The hounded air of someone who has just received a good beating. But we barely only see, in the brutal light of the spotlight, her huge white forehead, her child-like hands clenched on her chest or pressed against her thighs like a starfish. Muffled, as if choked with tears, her voice elevates, rises, tears off into an interminable cry of a mortally wounded animal, an almost inhuman voice that takes you by the throat, grabs your heart – a voice that feels misery and disturbance. And in that moment, la môme Piaf becomes the most beautiful girl in the world.”Provenance: Carlo Rim, then his son Jean-Pierre Richard. A Provençal writer, caricaturist and filmmaker, Carlo Rim was the friend and confident of many of the greatest artists and authors of the 20th century: Antonin Artaud, Marcel Pagnol, Fernandel, Raimu, Max Jacob, Tristan Bernard, Jacques Prévert...

Original photograph taken on the set of "L'armoire volante", a humorous police intrigue, with Fernandel in the leading role.
The photograph shows Carlo Rim standing to the right of Fernandel, giving him advice, with three people involved in the filming present in the background, period silver gelatin print.
Carlo Rim was a Provençal writer "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary."
Manuscript annotations, in pencil, by Carlo Rim, on the verso of the photograph: "Carlo Rim Fernandel L'armoire volante 1948."

Original photograph taken during the filming of "L'armoire volante," a humorous police intrigue, starring Fernandel.
The photograph shows Carlo Rim from behind, his hands resting on a window balcony, offering his advice to Fernandel facing him, vintage silver gelatin print.
Carlo Rim was a Provençal writer "Ma belle Marseille", a caricaturist, a filmmaker and was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary."
Manuscript annotations in pencil by Carlo Rim on the verso of the photograph: "Carlo Rim Fernandel L'armoire volante 1948."

The first edition, of which there were no deluxe copies.
Handsome copy, iconography.
Beautiful full-page autograph inscription dated and signed by Odette Joyeux to Christian Giudicelli: "A Christian Giudicelli, à mon cher Christian à mon tour de "doubler". Je te fais parvenir un nouvel exemplaire de ces troisièmes regards dont je t'ai tant parlé en souhaitant que tu en sois content. Ton amie, ton interrète Odette (Joyeux), Mars 1990." ["To Christian Giudicelli, to my dear Christian, my turn to 'double.' I am sending you a new copy of these 'Third Looks' which I have spoken to you about so much, hoping that you will be pleased with it. Your friend, your interpreter Odette (Joyeux), March 1990."]

First edition of this series of 24 photogravures depicting views of London.
Manuscript gift inscription in pen: "With very best wishes from Glady Christmas 1926"
Brown paper covers with some marginal tears.
Handsome album documenting London at the birth of Queen Elizabeth II.

Photographic postcard from Pathé Natan studio showing Orane Demazis slightly in profile, with a pensive expression.
Autograph inscription dated and signed by Orane Demazis to Mademoiselle Coppio.
Handsome copy.

First edition for which no deluxe copies are mentioned.
Text by Roger Stengele.
Photographic illustrations by Robert Kayaert.
Light foxing on the interior flaps, small paper lack to back cover, press clippings included.
Signed autograph inscription from Maurice Béjart to Mr Pierre.

Printed visiting card of the director, theater director and writer René Clair on which he has added for the attention of his friend Carlo Rim: "Merci cher Carlo. Je t'embrasse." ["Thank you dear Carlo. I embrace you."]
Handsome copy.
Provenance: from the library of the Provençal writer, filmmaker and caricaturist Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

Original color photograph depicting the poet André Salmon, comfortably seated in a deck chair at his Sanary-sur-Mer property "La Hune," alongside his great friend Carlo Rim who is smiling slightly and leaning in his direction to hear his voice.
The photograph is captioned on the back by Carlo Rim: "C.R. et A.S. (enregistrant un dialogue) / La Hune Sanary 1967." ["C.R. and A.S. (recording a dialogue) / La Hune Sanary 1967."] in blue ballpoint pen.
Handsome copy.
Provenance: from the library of the Provençal writer, filmmaker and caricaturist Carlo Rim who was notably the friend of Fernandel, Raimu and Marcel Pagnol but also of André Salmon and Max Jacob.

Original photograph probably taken by Carlo Rim showing Tristan Bernard bearded, in overcoat, posing slightly in profile in front of a palm tree, vintage silver gelatin print.
Manuscript annotations on verso, by Carlo Rim (who certainly photographed Tristan Bernard): "Tristan Bernard Cannes", in blue pen, then continuing in pencil when his pen failed: "Cannes 1943".
Provenance: from the library of the Provençal writer, caricaturist and filmmaker Carlo Rim who was notably a friend of Fernandel, Raimu and Marcel Pagnol but also of Max Jacob and André Salmon whom he met in Sanary.
During the Occupation, Tristan Bernard took refuge in Cannes and stayed at the Hotel Windsor while his friend Carlo Rim offered in vain for him to stay at his house so that he would be safe from denunciation or arrest; to which Tristan Bernard, never short of witticisms, replied: "At my age, one no longer sleeps away from home!" adding: "Do you know that I appear in the Petit Larousse? They don't arrest someone who appears in the Petit Larousse."
He was nevertheless arrested in September 1943 as a Jew and interned with his wife at Drancy then released through the intervention of Sacha Guitry and Arletty the following month.
His grandson François-René was also arrested as a resistance fighter and deported to Mauthausen where he died.

First edition from the Didot presses of Bond's commentaries. Pages with red borders. Preface in French and text in Latin. Bond's notes are distributed around the text following the model of Renaissance typography.
Publisher's binding in full brown cloth, smooth spine slightly faded, joint cracked one cm at head of lower board, front board hinge split, endpapers and pastedowns darkened as usual.
Very handsome edition of the works of Horace, with typography executed by the Didot workshop in particularly refined lowercase letters. Work illustrated with 10 original photographic vignettes printed in sepia and mounted, two double-page maps and 6 photographic landscape views mounted.
One of the earliest books illustrated with photography: apart from the frontispiece, the 11 wood-engraved vignettes after Barrias and the 2 double-page lithographed plans, the work is illustrated with 6 original photographic views, printed in sepia and mounted hors texte. This edition forms the first title of the collection, followed subsequently by a Virgil and an Anacreon similarly illustrated, and one of the first productions of photographic publishing in France.

Voyage au Congo suivi de Retour du Tchad
First collective edition of two journeys in Africa by André Gide published successively in 1927 and 1928. First edition, grand papier (deluxe copy) with 64 photographs by Marc Allégret printed in sepia and four maps. One of 28 numbered copies on japon impérial, the tirage de tête.
Our copy includes the 1928 colophon of first issue copies on japon impérial. Copies printed on Arches bear the date 1929 (Bibliographie des écrits d'André Gide, Arnold Naville).
The high ink absorption quality of papier japon and its affinity with color make it the ideal medium for Marc Allégret's famous sepia heliographed photographs.
White aniline calf with gilt titanium joints, ink-painted boards and spine in green, yellow and red, colors of the Republic of the Congo-Brazzaville flag, decoration continuing edge-to-edge on the liners, loose endpapers on papier japon dyed with Kakishibu by the binder, title lengthwise on the spine, decorated chemise titled on the spine, and matching custom slipcase. Wrappers and spine preserved.
Binding signed by Julie Auzillon, gilt title by Geneviève Quarré de Boiry and gilt top edge by Jean-Luc Bongrain (2022).
Very scarce tirage de tête on papier japon of this masterpiece book of photographs and the first account of travel to these very remote territories of central Africa by an intellectual, and outspoken critic of colonialism.
Unique copy set in a stunning art binding, in the colors of the Republic of Congo-Brazzaville.

First edition.
Spine and boards slightly and marginally sunned, handsome copy.
Foreword by Christian Caujolle.
Work illustrated with photographs by Gisèle Freund.
Fine autograph inscription dated and signed by Gisèle Freund: "Für Enrike [sic], mit einem grossen Dank für ihre Hilfe bei des Überarbeitung (Übersetzung meiner "Erinnerungen") und ihre neue Übersetzung, die nun lesereich geworben ist. In Freundschaft, Gisèle F..." ["For Enrike [sic], with great thanks for her help with the revision (translation of my "Memories") and her new translation, which has now become widely read. In friendship, Gisèle F..."] adorned with three stylized seagulls.
Provenance: library of Ulrike Bergweiler.

First edition of this work printed for the fiftieth anniversary of the famous Kléber-Colombes tire company.
Photographic illustrations by Roger Catherineau and Michel Desmarteau, work produced after the model by Jean Garcia.
Fine copy complete with its chemise and full grey cloth slipcase, the slipcase with some minor scratches and splits.
Text by Jean Giono.

First edition.
Spine slightly sunned without consequence.
Work illustrated with photographs by Gisèle Freund.
Dated and signed autograph inscription from Gisèle Freund to Ulrike Bergweiler who was Antoine Gallimard's secretary.

Photographic portrait of Eugène Delacroix

Original photograph on albumen paper, in carte de visite format, mounted on a board. Some small foxing.

Rare copy of this photograph, only found at Carnavalet, Louvre and Orsay museums.

Photographic portrait of Narcisse Diaz de la Peña
Carjat et Cie, Paris s.d(circa 1860), 6 x 9.8 cm, one photograph
Original photograph on albumen paper, in carte de visite format, mounted on a board.
Beautiful copy of this portrait of the Barbizon painter.

Original photograph of the first edition of Gustave Flaubert's Madame Bovary dressed in a signed binding on a library background.
Printed on Premium Luster 270 g, laminated on Dibond (aluminum).
Hanging system on reverse.

Certificate of authenticity provided by Librairie Le Feu Follet.

Photo credits @Librairie Le Feu Follet. All rights reserved.

First edition of which no deluxe copies were printed for the second volume, reprint for the second.
Very handsome set presented in publisher's slipcase.
Rich iconography.

First edition illustrated with photographs by André Martin.
A handsome copy.
Publisher's full cloth binding, smooth spine.
Rich iconography.

First edition illustrated with numerous photographs of athletes captured in action during their performances.
Handsome copy.
Autograph inscription signed by Philippe Delerm to Stéphane Joly: "... ce livre dont il sait combien il est l'aboutissement d'une longue passion..." ["... this book which he knows how much it is the culmination of a long passion..."]

Photographic postcard depicting the great tragedienne Sarah Bernhardt creating the role of Elizabeth I of England.
Handsome copy.
Manuscript signature of Sarah Bernhardt dated 1909 to the right of her portrait.

First edition of this inventory composed of 295 photographs of personal items, furniture that belonged to an anonymous woman from the Parisian suburbs.

Very beautiful copy of this artist's book, published on the occasion of the Boltanski – Monory exhibition from 15 October to 2 December 1974 at the CNAC (National center of Contemporary Art).

First trilingual edition, in French, then in German and English.
Work illustrated with photographs by Christian Boltanski.
A beautiful copy in spite of a small fold at the foot of the first board.

New Year's card from the President of Senegal Léopold Sédar Senghor and Madame President Colette Léopold Sédar Senghor.
Handsome copy.
Autograph signatures of Léopold Sédar Senghor and his wife Colette, in blue ink, at the foot of the New Year's card.

Printed visiting card of California Governor Ronald Reagan
Handsome copy.
Manuscript signature of Ronald Reagan in blue ink below the printed mention "Governor Ronald Reagan".

Photographic portrait of Yitzhak Navon shown facing forward and wearing glasses.
Handsome copy.
Manuscript signature of Yitzhak Navon in black ink at the foot of his portrait.

Photographic portrait of Henry Alfred Kissinger shown from the front and wearing a pair of glasses.
Handsome copy.
Manuscript signature of Henry Alfred Kissinger in black ink at the foot of his portrait.

Photographic portrait of Kurt Waldheim slightly in profile.
Handsome copy.
Manuscript signature of Kurt Waldheim below his portrait.

Photographic portrait of Léopold Sédar Senghor shown slightly in profile and wearing a pair of glasses.
Handsome copy.
Autograph inscription signed by Léopold Sédar Senghor, in blue ink on the verso of the photograph, to (Frédéric) Brion and his wife.

Photographic postcard depicting the actress and tragedienne Elvire Popesco.
Three small spots of no significance in the margins of the photograph.
Manuscript signature of Elvire Popesco below her portrait.

First edition, one of 300 numbered copies on white laid paper.
Boards marginally and lightly sunned.
Work illustrated with 8 photographs by Edouard Boubat.
Autograph inscription signed by Robert Crégut to Jacques Jouheaud: "... ce livre de poids à un homme de poids..." ["... this weighty book to a man of weight..."]

[NEW YORK SCHOOL] Alfred L. COPLEY

Collection of six photographic negatives showing haemorrhages under a microscope
Collection of six photographic negatives (5 on plastic and 1 on glass) showing haemorrhages under a microscope made in the 1950s by Alfred L. Copley in his Parisian laboratory. Each negative, except one, is accompanied by a technical sheet on Copley's laboratory letterhead.

Under the pseudonym L. Acopley, this scientist and artist from the School of New York produced emblematic works of abstract expressionism. A doctor by training, he was particularly interested in hemorheology, in other words the study of the flow properties of blood. The negatives that we have to offer are a valuable testimony to his research and were an undeniable inspiration for his pictorial works.

His works today are preserved at the National Museum of Modern Art in Tokyo, at the Art Institute of Chicago, at the Stedelijk Museum in Amsterdam and at the Israel Museum in Jerusalem.

Collection of six original photographs showing the interior of the Pax Villa in Boulouris-sur-Mer owned by Jenny Meurlot
Collection of six original photographs, contemporary silver print. All the photographs are mounted on strong boards and show the interior of the Pax Villa in Boulouris-sur-Mer owned by Jenny Meurlot, who also appears on two of them. Some of the photographs are discreetly side-stitched in the margin. Four of the photographs show, on the lower right margin, the engraved signature of the Raphaël studio A. Bandieri.

Jenny (Eugénie) Meurlot was a pupil of Jules Chérét, a close friend of Sarah Bernhardt and Natalie Clifford Barney, but also an ambassador and muse of René Lalique. In her residence, the Pax villa in Boulouris-sur-Mer in Var, she hosts many artists (Mucha, Dufy) and keeps an important collection of works of art. On two of the photographs, we can make out her portrait as Sappho, painted by Jan Styka (1858-1925), currently kept at the Smart Museum of Art in Chicago.

Very beautiful collection, testimony to the elegance of the illustrious home of the artist.

Photographic card representing Paul Véronge de la Nux. It contains a signed autograph inscription from the musician: "A ma chère petite élève Maxa Nordau très affectueusement offert par un grand admirateur de son papa. P. V. de la Nux" ["To my dear little pupil Maxa Nordau very affectionately offered by a great admirer of her papa. P. V. de la Nux"].
Paul Véronge de la Nux taught piano to the future painter Maxa Nordau, daughter of Max Nordau, one of the founders of the Zionist movement.

First edition illustrated with photographs by Gisèle Freund.
Handsome copy.
Autograph inscription signed by Gisèle Freund to Palmyre Robert.

Rare original silver gelatin photograph. Among the known portraits of the writer, particularly those by Henri Manuel, we have found no trace of this one. The date is naturally approximate in the absence of more precise data.
On the verso, stamp: "La mention Photo Henri Manuel est obligatoire" ["The mention Photo Henri Manuel is obligatory"]. Second stamp with number 761. In grey pencil manuscript: Maurice Leblanc.
Thin scratches above the arm resting on the elbow. Superb condition.

The first edition, of which there were no deluxe copies.
A handsome copy despite light scratches on the back cover.
Introduction in English and German by Karsten Zang.
Publisher's full cardboard binding, smooth spine, illustrated covers, black paper endpapers and pastedowns.
Rich iconography, each of the 85 photographers presenting 3, 4, 5 or 6 photographs.

Photographic portrait of Charlton Heston, vintage silver gelatin print in sepia.
Keystone studio stamps to verso. Mimeographed slip pasted to verso: "Charlton Heston sera Michel Ange... Le grand acteur américain Charlton Heston incarnera l'immortel artiste dans la "Vie de Michel Ange" la nouvelle super-production dont le tournage va commencer très prochainement à Rome. Déjà quelques scènes d'extérieurs ont été tournées en Toscagne (sic). Le film évoquera fidèlement la vie de Michel Ange. npm/ Charlton Heston, qui s'est laissé pousser la barbe, examinant la maquette de la Chapelle Sixtine du Vatican." ["Charlton Heston will be Michelangelo... The great American actor Charlton Heston will embody the immortal artist in the 'Life of Michelangelo' the new super-production whose filming will begin very soon in Rome. Already some exterior scenes have been shot in Tuscany. The film will faithfully evoke the life of Michelangelo. npm/ Charlton Heston, who has grown a beard, examining the model of the Sistine Chapel of the Vatican."]

Photographic portrait of Annie Girardot, vintage silver gelatin print in black and white. Alpha-Image-Presse studio stamps to verso.
Mimeographed slip pasted to verso: "Le Prix Suzanne Bianchetti décerné annuellement à une jeune révélation du cinamé français, a été attribué à la charmante Annie Girardot. La voici tenant à la main la médaille à l'effigie de Suzanne Bianchetti et qui matérialise le prix. Elle a obtenu le prix pour son rôle dans son premier film "L'homme aux clefs d'or"." ["The Suzanne Bianchetti Prize awarded annually to a young revelation of French cinema, has been given to the charming Annie Girardot. Here she is holding the medal bearing the effigy of Suzanne Bianchetti which materializes the prize. She received the prize for her role in her first film 'The Man with the Golden Keys'."]

Eight period albumen photographs depicting an amateur tennis team.
Blue paper album sewn with red cord, title and date in silver ink on the first cover.
Very fine condition.

Rare original albumen photograph mounted on card by Carjat. From 1865, Carjat sold his studio to Legré and Bergeron who thereafter exploited his collection.
Photograph mounted on card. On verso: Photographie Legré et Bergeron, anciens associés succrs de Carjat & Cie, 56 rue Lafitte Paris. In pencil: Tourgueneff.
The photographic session which presumably took place at Carjat's studio, of Turgenev at around 47 years of age, produced several negatives, one of which is in the Carnavalet Museum. This other photograph shows him in the same attire, no longer facing forward but in profile. We have been unable to locate any other copy in public collections.
Handsome print representing the writer with a dark and grave expression.

Original, rare photograph on albumen paper mounted on card by Gaspard-Félix Tournachon known as Nadar showing Alphonse Daudet in chest view, wearing a lorgnette.
Photograph mounted on red-bordered card, bottom right, the letter N. On reverse: Nadar. Rue d'Anjou St Honoré. Paris. In grey pencil: Alphonse Daudet.
According to a notice from a sale held by Sotheby's on 31 May 2016, the photography session took place in 1891 and resulted in several shots including the one sold by Sotheby's, the writer still in chest view but facing forward and looking at the photographer, and this one, the writer in profile, wearing a lorgnette. The Sotheby's photograph was sold as part of a sale dedicated to Marcel Proust; Proust remained a fervent admirer of Daudet whose work evoked for him the charms of childhood. He was furthermore deeply enamoured with Alphonse Daudet's younger son, Lucien Daudet, whom he asked to find him a photograph of his father.

First edition printed in 500 numbered copies.
Publisher's full grey cloth binding, smooth spine, retaining the illustrated dust jacket with small foxing to the rear panel and slight marginal tears.
Some discoloration to the margin of the front panel of the photographic jacket, occasional interior foxing.
Work illustrated with 48 photographs by Thérèse Le Prat.
Text by Philippe Stern and Thérèse Le Prat.
Autograph inscription signed by Thérèse Le Prat to photographer Jean-Louis Nou who was her protégé and whom she introduced to photography: "A Jean Louis Nou qfin qu'il persévère... Thérèse Le Prat."
Our copy exceptionally contains an autograph letter signed and dated July 21, 1964 from Thérèse Le Prat to Jean Louis Nou informing him of the dates of her exhibition entitled "En ses métamorphoses, un seul et même visage", envelope included.

Autograph letter dated and signed, 20 lines in blue ink thanking his correspondent (the essential specialist photographer of Indians Jean-Louis Nou) for his wishes and presenting his own.
She apologizes for her late response to his mail and proposes a meeting as benevolent protector of his work: "... que vous me racontiez où vous en êtes..." ["... that you tell me where you are..."]
Finally, she congratulates him: "... la photo de P. Casals est fort belle..." ["... the photo of P. Casals is quite beautiful..."]

Original photograph showing, in bathing attire and on a beach, the group of friends formed by Bolette Natanson, Valentine Hugo, Jean Cocteau and Georges Auric (the only one in street clothes). Vintage print.
A very fine photograph showing, in full relaxation, Jean Cocteau, Georges Auric, Valentine Hugo and Bolette Natanson away from the Parisian artistic effervescence in which they actively participated.
The two other men have been identified thanks to the research of Philippe Mianes, whom we thank. Through cross-referencing drawings from auction catalogues or exhibitions related to Jean Cocteau and Jean Hugo depicting this same context and characters, he was able to complete the story... Indeed, Jean Hugo in Le Regard de la Mémoire indicates that the scene takes place on the Arcachon Basin, at Piquey beach where Cocteau had his habits. "We were seven": thus, from left to right, we identify Valentine Hugo, Jean Hugo, Jean Cocteau, Georges Auric, Bolette Natanson and.... Raymond Radiguet. If the latter, whose face is veiled by his hat is difficult to recognize, he does indeed appear in this excerpt from Jean Hugo's memories. Chloé Radiguet, Raymond Radiguet's biographer, confirms that her uncle indeed habitually wore the same light-colored wide-brimmed hat.
A moving memento of Radiguet's last summer, under the sun of Cap Ferret where he completed Le Diable au corps.

Provenance: Bolette Natanson collection.

Original carte-de-visite photograph, albumen print, mounted on card made by Gustave Le Gray and showing Alexandre Dumas bearded in white trousers. Contemporary print.
A few very minor spots in the lower margin, otherwise deep blacks and fine contrast.
Very fine full-length standing portrait of the writer staring intensely at the lens.
About this portrait, which he reproduces on the front page of his magazine Monte-Cristo dated January 5, 1860, Alexandre Dumas writes: "Des qualités de ce portrait, je ne veux qu'affirmer la première, la plus essentielle : la ressemblance. C'est à vous, chers lecteurs, de voir si jamais la photographie est allée plus loin. C'est qu'aussi dois-je vous dire que je ne me suis pas laissé guider par le hasard dans le choix du photographe, et qu'en M. Le Gray j'ai tout simplement rencontré un artiste de la meilleure venue. Allez le trouver, m'avaient dit d'excellents juges en matière photographique, et vous serez content. Je suis allé le trouver, et j'ai été émerveillé. J'ai compris - ce qu'après avoir fait faire cent portraits par cent photographes différents, vous ne soupçonnez peut-être pas encore, chers lecteurs - j'ai compris que Le Gray comme photographe est à la fois un artiste et un savant." ["Of the qualities of this portrait, I wish only to affirm the first, the most essential: the likeness. It is up to you, dear readers, to see if photography has ever gone further. For I must also tell you that I did not let myself be guided by chance in choosing the photographer, and that in M. Le Gray I simply encountered an artist of the finest quality. Go find him, excellent judges in photographic matters had told me, and you will be pleased. I went to find him, and I was amazed. I understood - what after having had a hundred portraits taken by a hundred different photographers, you perhaps do not yet suspect, dear readers - I understood that Le Gray as a photographer is both an artist and a scholar."]

Original photograph showing Georges Auric seated and casually leaning on his piano. Period printing.
Right corner with two creases.
Handsome full-length portrait of the composer during the height of the "Group of Six" period, which he formed with Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and Germaine Tailleferre.
Provenance: Bolette Natanson collection.

Original photograph taken by Pierre Ligey showing Charles Maurras slightly in profile and seated at his work table. Contemporary print.
Photographer's printed stamp on the verso of the photograph.
Autograph inscription dated and signed by Charles Maurras at the foot of the photograph: "A André Jeambon très cordialement, Charles Maurras. Paris le 31 Déc. 1936." ["To André Jeambon very cordially, Charles Maurras. Paris December 31, 1936."]

First edition.
Bradel binding in orange half cloth, smooth spine, date gilt at foot, brown shagreen title-label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, contemporary binding.
Work illustrated with a fine frontispiece by E. Loviot.
Our copy is enhanced with an original photograph of Paul de Saint-Victor mounted facing the frontispiece.
Precious signed autograph inscription from Alidor Delzant to Louise Read: "A mademoiselle Read hommage respectueux." ["To Miss Read, respectful homage."]

First edition.
Texts by Marc Desmazières, photographs by Kozo Yano.
Publisher's full white cloth binding, smooth spine, complete with its fragile tracing paper dust cover which has three marginal tears.
Handsome copy.
Autograph inscription dated and signed by Kozo Yano to a friend named Juan Luis.

Original albumen photograph depicting Jules Ferry, carte-de-visite format, mounted on card.
Inscription at the bottom of the photograph: A mon cher et fidèle ami [...] (possibly Labadère) affectueux souvenir. Jules Ferry. ["To my dear and faithful friend [...] affectionate remembrance. Jules Ferry."]
The photograph bears at the bottom the name E. Thiebault. Phot. On the reverse: Photographie Thiebault. 31 bould. Bonne Nouvelle. Paris. Superb condition. A trace of tape on the reverse in the upper margin.
Rare photograph of Jules Ferry at around 40 years of age. Inscriptions by Jules Ferry are uncommon. The date is indicative, but consistent.

Original photograph of Sacha Guitry and Sarah Bernhardt taken during the filming of "Ceux de chez nous" in August 1915.
Period silver gelatin print. Pencil annotation on verso of the photograph.
Precious shot taken during the filming of this documentary celebrating the glory of French spirit, made in the midst of war as a response to a proclamation by German intellectuals exalting Germanic culture.
Sacha Guitry, already known as a dramatic author, decided to use an amateur camera to "engrave in images," for future generations, the great personalities who contribute to France's radiance. Among others, one discovers Edgar Degas, Anatole France, Lucien Guitry, Octave Mirbeau, Claude Monet, Auguste Renoir, Auguste Rodin, Edmond Rostand and Camille Saint-Saëns.

Original photograph of Sacha Guitry laughing and Sarah Bernhardt in a theatrical pose taken during the filming of "Ceux de chez nous" in August 1915.
Period silver gelatin print, minor weakness to lower right corner.
Precious shot taken during the filming of this documentary celebrating the glory of French spirit, made in the midst of war as a response to a proclamation by German intellectuals exalting Germanic culture.
Sacha Guitry, already known as a dramatic author, decided to use an amateur camera to "engrave in images," for future generations, the great personalities who contribute to France's radiance. Among others, one discovers Edgar Degas, Anatole France, Lucien Guitry, Octave Mirbeau, Claude Monet, Auguste Renoir, Auguste Rodin, Edmond Rostand and Camille Saint-Saëns.

Copiously illustrated first edition.
Spine and boards marginally sunned, plastic film covering the boards peeling at corners.
Fine autograph inscription signed by François de Vaux de Foletier to Jean-François Tournaire accompanied by a few words in Romani.

First edition, one of 500 copies numbered, justified and signed by Kozo Yano.
Publisher's Bradel binding in full boards, smooth spine, complete with its fragile dust cover in tracing paper.
Rich iconography of Kozo Yano's work.
Handsome copy.

First edition, of which there were no deluxe copies.
Rare pamphlet, text by Francis Carco, heliogravure photographs by Georges Besson, Jahan, Blanc et Demilly, Ergy Landau, Brassaï, ..
Illustrated cover, handsome copy despite covers marginally and slightly sunned.

First edition in French.
Handsome copy.
Publisher's grey paper boards, black cloth spine slightly faded, illustrated front cover.
Rich iconography.

Original albumen photograph in cabinet card format, mounted on cardboard. At the bottom of the photograph: Aimé dupont, 574 fifth Avenue, New-York.
Portrait of the actress taken in New-York during the great American tour of 1880-1881 (256 performances in 50 cities). Sarah Bernhardt poses in elegant Parisian attire, her gaze turned skyward. Signed in the plate: Copyright by A. Dupont. Good overall condition, one dark stain on the right of the photograph, near the margin.
Aimé Dupont was a Belgian photographer, first active in Brussels, then in Paris. He settled in New-York with his American wife Etta Greer, herself a photographer. Already in Paris, the photographer had specialized in photographs of actors and singers from the Opera, and he renewed this specialty for the New-York opera and all the French artists who came to the USA. It is therefore not surprising that Sarah Bernhardt visited his studio to create a recent photograph dedicated to her American tour.

Photographic Portrait of Gustave Courbet with a cane

Carjat | Paris n. d. [ca 1860] | 6.3 x 9.1 cm | one carte-de-visite photograph

Rare original photograph on albumin paper, in visiting card format, laid down on card. Remnants of glue, paper slightly rubbed on verso, but not seriously.

Gustave Courbet met Etienne Carjat in 1859 in Germany and the two men struck up a very strong friendship.

“My dear Carjat, I care for you, as you as you know, you are my confidant in love, my biographer, you are my friend.” (Letter from Courbet, February 1863).
We have been unable to find another copy of this photograph in public collections.

Original albumen photograph of Napoleon III, in carte-de-visite format, mounted on cardboard.
The photograph bears Disderi's name at the bottom. Phot. On the reverse: Disderi, photographer to the Emperor. Boulevard des Capucines.
Rare photograph, among the very first of the Emperor, showing a mocking and playful Napoleon III smoothing his mustache, seated on a large damask armchair in a deliberate and studied posture. There exist slightly different versions of this sitting, as Disdéri had not only invented the carte-de-visite format process (he filed the patent for carte-de-visite photography in 1854) but had also developed a device that allowed taking several photographs simultaneously and thus capturing several poses in the same session. The biographical legend of the Emperor tells that in 1859, the Emperor, then 51 years old, stopped at Disdéri's shop while departing for his Italian campaign. Following this sitting and the release of the Emperor's photographs, carte-de-visite photography swept through Paris, and all studios began practicing this technique, since this is one of the first photographs in carte-de-visite format.

First edition illustrated with photographs
Handsome copy.
Texts by Louis Aragon "Du décor" ["On Decor"], Georges Sadoul "A la recherche de quelques fils conducteurs" ["In Search of Some Connecting Threads"], Boisyvon "L'exemplaire de René Clair" ["René Clair's Copy"], Alain Resnais "Les serpents et les caducées" ["The Serpents and the Caducei"].

Handsome original photographic portrait of Emile Zola in cabinet card format, period print on albumen paper mounted on cardboard from the London Stereoscopic Company and taken by an unidentified photographer.
The writer poses there, rosette of the Legion of Honor at his buttonhole. Condemned for defamation after the publication of his famous "J'Accuse!" on the front page of L'Aurore and to escape prison, Zola secretly fled to London on July 18, 1898. On July 26, 1898, the Legion of Honor was withdrawn from him. A snub to this France that did not understand him, this "rosette" photograph was most likely taken after his removal from the order of the Legion of Honor.
Exceptional state of conservation.

Original photograph on albumen paper, Cabinet format, mounted on rigid cardboard by Ad. Braun & cie, with their address in red at the bottom of the photograph. The Braun house was in fact specialized in photographing works of art and worked with Henner for the reproduction of some of his works.
Inscription from Jean-Jacques Henner to American banker and art and painting collector Henry Graves: A monsieur Graves. JJ Henner. ["To Mr. Graves. JJ Henner."]
Advertisement on reverse: Collection en format album et cate de visite de 500 célébrités contemporaines photographiées de 1848 à 1884. ["Collection in album and carte de visite format of 500 contemporary celebrities photographed from 1848 to 1884."] The photoglyptic version of this proof can be found, therefore reversed, but not the original photographic version, all the more rare in Cabinet format.

[PHOTOGRAPH] Photographic Portrait of Sissi, Elisabeth de Wittelsbach, empress of Austria and Queen of Hungary,
1867, 6.2 x 9.7 cm, photograph
Original photograph on albumin paper showing Sissi, in visiting card format, laid down on card.
No publication markings.
A rare medallion photograph showing Sissi at the age of 30. She is shown in a studied pose, bust in profile and face turned three-quarters towards the viewer. We know that Sissi was particularly fond of diamonds arranged in star shapes, and is here shown with a star-shaped diadem in her hair and a star-shaped ruby creation around her neck, presenting her the way she wished to be seen. With her auburn hair and brown eyes, her mother told her she was not beautiful, in the sense that she did not conform to the strictures of beauty of the age, being neither blonde nor brunette. Her beauty was later universally acclaimed, however. Her flowery dress allows us to suppose that she is posing here in the dress she would wear during the celebration of her marriage to the Emperor Franz Josef, the theme that she had given the wedding being flowers and diamonds. This photograph, certainly retouched, shows the control in which her image was held and presents a perfect Empress recorded for posterity.
This photographic portrait was posed for at the same time as the painting in the Sissi Museum in Vienna, which is exactly the same, though the visiting-card photo was certainly destined for a different use than the painting itself. It was later made into postcards from the negative.

Original albumen photograph mounted on card by Gustave Le Gray representing Alexandre Dumas with beard in white trousers. Deep blacks and beautiful contrast.
Photo mounted on heavy paper. Very fine condition. As the Legray house was acquired by the Alophe house, the print is probably slightly later. Furthermore, while the first printing shows the writer's feet and ground, here he appears in a medallion that cuts him at the calf. The printing can be dated around 1870.
On verso, the author's name in manuscript and a stamp: Ancienne maison Legray et Cie, Alophe Succr. 35 Boulevart des Capucines.
Very fine full-length portrait of the writer.
About this portrait, which he reproduces on the front page of his magazine Monte-Cristo dated January 5, 1860, Alexandre Dumas writes: "Des qualités de ce portrait, je ne veux qu'affirmer la première, la plus essentielle : la ressemblance. C'est à vous, chers lecteurs, de voir si jamais la photographie est allée plus loin. C'est qu'aussi dois-je vous dire que je ne me suis pas laissé guider par le hasard dans le choix du photographe, et qu'en M. Le Gray j'ai tout simplement rencontré un artiste de la meilleure venue. Allez le trouver, m'avaient dit d'excellents juges en matière photographique, et vous serez content. Je suis allé le trouver, et j'ai été émerveillé. J'ai compris - ce qu'après avoir fait faire cent portraits par cent photographes différents, vous ne soupçonnez peut-être pas encore, chers lecteurs - j'ai compris que Le Gray comme photographe est à la fois un artiste et un savant." ["Of the qualities of this portrait, I wish only to affirm the first, the most essential: the likeness. It is for you, dear readers, to see if photography has ever gone further. I must also tell you that I did not let myself be guided by chance in choosing the photographer, and that in M. Le Gray I simply encountered an artist of the finest quality. Go find him, excellent judges in photographic matters had told me, and you will be pleased. I went to find him, and I was amazed. I understood - what after having had a hundred portraits taken by a hundred different photographers, you perhaps do not yet suspect, dear readers - I understood that Le Gray as a photographer is both an artist and a scientist."]