On Paintings and Sculptures

First edition illustrated with 1 black and 2 original dry tips by Albert Woda and printed with 22 numbered copies on paper Hahnemühle, ours one of the 2 out of trade.
Beautiful and rare copy.
Handwritten signatures of Luis Mizon and Albert Woda at the colophon.

First edition illustrated with 8 original watercolors by Caroline François-Rubino and Anne Slacik and printed 12 copies numbered on vellum.
Beautiful and rare copy.
Handwritten signatures of Caroline François-Rubino and Anne Slacik at the colophon.

First edition.
Iconography.
Back insolated, complete copy of its soft case that has a hitch in foot.
Signed autograph of Jean-François Lyotard Georges Raillard on the first volume.

First edition.
Binding of the publisher in full almond green canvas, smooth back, complete copy of his illustrated jacket that has very slight marginal tears without gravity.
Nice copy.
Rich iconography.
Introduction of Michel Butor.
Autograph dedication dated and signed by Michel Butor to his close friend and biographer Georges Raillard.

First edition of the French translation by André Pieyre of Mandiargues, one of 50 copies numbered on "pur-fil" paper Arches paper, only leading copies, ours one of the 20 copies enriched with a color suite of engravings signed and numbered by Juan Soriano.
Nice copy.
Illustrated book of two original engravings by Juan Soriano that he has numbered and signed .
Handwritten signature of André Pieyre of Mandiargues to the colophon.
Our copy is enriched with a business card of Juan Soriano on which it was split of an autograph shipment dated and signed for Alice and Georges (Raillard), envelope attached.

First edition, one of 65 numbered copies on Arches laid paper, the only deluxe copies.
Small tears without loss to margins of some leaves in the very first signatures, otherwise a handsome copy with full margins.
Our copy lacks the original etching by Joan Miro that should be present in all copies on Arches laid paper.

First edition printed in 150 numbered copies on vélin chiffon de Mandeure, this one not included in the justification but signed by Antoni Tapies to colophon.
Poem by Joan Brossa.
Illustrated with an original lithograph in colors by Antoni Tapies over 28 pages.
A nice copy.

First edition on ordinary paper.
Illustrations, nice copy.
Handsome autograph inscription signed by Joan Miro to his friend and "compagnon de travail" Georges Raillard.

One of the most magnificent letters by Fernand Léger

A fabulous handwritten letter by the painter Fernand Léger, written on the front line during the Battle of Argonne, addressed to the Parisian art trader Adolphe Basler.
92 lines in black ink, four pages on a double leaf, dated 28 May 1915 by Léger.
The handwritten letter is presented with a half forest green morocco chemise, green paper boards with a stylised motif, endpapers lined with green lamb, slip case lined with the same morocco, the piece is signed by Goy & Vilaine.
The letter was chosen for Cécile Guilbert's anthology, Les Plus Belles Lettres manuscrites de Voltaire à Édith Piaf, Robert Laffont, 2014.

First edition on current paper.
Nice full copy of his jacket.
Signed autograph Yves Bonnefoy to his friend the sculptor and painter Raymond (Mason) and his wife Janine.

First edition.
Texts by Luc Estang and Olive Tamari.
Beautiful autograph signed by Olive Tamari to (Gérard) Mouizel: "There is the blue friendly too, more affectionate than the red, I give it to the young Mouizel Olive Tamari."
We add two original engravings by Olive Tamari, each of which has an autograph dedication to the same Gérard Mouizel: "To Mouizel, the beloved!" Olive Tamari "and" A Mouizel & to the artist. "The scholar, fine scholar, to Admiral, in friendly memory, Olive Tamari. "
Small foxing on the margin of one of the engravings.
There are also reproductions of Olive Tamari's works, probably from an exhibition catalog.

First edition bilingual Italian-French of this catalog of the works of Jean Gaudaire Thor, one of 300 copies including an original artist proof of Jean Gaudaire Thor that he justified and signed. .
Nice copy.
Rich iconography.
Autograph dedication of Jean Gaudaire Thor to Mr. and Mrs. François Sutel.

First edition bilingual Spanish-French.
Plate illustrated with 8 reproductions of works by Alexis Hinsberger.
Signed autograph Alexis Hinsberger to a couple of friends.

First Edition printed 1500 copies of this plate exhibition held from April 10 to May 31, 1980 at the gallery Jean Krugier in Geneva.
Illustrated book of reproductions of works of Vladimir Velickovic.
Our exemption is enriched by an autograph signed by Vladimir Velickovic

First published edition.
Handsome copy despite tiny marginal wormholes at the foot of the second cover.
Work illustrated with 2 illustrations by Hans Arp as frontispiece.

First edition.
Texts by Fernando Arrabal, Michel Butor, Michel Deon, Luis Mizon, Eugene Guillevic, Kenneth White ...
Illustrated book of reproductions of works of Julius Baltazar.
Our copy is exceptionally enriched with an autograph dedication dated and signed by Julius Baltazar to Professor Jean-Philippe Méry accompanied by an original drawing.

First edition of this exhibition catlogue.
Illustrated book of reproductions of works by Jef Van Tuerenhout.
Our copy is exceptionally enriched with an autograph dedication signed by Jef Van Tuerenhout accompanied by an original drawing.

First edition.
Half black sheep binding, smooth spine decorated with double gilt fillets, marbled paper boards, marbled endpapers and pastedowns, corners slightly bumped, contemporary binding.
Gift inscription in pen by a previous bibliophile on the half-title page of the work, some foxing mainly at beginning and end of volume, light scuffing to boards.
Rare.

First edition, one of 100 numbered copies containing, as frontispiece, an exclusive numbered engraving by Jean-Emile Laboureur "Pêcheurs au carrelet".
Work illustrated with reproductions of works by Jean-Emile Laboureur.
Fine copy.

Quadrilingual first edition, one of 1000 numbered copies.
Publisher's binding in full blue cloth, mute smooth back.
Illustrated book of reproductions of works of Jean Fautrier.
A small stain at the bottom of the last two pages of the table of contents, complete copy of his illustrated jacket that has a small tear in the back and a slight lack in mind.
Nice copy.
Precious autograph dated and signed by Jean Fautrier to his friend André Malraux.

First edition, one of 40 numbered copies on Holland paper, the deluxe issue after 20 Japan paper copies.
Small tears at foot of spine at the deckled edges, slight foxing on some deckled edges, otherwise a handsome full-margined copy.

Handwritten signed letter from Alexander Calder to Juan Luis BuñuelHandwritten signed letter from Alexander Calder to Juan Luis Buñuel, written in French in black felt-tip.
Letter perforated with two holes in the left-hand margin. Calder's telephone number in top left-hand corner, a few directions to get to Saché in right-hand corner.
Small sign in red felt-tip at the end of the letter. Two corrections and additions in Calder's hand.
Provenance: Buñuel family archives.His request was refused in no uncertain terms, putting an end to the two men's friendship. Thus it was Calder, whom Luis had perhaps already met in Paris in the 1920s, who put the whole family up in his Upper Side apartment. Juan Luis Buñuel, the artist's godson, sensed that his interest in sculpture began in this same period: “When Dali told my father he would not lend him any money, he contacted him [Calder]. He offered his house to us and we lived with his family for a time. I can only vaguely remember it, but it was then that I started to become interested in sculpture and he encouraged me” (Anton Casto, Juan Luis una entrevista).

First edition, one of 650 numbered copies on white laid paper, the only deluxe copies after 50 Japan and 50 hors commerce.
Preface by Emile Henriot.
Work illustrated with 11 plates hors-texte as well as numerous black drawings in-text and, as frontispiece, a portrait of Sylvain Sauvage by Emilien Dufour.
Handsome copy.

First edition, one of 550 copies on white vellum, only printing with 30 Normandy vellum.
16 illustrations.
Spine slightly browned.

First edition.
Publisher's binding, covers illustrated.
Illustrated with with reporductions of Sebastian Matta's works.
A nice copy.
Autograph inscription dated and signed by Sebastian Matta with an original drawing.

First edition printed in 1800 numbered copies.
Cover illustrated by Alexandre Alexeieff.
Work decorated with illustrations by Alexandre Alexeieff, Gus Bofa, Pierre Bonnard, Jean-Gabriel Daragnès, André Derain, Raoul Dufy, Demetrios Galanis, Jean-Emile Laboureur, Aristide Maillol, André Dunoyer de Segonzac...
Handsome copy.

First edition consisting of a set of 7 postcards representing the 7 etchings from the artist's book to be published by "Soleil Noir," slipped under a chemise in-12 format measuring 12.5 x 17.5 cm.
The copper-colored chemise is here in good condition.
Our copy is complete with the subscription form, a notice on the artist, a photograph of Gérard Titus-Carmel and a list of exhibitions, the list of artist's books published by the publisher, a sheet of reviews on the artist, and the justification page.

First edition.
Publisher's binding in full orange canvas, smooth back, complete copy of his illustrated jacket
Illustrated book of reproductions of works by Horst Egon Kalinowski.
Nice copy.
Autograph dedication dated and signed by Horst Egon Kalinowski, in German, to Jorg Ortner.

First illustrated edition of 38 reproductions of works of Dusan Dzamonja who was notably the architect of the Memorial of the Second World War in Yugoslavia.
Binding of the editor in full cardboard illustrated with a reproduction of a work of Dusan Dzamonja, smooth back of brown cloth, lower corners slightly blunt.
Our copy is exceptionally enriched with 4 photographs of Dusan Dzamonja's works.
Rare autograph dedication dated and signed by Dusan Dzamonja, written in French and in Paris, by James Barton

First edition on current paper illustrated with 21 original drawings by Alfred Manessier.
Back slightly insolated, otherwise nice copy.
Autograph signed by Camille Bourniquel to Françoise Dumayet.

ARP Hans & SCHULZE VELLINGHAUSEN Albert
illustration by POLIAKOFF Serge
Werke Poliakoffs. - Geh durch den Spiegel
Werkstätten Galerie Der Spiegel, Köln 1964, 26,5 x 38 cm, original wrappers
First edition of this brochure of the Serge Poliakoff exhibition, of which 300 copies were printed. The exhibition was held at the Der Spiegel gallery in Cologne in 1964.
Work illustrated with two separate original engravings by Serge Poliakoff, including one double-page spread.
Texts by Hans Arp and Albert Schulze Vellinghausen.
Wrappers and spine slightly discolored at the margins, otherwise an attractive copy.
Provenance: from the library of the art publisher and collector Alex Grall, with his stamp printed as an ex-libris.
$ 2 250

First edition on current paper.
Text by Pierre Gaudibert.
Illustrated book of reproductions of works of Lou Laurin-Lam.
Nice copy.
Autograph dedication signed by Lou Laurin-Lam to Anne Frélaut, daughter of the painter and engraver Jean Frélaut enriched with an original drawing enhanced with watercolor representing a curious creature in the acrobatic posture of the pear tree.

First edition on current paper.
Binding of the publisher in full flexible cream carton, complete copy of its illustrated jacket that has angular gaps.
A hitch and a lack in the back of the soft binding.
Illustrated book of reproductions of works by Johan Barthold Jongkind.
Provenance: from the library of the painter and engraver Jean Frélaut with two handwritten signatures in heads of two guards (the first being covered by one of the flaps of the jacket) as ex-libris.
Our copy is exceptionally enriched with two original watercolors and two original pencil drawings by Jean Frélaut, which he has signed and executed in the manner of Jongkind as he indicated at the foot of each of them.
These four original works by Jean Frélaut representing marine.

SENSIER Alfred
La vie et l’oeuvre de J.F. Millet
A. Quantin, Paris 1881, 22.5 x 33.5 cm, bound
First edition, one of 100 numbered copies on Hollande paper, the only large paper copies.
Contemporary half black morocco Bradel binding over marbled paper boards by A. Tisseron, small scratches to head and foot of spine, gilt date to foot, marbled endpapers and pastedowns, covers preserved, corners slightly bumped.
12 hors-texte plates, here present in two states as in the tirage de tête, as well as 48 engravings to text reproducing works by Jean-François Millet.
Provenance: from the collection of the painter and engraver Jean Frélaut with his signature to one pastedown serving as an ex-libris.
This copy exceptionally enriched with three original drawings, pencil on paper, on two loose sheets, by Jean Frélaut, signed and dated and executed in the manner of Millet, as detailed at the foot of the drawings.
The drawings show two women and a portrait of a man.

Fourth edition.
Bradel binding in full blue cloth, smooth spine, old rose shagreen title label, original wrappers preserved.

Seventh edition.
Bradel binding in full blue cloth, smooth spine, old rose shagreen title-label, spotted covers preserved.

New edition.
Braid binding in full blue canvas, smooth back, title piece of old rose shagreen, preserved quilts.
Some small foxing.
Our copy is enriched with an original drawing of the painter and engraver Jean Frélaut depicting a desert landscape that he signed the initial of his name and enhanced with watercolor and pencil.
He also inscribed, in pencil, these words: "April 19, 1869. Fromentin, after Fromentin F."

First edition.
Publisher's full blue cloth bindings, complete with their illustrated dust jackets and soft cardboard slipcases (except for the last volume).
Minor tears and insignificant damage to the soft cardboard slipcases, some also insignificant tears to the dust jackets.
Very rich iconography.
Handsome complete set in four volumes.

First edition.
Text by Valère Bertrand.
Illustrated book of many reproductions of works of Pierre Collin.
Autograph dedication signed by Pierre Collin to a friend named Nanie, daughter of the painter and engraver Jean Frélaut: "In Nanie, the" ordinary Vertigo "who exercised on the hill" Frélaut "with happiness! enriched with an original drawing in black ink enhanced with watercolor and representing a character in a cafe.

Illustrated edition, frontispiece, an original etching by Jean Frélaut, one of 300 numbered copies on vellum of the Marais, ours one of the few out of trade, draw of head.
Small landfills in the foot of the first guard and the page in his eyes, uniformly shaded back and boards.
Our copy is enriched by a second state of the etching by Jean Frélaut which he signed and dated to a friend.

Edition illustrated with 38 original drypoints by Jean Frélaut and printed in 215 numbered copies on Arches paper.
Handsome copy despite minor rubbing of no consequence to the slipcase.

First edition illustrated with 2 original dry tips Alexis de Kervoal, one of 14 numbered copies on Royal Lana, only draw after 6 other Lana Royal.
Binding of the editor in full cardboard covered with kraft paper and perforated inside to reveal, on the left an original drawing and on the right to place the text in leaves.
Our copy, like the 14 copies on Lana Royal, is enriched with an original drawing signed by Alexis de Kermoal representative.
Handwritten signatures of Fernando Arrabal and Alexis de Kermoal in pencil at the beginning of the volume.

First edition on current paper.
Signed autograph Yves Bonnefoy to his friend the sculptor and painter Raymond Mason: "For Raymond, with my affection Yves."
Nice copy.

First edition on current paper.
Signed autograph Yves Bonnefoy to his friend the sculptor and painter Raymond Mason: "For Raymond, thinking of him, often, with affection, Yves."
Nice copy.

Collective first edition on current paper.
Signed autograph Yves Bonnefoy to his friend the sculptor and painter Raymond Mason: "Dear Raymond, this treatise of the pianist that you illustrated, with my affection, Yves."
Nice full copy of his trailer.

First edition on current paper.
Signed autograph Yves Bonnefoy to his friend the sculptor and painter Raymond Mason: "For Raymond Mason Where the arrow falls (his eyes reach faster) Yves."
Nice copy.

First edition, one of the 1000 numbered copies on vellum cloth, ours one of the hors commerce.
Signed autograph Yves Bonnefoy to his friend the sculptor and painter Raymond Mason and his wife: "For Raymond and Janine with affection Yves." enriched with the handwritten signature of Claude Garache in pencil.
Illustrated book of 4 reproductions of works of Claude Garache.
Nice copy.

First edition on current paper.
Autograph signed by Yves Bonnefoy to his friend the sculptor and painter Raymond Mason and his wife: "For Raymond (whom I see passersby in your light) with affection Yves."
Nice copy.

Collective first edition on current paper.
Yves Bonnefoy's signed autograph dedication to his friend, sculptor and painter Raymond Mason, and his wife.
Back very slightly insolated without gravity.

First edition.
Signed autograph Yves Bonnefoy to his friend the sculptor and painter Raymond Mason and his wife: "... with great affection Yves."
Nice copy.

First edition printed in 180 numbered copies, ours one of 30 hors commerce copies.
Work illustrated with a frontispiece featuring an unpublished drawing by Raymond Mason.
Handsome copy.

First edition on current paper.
Autograph signed by Yves Bonnefoy to his friend the sculptor and painter Raymond Mason.
Nice copy.

First edition on current paper.
Autograph dedication signed by Yves Bonnefoy to his friend sculptor and painter Raymond Mason and his wife: "RM / JH yesterday reigning desert and YB friendship"
Back slightly insolated.

Original collective edition on current paper.
Autograph signed by Yves Bonnefoy to his friend the sculptor and painter Raymond Mason and his wife Janine: "... these speculations of their old friend ..."
first board with four spots.

First edition for which it was not drawn large papers.
Signed autograph of Serge Rezvani to his friend the sculptor and painter Raymond Mason and his wife Janine: "To dear friends Raymond and Janine in memory of the unforgettable" idyll "This idyll of words speaking of a whole life apart. sign of deep and "old" unaltered friendship. "
Illustrated book of 10 etchings by Serge Rezvani.
Pleasant copy despite small clear spots on the second flat and the back of the head.

First edition printed in a small number of copies on laid paper.
Bradel binding in half green cloth with corners, smooth spine, date and double gilt fillet at foot, marbled paper boards, original wrappers preserved, red top edge, contemporary binding.
Handsome copy almost free of foxing.

First edition on current paper.
Autograph dedication signed by Edouard Krakowski to Yves Gandon.
Full copy of his prayer to insert.

First edition, one of the first issue copies numbered to the press, there is no mention of leading copies.
Braid binding in half gray percaline mouse, smooth back decorated with a golden floral pattern, double golden net tail, flat marbled paper, cover preserved, Contemporary binding.
Autograph signed by Charles Morice to Léon Riotor.
Illustrated book, frontispiece, a portrait of Eugène Carrière by himself.

First complete edition. The publishing enterprise began in 1839, but publication extended from 1841 until 1842 for the final volumes. Illustrated with 121 lithographed portraits by Jeanron.
Contemporary half dark green shagreen binding. Raised band spine with decorated compartments. Gilt title and volume labels. Black and gilt fillets. A slight lack to one headcap. Light traces of rubbing. Handsome decorative set. Relatively fresh copy, with some scattered pale foxing.
Vasari (1511-1574) is the author of the precious and very famous collection entitled The Lives of the Most Excellent Italian Painters, Sculptors and Architects (Le Vite de' più eccellenti pittori, scultori e architettori italiani) (1550-1570). He is the first to use the term Renaissance to qualify his era. This legendary work is of fundamental importance as it establishes the methodological premises of Art History. It brings together the biographies of Italian painters from Cimabue to Michelangelo. Furthermore, Vasari would create for the Medici the corridor that would connect the Palazzo Vecchio to the Palazzo Pitti.

First edition printed in 65 numbered copies, this copy one of 30 signed and numbered by Aurélie Nemours.
This copy is complete with 21 plates.
A nice and rare copy.

first edition on plain paper.
Autograph signed by Gérard Titus-Carmel to Françoise and Pierre Dumayet.
Pleasant copy.

Original bilingual Italian-French edition.
Iconography.
Autographed autograph dedication of the author from Jean Leymarie to Françoise and Pierre Dumayet.
Pleasant complete copy of his illustrated jacket.

first edition for which no large papers have been taken, one of the review copies service.
Autographed by André Lhote to Bernard Hauduroy.
Iconography, complete copy of his prayer to insert.
Back slightly wrinkled.

First Edition
Autumn tribute signed by Pierre Restany.
Book illustrated with reproductions of works of Gianni Berteni.
Pleasant copy.

First edition, one of the unnumbered copies on Normandy vellum.
Additional literary contributions by David Gascoyne, Fernand Marc, Léon Damas, Henri El Kayem, Philippe Soupault, Caresse Crosby, Thérèse Aubray, Roger Lannes, Adrien Copperie, Halina Izdebska, René Roux, Jacques Baron...
Issue illustrated with 5 drawings by Jean Mario Prassinos.
Spine sunned and discolored with small light stains, handsome interior condition.

New edition in pocket format.
Autographed autograph dedication of the author of Pierre Cabanne to Françoise and Pierre (Dumayet) on the first volume.
Iconography, beautiful copy.

Illustrated with 16 original copper engravings by Kees Van Dongen, one of 900 numbered copies on Vergé du Marais paper.
Publisher's full marbled fawn sheep binding, smooth spine with some rubbing, top headcap worn down, marbled endpapers and pastedowns, corners slightly bumped, bookplate pasted on a pastedown, speckled edges.
Handsome interior condition.

first edition, one of the 60 numbered copies on vellum of Arches paper, drawing of head.
Book illustrated with drawings by Colette Deblé.
Handwritten signatures of Marc Le Bot and Colette Deblé to the justification of the draw.
Our copy, like all the copies of the drawing of head, is complete of the original painting of Colette Deblé which it signed in its verso.
autograph dedication of the author autograph signed by Colette Deblé to Françoise and Pierre (Dumayet) embellished with a small heart on the verso of the original painting.
Pleasant copy.

First edition, one of 25 numbered copies on vergé pur fil paper, the only grand papier (deluxe) copies.
Bradel binding, covers and spine preserved, top edge gilt, binding signed by T. Boichot.
Nice and rare copy with edges preserved.

first edition of this invitation card printed on the occasion of the exhibition, at the gallery Alain Margaron, devoted to the last works of Fred Deux.
autograph dedication of the author an autograph signed by Fred Deux (Pierre Dumayet): "That's where it goes, even if you stay in his corner like a peasant, you come to get you.
Pleasant illustrated copy of three reproductions of works by Fred Deux.

first edition, one of 55 numbered copies on vellum Arches paper, ours one of the 15 hors commerce including an engraving of Cécile Reims-Deux after an original drawing of Fred Deux, head print.
Signed autograph of Fred Deux to Pierre Dumayet: "The ways of which way? The passage of words in the power of the features. The hand extended to his, Fred Two".
Our copy is enriched by a second autograph signed by Fred Deux, Pierre Dumayet, at the foot of the engraving.
Nice copy.

first edition on paper.
Binding of the publisher in full sand cloth, smooth back, complete copy of its illustrated jacket.
Autographed by André Berne-Joffroy to Pierre Dumayet.
Iconography.

first edition of the catalog of the exhibition devoted to Candida Romero at the Albert Loeb gallery from 15 February to 15 March 2001.
Text by Gilbert Lascault.
autograph dedication of the author autograph signed by Gilbert Lascault to Pierre Dumayet: "... these secret gardens, vapors, vapors, uncertain borders ..."
Pleasant copy.

first edition.
Autographed by Gilbert Lascault to Françoise and Pierre Dumayet: "... who will find on the planet Max Ernst extravagant and secular forests, meticulous ghosts and the friendship of Gilbert Lascault ..."
Pleasant copy.

first edition printed with 200 numbered copies on vellum of this catalog of the exhibition devoted to Jean Clareboudt at the Galerie 7 ..
Book illustrated with an original lithograph by Jean Clareboudt on the cover.
Text by Gilbert Lascault.
autograph dedication of the author an autograph signed by Gilbert Lascault to Françoise and Pierre D (umayet) in paper pencil.
Pleasant and rare illustrated copy of reproductions of works of Jean Clareboudt.

first edition.
Binding of the publisher in full canvas yellow mustard, smooth back, complete copy of his jacket illustrated.
Text by Paul Eluard, Yves Bonnefoy, André Frénaud, Georges Limbour, Jean Bazaine, Raoul Ubac ...
Book illustrated with reproductions of works of Raoul Ubac.
Autograph signed by Raoul Ubac to Pierre Dumayet.
Pleasant copy.

first edition of this exhibition pamphlet held at the Cantini Museum in Marseille from 27 February to 30 April 1989.
Autographed and autographed autograph dedication of the author of Fred Deux to Pierre Dumayet and his muse: "... these pages where the prayers of a funny believer are."
Book illustrated with reproductions of works of Fred Deux.
first boardes with a slight hook without gravity in foot.

First edition printed in a numbered edition of 400 copies on Rives design paper for the exhibition Sainte-Victoire, Cézanne 1990.
Work decorated with a photograph on the first cover.
Handsome copy.

First edition.
Contributions by Fernand Léger "De l'art abstrait", Christian Zervos "Les problèmes de la jeune peinture", Pierre Guégen "L'oeuvre actuelle de Cossio"...
Issue illustrated with reproductions of works.
Some worming to boards, handsome interior condition.

Original wash drawing by Alfred Johannot, a study entitled La Confession for a lithograph published in volume 2 of L'Artiste (22nd issue).
Attached: a lithographed proof of the drawing (slightly spotted) executed by J. Lion and Bichebois the elder, signed Alfred Johannot pinx. in the lower left corner, and J. Lion lith. in the lower right corner.

Alfred Johannot worked with his brothers Tony and Charles as an illustrator, engraver and vignettist. The Johannot brothers occupy an important place in the history of the Romantic illustrated book for their work on celebrated works by Walter Scott, Beaumarchais, Bernardin de Saint-Pierre and Goethe, but also for numerous comic opera and vaudeville librettos. They also contributed extensively to illustrating stories published in the weekly L'Artiste, founded in 1831. This fine arts and literature review was essential to Romantic literature and a meeting place for artists, critics and men of letters. It published Balzac's Colonel Chabert and articles by Chateaubriand and George Sand, among others, and received contributions from Delacroix. Published as a booklet of about fifteen pages, its frontispiece was signed by Tony Johannot and young artists like Decamps and Raffet collaborated on it, giving it a very Romantic character.

This drawing comes from the collection of Aristide Marie (1862-1938), essayist, specialist in Gérard de Nerval, and great collector of works by Alfred and Tony Johannot, to whom he devoted a work (Alfred et Tony Johannot, Paris, H. Floury, 1925, 124 p.). He also wrote essays on other Romantic painters and lithographers, including Célestin Nanteuil and Henry Monnier. The majority of the Johannot works from this collection is now housed at the Musée de la vie romantique in Paris.

First edition.
Publisher's full cloth binding, smooth spine unlettered, covers illustrated with 2 original lithographs by André Beaudin.
Work illustrated with 10 original color lithographs by André Beaudin (including 2 on covers) as well as 157 reproductions of his works.
Handsome copy.

Les dessins de Hans Bellmer
First edition on ordinary paper.
Publisher's pink cloth, retaining dj and limp slipcase.
Autograph inscription signed by Hans Bellmer to monsieur Milla below the justification.
Abundantly illustrated.
Small transparent stains to lower cover of slipcase.
A good copy.

First edition of this text devoted to Douanier Rousseau and Paul Gauguin, one of 875 numbered copies on vellum, the only deluxe copies after 30 on Japan paper.

Work illustrated with a frontispiece portrait of the authors by Pierre Payen.

Spine sunned, front cover marginally stained, handsome interior condition.

First edition of each of the two texts.
Half green shagreen binding, spine with four raised bands decorated with blind-tooled compartments with gilt fleurons at their centers, gilt dates, marbled paper boards, marbled endpavers and pastedowns.
The first work, in two volumes, is illustrated with 72 plates, the second, in one volume, with 72 plates.
Some minor foxing of no consequence.

First edition.

Half green shagreen binding, spine with four raised bands decorated with blind-tooled compartments enhanced at their centers with gilt fleurons, gilt date, marbled paper boards, marbled endpapers and pastedowns, two corners slightly bumped.

Work illustrated with 128 plates.

Some minor foxing of no consequence.

Edition illustrated with 5 original plates by Emilio Scanavino, one of 2000 numbered copies, the only issue after 125 numbered copies containing 5 silkscreens.
Small light stains to margins of first board of the chemise, otherwise handsome copy.

first edition of the theatrical adaptation realized by Edmond de Goncourt.
Bradel binding in half gray half-perk, smooth back, date and double golden filet in tail, piece of title of shagreen navy, plates marbled paper, preserved covers, Contemporary binding.
Precious signed autograph dedication of the author from Edmond de Goncourt to the administrator and theater man Antoine.
In addition, on the two white guards of the binding, our copy includes signed autographs from May 1919, the creators of the various parts of the play (Charles) Moncharmont, theaterman, creator of plays, notably Cyrano of Bergerac, which he introduced to the whole of Europe, and director for 35 years at the Théâtre des Célestins in Lyon.
First, Félix Galipaux: "I offer you my only one, kind Moncharmont ... / She possessed two Solomon Manette!", Then Henry Mayer: "Chassagnol-Mayer to his excellent comrade Macharmont, memory of the good times of Vaudeville "Then follow Candé:" To my friend Macharmont in remembrance of our happy years of Vaudeville ", and Georges Grand:" "What good memories, my dear Macharmont! The Vaudeville! Affectionately to you, your old comrade, "and finally Grassot: Souvenir of the master Edmond de Goncourt and to my director and friend Moncharmont."
Exceptional and unique testimony of the theatrical life of the 20th century.

Italian scene: animated seaside with square tower

Original pencil drawing showing an animated seaside scene.

Modern black wooden frame.

A drawing done during the journey the artist undertook with Sade in 1776.

Jean-Baptiste Tierce (1737-1794), who studied at the School of Fine Arts in Rouen and subsequently at the Academy of Painting and Sculpture in Paris, quickly built a reputation as a landscapist for his views of the South of France and Italy. His paintings are in the Uffizi in Florence and several French museums. When, in December 1775, Sade left Rome for Naples, he was welcomed by the son-in-law of his friend Dr. Mesny, Jean-Baptiste Tierce, who at the time was working on commissions for Cardinal de Bernis. He found lodgings for the Marquis who “intends to see everything [of the region], learn everything, judge, admire, critique, love, hate, in short give himself over to the insatiable and passionate curiosity that takes him to museums, galleries, churches, palaces and libraries as well as grottoes, caves, catacombs, and right down to the very innards of volcanoes. He was not content merely to look at the various works of art and ancient and modern monuments; he also set out to observe the local mores, politics, religion, administration, and social life. The beauty of the women, the local traditions, the quality of plays, table manners, and the way people drank, dressed, prayed, and made their way in the world all interested him. He wanted to take in both the present and the past of this culture, to encompass it all in a unique and universal vision. A massive undertaking to match his extraordinary imagination which he was, however, unable to fulfil, it being impossible for him to do so.
This was, however, the nature of his central ambition as a writer: grandiose and outsized. With a view to this “great work”, Sade took hurried notes, at the side of the road or in hostelries, which he then complemented with notes from his correspondents Mesny and Iberti. Thus, he built up the monument he intended to put before the public, but which did not end up seeing the light of day until the 20^th century.

Jean-Baptiste Tierce was a close collaborator: he re-read Sade's notes and gave his observations on the little notebooks, with numbers referring to the works mentioned. Sade took the greatest notice of his views. Often, the painter accompanied him on his rambles, sketchbook in hand, drawing the buildings and landscapes before them. A hundred or so of these drawings and watercolors were recently found in the Sade family archives. They give the Voyage en Italie the charm of a real travel diary.” (Maurice Levert, Sade, pp. 283-284).

Provenance : Sade family archives.

Original drawing in ink and watercolor depicting an animated seaside view with a village perched on a cliff.
Modern framing in blonde molding.
Drawing executed during the journey made with the Marquis de Sade during the year 1776.
Jean-Baptiste Tierce (1737-1794), student at the École des Beaux-arts in Rouen then at the Academy of Painting and Sculpture in Paris, quickly distinguished himself as a landscape painter for his views of the South of France and Italy. His paintings are preserved at the Uffizi in Florence and in several French museums. When in December 1775 Sade left Rome for Naples, he was welcomed by the son-in-law of his friend Doctor Mesny, Jean-Baptiste Tierce, who at that time was receiving commissions from Cardinal de Bernis. He found lodging for the Marquis "[who] intended to see everything [in the region], learn about everything, judge, admire, criticize, love, hate, in short to give free rein to that insatiable and passionate curiosity which led him into museums, galleries, churches, palaces and libraries, as well as into grottos, vaults, catacombs, and even into the bowels of volcanoes. He was not content to contemplate works of art, ancient or modern monuments; he also observed customs, politics, religion, administration, social life. The beauty of women, worldly customs, the quality of entertainments, ways of eating, drinking, dressing, praying, conducting oneself in society: nothing left him indifferent. He wanted to grasp all the present and all the past of this civilization, to embrace it entirely in a single and universal vision. A gigantic program, commensurate with his exceptional imagination, but which he could no longer fulfill, which was impossible for him to fulfill.
Yet such was his first ambition as a writer: grandiose, excessive. With this 'great work' in view, Sade hastily took notes, at roadsides or in inns, which he supplemented with the notes of his correspondents Mesny and Iberti. Thus was built this monument which he intended for the public, but which would not see the light of day until the 20th^th century.
Jean-Baptiste Tierce collaborated closely: he reread the notes and recorded his observations in small notebooks, with numbers referring to the works described. Sade took the greatest account of them. Often, the painter accompanied him on his excursions, his sketchbook in hand, drawing the buildings and landscapes before their eyes. About a hundred of these drawings and gouaches were recently found in the archives of the Sade family. They give the Journey to Italy the appearance of a true reportage." (Maurice Levert, Sade, pp. 283-284).
Provenance: archives of the Sade family.