First edition, one of 170 numbered copies on vélin du Marais, the only issue after 30 copies on Arches.
Custom chemise and slipcase, chemise in half blue box calf, flat spine with blind and palladium-stamped lettering, date in palladium at foot, patterned paper boards, slipcase edged in blue box calf, patterned paper boards, sides and spine in petrol blue paper, signed by Boichot.
A very fine copy.
Illustrated with 3 original etchings in black by Georges Braque and one in black and grey as frontispiece.
Signed by René Char and Georges Braque on the colophon.
First edition, one of 350 numbered copies on deckle-edged paper, ours specially printed for General Koenig.
Bradel binding in full white cardboard simulating vellum, spine with four compartments decorated with panels outlined in red, red fillet frame on boards, front cover preserved, top edge red.
Precious autograph inscription from Marcel Bleustein, who took the pseudonym Blanchet during the Resistance, to General Koenig, the great victor of the battle of Bir Hakeim: "Pour monsieur le général Koenig, en témoignage de ma grande admiration et de mon respectueux attachement. Son ancien officier de presse Marcel Bleustein-Blanchet le 24 Nov. 1948" [For General Koenig, as a testimony of my great admiration and respectful attachment. His former press officer Marcel Bleustein-Blanchet, November 24, 1948].
Moving tribute from a Resistance fighter to one of the very first military victors over the Axis forces.
First edition, a Service de Presse (advance) copy.
Iconography at rear.
Precious autograph inscription signed by André Malraux to the diplomat and great resistance fighter, faithful among the faithful of General De Gaulle, Gaston Palewski to whom this work is dedicated below the printed dedication: "C'est pour vous distraire. Vous recevrez vos exemplaires convenables la semaine prochaine" ["This is to entertain you. You will receive your proper copies next week"].
First edition, one of 1550 numbered copies on roto blanc Aussèdat paper printed under sky blue covers.
Spine of the third volume and boards marginally sunned, a small tear at the foot of the spine of the first volume, otherwise a handsome set.
Our copy is enhanced with a visiting card by Charles De Gaulle mounted on a stub in the first volume on which he added these words: "Merci, bien sincèrement de la sympathie que vous m'avez témoignée. C.G." ["Thank you, very sincerely for the sympathy you have shown me. C.G."].
Also mounted on a stub below the card, we include the envelope stamped by the Presidency of the Republic and addressed to Claude Morgan, recipient of the visiting card (postmarked January 19, 1960).
First edition, one of 35 numbered copies on superior vellum, ours one of 5 hors commerce copies, the only deluxe copies.
Spine sunned, otherwise a handsome copy.
Rare.
First edition of this selection of poems on the Resistance.
Publisher's full yellow cloth binding, complete with its illustrated dust jacket and cellophane wrapper which has a lack to the head of the rear panel.
Fine autograph inscription signed by Lucien Scheler, alias Jean Silence, to Robert Gallimard: "... cette lampe-tempête souvenir du temps mort, avec l'amitié de Jean Silence."
"In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude." (Luc Desbenoit).
"Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance." (Xavier-Gilles in Le Monde Libertaire).
"From thirty-five years of photographic practice, of obsessions, this is perhaps what remains: a singular mode of recording the burn of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers." (Marc Trivier).
"Photography says only one thing: 'It was.' One fixes only what has been. If there is a tragedy, it is there." (Marc Trivier)
"(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. He perhaps awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chairs. Intimate images." (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier", Marges 2004).
"I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait is welding back together the name and the face." (Marc Trivier).
"What interested me was not simply to photograph a body or a face, but this particular situation which is someone in the process of taking the photo of someone else." (Marc Trivier).
