First edition, with no copies issued on deluxe paper.
Backstrip lightly creased, minor corner creases to the covers.
Inscribed, dated, and signed by Marguerite Duras to Yvonne Beaujour.
First edition of this periodical, comprising for the complete year 1781 (from 2 January to 28 December) 104 issues, the text printed in two columns with continuous pagination.
Contemporary half calf, mottled fawn, smooth spines decorated with gilt compartment tooling and floral ornaments, beige calf lettering-pieces and blue calf volume labels; minor losses and rubbing to spines and joints, a few scuffs to the blue paper boards, bumped corners, red edges; bindings contemporary to publication.
Transposition of ff. 357–58 and 359–60; initials in black ink and numbering to the endpapers; bookplate affixed and marginally torn in the first volume, another bookplate covered over in the second.
A biweekly periodical founded in June 1776, published until December 1792.
Its contributors included Serres de la Tour, Théveneau de Morande, and Brissot—already well-known publicists and scarcely “ministerial,” as was then said. Printed in England for readerships on both sides of the Channel, though primarily intended to inform a French audience about English institutions, it was avidly read in Paris, especially throughout the Anglo-French war over the American colonies. Along its columns one finds exceptionally rich documentation on that conflict (relative strengths, reports of naval and land engagements, debates in the English Parliament, diplomatic negotiations, etc.). Yet this was not its sole interest: what especially captured French readers of the Courier during this period of anglomania—and what chiefly accounts for the periodical’s value—were its detailed accounts of major English parliamentary sessions, together with numerous articles translated from and drawn from English and American newspapers.
Illustrated edition with 13 colour plates on brown paper by Arthur Rackham tipped in with captioned tissue guards, together with 14 black-and-white illustrations in the text by Rackham, including a frontispiece portrait of Alice, one of the very rare 20 copies on Japon, signed by Arthur Rackham on the limitation page, copy from the deluxe issue. A few name copies on the same paper were also issued.
Publisher’s full vellum binding, smooth spine lettered in gilt with a gilt illustration of the Cheshire Cat, upper cover stamped in gilt with the title and an illustration of two fantastic creatures, illustrated endpapers, top edge gilt. Occasional light foxing.
A handsome copy of the most sought-after of Rackham’s illustrated works, one of the exceedingly rare copies on Japon paper.
Provenance: manuscript ex-libris on the half-title of Maurice Feuillet, celebrated press illustrator, notably for major legal trials, as well as art critic and founder of the 'Figaro artistique'. Feuillet remains renowned for his courtroom sketches during the trials of Émile Zola in 1898 and Alfred Dreyfus in 1899.
Very rare first run of this fascinating maritime periodical, whose publication, under the direction of the renowned Edouard Corbière (1793-1875), continued until 1838 (a total of 18 issues), before the title was absorbed into the Journal de la marine (see Polak, 6955, who only records and knew of the first volume).
The set is illustrated with 15 plates: 4 lithographed plates hors texte, including one folding plate, for the first volume; 2 hors texte plates, one of them lithographed, for the second; 3 lithographed plates for the third volume; a lithographed frontispiece in each of the following volumes: 4, 5, 6 and 7; and 3 lithographed plates, including a frontispiece, for the eighth volume.
Half olive-green calf with corners, spines slightly darkened, with five raised bands tooled in gilt with floral ornaments in blind and gilt fillets, blind rolls along the edges of the marbled paper boards, endpapers and pastedowns in marbled paper, sprinkled edges, romantic bindings of the period.
Joints cracked and fragile, some head- and tailcaps rubbed or trimmed, occasional foxing.
First edition.
Contemporary red cloth Bradel binding by Pierson, spine with gilt floral motif, date and double gilt fillet to foot, black shagreen title label.
A little light spotting, principally affecting the first and final few leaves.
Ex libris of Adolphe Racot on inside upper cover.
Concerning Victor Hugo, Alfred de Musset, George Sand, François-René de Chateaubriand, Théophile Gautier, Alexandre Dumas fils, and so on…
Autograph inscription from Emile Zola to Adolphe Racot.
First edition of this issue of the Journal officiel des Établissements français de l'Océanie, published every Saturday at 3 p.m. (cf. O'Reilly & Reitman, Bibliographie de Tahiti, 10280).
With a small marginal tear along the central fold of the paper.
The official gazette of the territory, whose circulation in 1865 was 450 copies.
This issue is divided into two sections: the first, the so-called "official part," contains the text of three ordinances of Queen Pomaré IV concerning the acquisition of land, whether by donation, sale, or long-term lease, within the twenty-two villages of the islands of Tahiti and Moorea; the appointment of a district chief and president of a village council in Moorea; and the granting of remission of sentence to certain indigenous prisoners.
These ordinances, dated 14 August 1864, are signed by Pomaré and countersigned by the imperial commissioner Gaultier de La Richerie.
The text is printed in French, followed by its translation into Tahitian. The "non-official" section contains information on the state of the Tahitian population during the second quarter of 1864 (births, marriages, deaths), the provisions and postal services, the administration of justice, port traffic and the Papeete market, etc.; it also provides details on the Mexican campaign, with a proclamation of Emperor Maximilian dated 28 May 1864 following his landing at Vera Cruz.
A rare and appealing copy.
Rare collector’s head volume of this fascinating economic, agricultural, and industrial journal founded by economist and statistician César Moreau (1791–1860), who also established the "Société française de statistique" (cf. BNF, "Catalogue collectif des périodiques", III, p. 157. Not in Hatin.)
Text printed in three columns.
Contemporary half brown sheepskin binding, smooth spine gilt-ruled with decorative panels, joints rubbed and professionally restored, marbled paper-covered boards, corners worn, yellow edges speckled with red.
Issue no. 23 of the second year is lacking from our set, which collation is as follows:
Very rare first edition of this work, never reprinted.
Only one copy listed in the CCF (Versailles).
Contemporary bottle green half shagreen binding, spine with four raised bands ruled in gilt and adorned with double gilt compartments and gilt floral motifs, gilt title at foot, marbled paper boards, marbled endpapers and pastedowns, sprinkled edges.
Some foxing; Mexican peddler's stamp on title page.
Only edition of this collection presented from a Mexican perspective, with an introduction by José Maria Lafragua Ibarra (1813–1875).
Name R. Criado stamped in gilt at foot of spine.
First edition, with no deluxe copies printed on fine paper.
Bradel binding in grey cloth-backed boards, flat spine with gilt central ornament and double gilt fillet at foot, red morocco title label with some rubbing, marbled paper-covered boards, grey paper endpapers and pastedowns.
Some occasional foxing, contemporary gift inscription on the title page.
Text preceded by three facsimile letters by Jules Vallès.
Preface by Julien Lemer.
Rare (possibly complete) collection of this popular Chilean weekly printed in Valparaíso, not listed in the catalogue of the National Library’s periodicals.
Contemporary binding in red half sheep, smooth spine decorated with double gilt and black fillets, black morocco title label, marbled paper-covered boards, comb-marbled endpapers and pastedowns.
Although primarily concerned with historical and political matters—featuring frequent polemics against Spain and Peru—this provincial paper also aspires to literary status, including numerous poems, occasionally illustrated with small wood engravings. The "classified ads," of particular interest, along with the theatre listings, offer a vivid glimpse into daily life in a mid-19th-century Chilean city.
The final page of each issue carries advertisements. A few insignificant spots of foxing.
Very scarce.
Original photo - Christopher Street Liberation Day March, New York - "The Kiss, Judy Bowen and Philip Raia""On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)
First edition, with no deluxe copies printed on special paper.
A handsome copy.
Inscribed and signed by Pierre Bourdieu to a friend named Emmanuel.
Original inscribed photograph portrait of Emile Zola. Original albumen paper print on cardboard bearing the stamps of the Eugène Pirou studio, rue Royale, Paris.
Signed and inscribed by Emile Zola to Otto Eisenschitz: "à M. Otto Eisenschitz / cordialement / Emile Zola".
Autograph letter signed by Emile Zola addressed to Octave Mirbeau, dated in his hand March 4, 1901. Two pages in black ink on a bifolium.
Horizontal fold mark inherent to postal delivery.
Published in his Correspondence, vol. X, p. 242.
Precious letter from Zola to his great supporter Octave Mirbeau, who had paid his fine at the end of his second trial for "J'accuse!".
Now amnestied, the writer attempts - in vain - to recover the sum to reimburse him.
After his historic cry from the heart in l'Aurore, Zola was first condemned by the Seine jury on February 23, 1898 to one year in prison and a three thousand franc fine. The judgment was overturned on appeal, and the case was referred to the Versailles assizes, which retained only three lines out of the eight hundred that make up "J'accuse!" as grounds for accusation. To avoid accepting such a stifling of the debates, Zola's defense decided to default, and the conviction was confirmed on July 18 - Zola left that very evening for London to avoid prison. The tribunal also demanded 7,555 francs from him, which Mirbeau spontaneously decided to pay from his own funds. It was also Octave Mirbeau who prevented the seizure of Zola's furniture, by obtaining from Joseph Reinach the 40,000 francs in damages that Zola had been condemned to pay to the three pseudo-experts in handwriting that he had "defamed" in J'accuse!...
Following the amnesty law that ended judicial proceedings for "all criminal or delictual acts connected to the Dreyfus affair," Zola was acquitted but was not reimbursed. This letter attests to the writer's desire to compensate Mirbeau for his act of generosity: "Labori [his lawyer] will attempt an approach to try to recover the seven thousand and some francs that you paid on my behalf, for the Versailles affair. He simply wishes to have a letter from you, in order to show it and thus be authorized to speak in your name. You certainly do not have down there the receipt that was issued to you. Perhaps you remember its terms. In any case, if we must wait, we will wait, for nothing is urgent after all. The important thing today is only to test the ground, to see if they will return the money to us". However, the prosecutor's office refused his request. Furious, Zola wrote two days later a letter to Labori asking him to give up claiming the slightest cent - he published it in L'Aurore under the title "Let them keep the money": "they torture the text of the law and the State too keeps the money. If the prosecutor's office persists in this interpretation, it will be yet another monstrosity, in the unworthy way they have refused me all justice [...] I do not want to be complicit by accepting anything whatsoever from their amnesty [...]". According to Pierre Michel, these unsuccessful recovery attempts, of which this letter bears witness, "incited Zola to adopt an attitude that emphasizes even more his disinterestedness and that of his 'friend,' who is not named [in the L'Aurore article], probably at Mirbeau's request."
Dreyfus's pardon and the amnesty of his supporters did not satisfy the writer, but nevertheless marked the end of long years of struggle: "I have finished my crushing task, and I am going to rest a little because I am exhausted". Struck down in full glory the following year, he would not be able to witness Captain Dreyfus's rehabilitation.
Beautiful lines from Zola to Mirbeau who gave him the means to continue his fight for justice.
Willy Ronis had arranged to meet me at 10:30, at the corner of rue Tiquetonne and rue Montorgueil. Apparently he was photographing athletes there. Ah! it was that restaurant where, in the past, we used to go eat with Vaillant-Couturier, and there were Action Française types who would shoot daggers at us with their eyes...
Instead of athletes, Willy was there, in his velvet jacket, with his spectacles, taking shots left and right, at the counter, of a couple of lovers. Sweet, the lovers... The little one, especially...
Perhaps it's a sport.
[...]
There is nothing more solemn than Caroline Reboux. It is the temple of hats. If he lived in our times, this is where Aristotle would write. Caroline Reboux herself made the bonnets for Nana and Eugénie de Montijo; at her place, Bel-Ami would twist his mustache while looking in the mirrors at the ladies trying on their headpieces... The English court was, for three reigns, hatted only by these hands... Finally, a photographer here is a scandal. I left mine in the antechamber.
Mademoiselle Paule, thank God, was there! Ah! if I could describe Mademoiselle Paule to you! She is magic, Mademoiselle Paule... One day, the Sardous of the future will stage Caroline Reboux, and Mademoiselle Lucienne, and Mademoiselle Paule... Meanwhile, how I wish I could show you the shop windows with the hats from before the flood, that is to say those from 1900 or 1910, Réjane's hat for the opening night of Alsace, or if it's not that one... She understood me immediately.
[...]
Marvel of spring, avenue Montaigne. This avenue that runs from Lalique's fountains to a Bourdelle statue. Paris's beautiful weather clings to the heavy white flowers of the chestnut trees. The asphalt is clean as a new penny, and in front of the houses, consulates, ministries, luxury shops, hotels, and that carriage entrance from which British soldiers emerge, there are little gardens in planters, railings and spindle trees, here lilacs, there luxury shops... From which end to approach this devil of an avenue, so as not to give free advertising to anyone, neither to this lingerie shop, nor to this couturier, nor to Kodak, nor to the Spanish ballets of this gypsy who has just arrived?
Willy Ronis stages Mademoiselle X... In front of a door, between two beds of spindle trees. Come on, turn around, let the dress fly and let me capture you in movement. A funny half-turn to the right, not very military. The idea is to land in front of the lens. No, Mademoiselle, with more abandon... I'm capturing you in movement... Some gaiety, Mademoiselle, some joy... Willy Ronis shows how to do it, he pivots his shoulder blades in his velvet jacket. And people stop, a postman comes out of the carriage entrance, the concierge, in the doorway, shakes a cloth... A West Indian woman watches Mademoiselle X..., she is of all colors, she, no drama about the shoes...
[...] While Mademoiselle X... pirouettes and her dress blooms like a flower, if you could see the ghostly air of the sewer worker, not at all classic, who descends into the manhole: a red-haired ghost who resembles my friend the painter Pignon, with a sweater with yellow and green horizontal stripes, straight from Sing-Sing...
But Willy Ronis is insatiable. We return in front of the Théâtre des Champs-Elysées, with its bas-reliefs, we ask a young man dressed in battle-dress to clear off from the only sunny bench, and here it's another story. Mademoiselle X... must climb on the bench and jump from it, while Willy crouched captures her from below. Come now, come now mademoiselle, some joy, some freedom... You should see Willy Ronis, his glasses on his nose, miming the affair by throwing his arms in all directions...
[...]
I went to collect the photograph around 3:30 PM at Willy's, at Sèvres-Lecourbe, a small house whose staircase is decorated with fishing nets. The embarrassment of choice. Before the wet contact prints, Willy Ronis prefers this proof because of the movement. [...] And it's at the stone that I find Morgan, Daix and Marcenac. The photo where Mademoiselle X... jumps from the bench almost won — it's more Giraudoux-like, it's true. But it's about Chéronnet's article, and in the end it's the photographer's choice that triumphs: elegance is moving westward...
Truth be told, Mademoiselle X... was leaving the west sidewalk of avenue Montaigne, between a Buick and a Cadillac, full sail toward the east... But still, the demonstration is made: and from the Palais Royal where Restif de la Bretonne dreamed, Paris chic has scarpered to rue Montaigne [...]
Autograph letter initialed by Emile Zola, dated in his hand April 10, 1898. Four pages in black ink on a bifolium, addressed to Octave Mirbeau's wife.
Horizontal fold mark inherent to mailing, very rare and discrete foxing on the first leaf.
A particularity of this exile correspondence, Zola chose to omit his signature in his letters - or as here, to initial only, protecting himself from censorship or police investigations.
Published in his Complete Works, vol. XXV, ed. F. Bernouard, 1927, p. 820.
Heart-wrenching letter by Zola written in complete exile, the most unknown retreat, the most absolute silence. The justiciar writer is secluded in England, forced to leave Paris after being condemned to the maximum penalty for having written "J'accuse!"
during these cruel hours.
"je ne suis très fort que parce que je m'attends à tout et que mon seul but est le peu de vérité que nous réussirons sans doute à faire encore. Après, mon Dieu, qu'importe !"
"[Maurice de Fleury] entretient des relations étroites avec Émile Zola et Joris-Karl Huysmans, avec lesquels il correspond dans les années 1880-1890. Fervent admirateur de l'auteur des Rougon-Macquart, Fleury conseille Zola pour Le Docteur Pascal (1893) et confie son admiration dans un article du Figaro, en 1896. Très « à la mode » parmi les « intellectuels » (selon le mot de Victor Segalen), le jeune médecin figure également dans la liste des auteurs symbolistes - aux côtés de Paul Adam, Henri de Régnier et Gustave Kahn - dans un essai d'André Barre, en 1911" ("[Maurice de Fleury] maintains close relations with Émile Zola and Joris-Karl Huysmans, with whom he corresponds in the years 1880-1890. Fervent admirer of the author of the Rougon-Macquart, Fleury advises Zola for Le Docteur Pascal (1893) and confides his admiration in an article in Le Figaro, in 1896. Very 'fashionable' among the 'intellectuals' (according to Victor Segalen), the young physician also appears in the list of symbolist authors - alongside Paul Adam, Henri de Régnier and Gustave Kahn - in an essay by André Barre, in 1911") (Lola Kheyar Stibler)
"[Maurice de Fleury] entretient des relations étroites avec Émile Zola et Joris-Karl Huysmans, avec lesquels il correspond dans les années 1880-1890. Fervent admirateur de l'auteur des Rougon-Macquart, Fleury conseille Zola pour Le Docteur Pascal (1893) et confie son admiration dans un article du Figaro, en 1896. Très « à la mode » parmi les « intellectuels » (selon le mot de Victor Segalen), le jeune médecin figure également dans la liste des auteurs symbolistes - aux côtés de Paul Adam, Henri de Régnier et Gustave Kahn - dans un essai d'André Barre, en 1911" ("[Maurice de Fleury] maintains close relations with Émile Zola and Joris-Karl Huysmans, with whom he corresponds in the years 1880-1890. Fervent admirer of the author of the Rougon-Macquart, Fleury advises Zola for Le Docteur Pascal (1893) and confides his admiration in an article in Le Figaro, in 1896. Very 'fashionable' among the 'intellectuals' (according to Victor Segalen), the young physician also appears in the list of symbolist authors - alongside Paul Adam, Henri de Régnier and Gustave Kahn - in an essay by André Barre, in 1911") (Lola Kheyar Stibler)
First edition on ordinary paper.
A fold mark at the foot of the lower cover, otherwise a well-preserved copy.
With a fine signed autograph inscription by Tristan Bernard: "A Charles Cuvillier cette oeuvre capitale qui absorba quinze ans de ma vie. Bien affectueusement Tristan Bernard."
First edition, one of 38 numbered copies on alfa paper, the only deluxe copies issued.
A very handsome copy.
Autograph letter dated and signed by Antonin Artaud on Le Dôme brasserie letterhead, addressed to Maurice Martin du Gard, founder and director of Nouvelles Littéraires. 29 lines in blue ink in a nervous handwriting.
Traces of folds and small marginal tears inherent to postal dispatch and handling. Minor stains at the beginning of the letter.
Antonin Artaud fought to have his article on Balthus's painting, exhibited for the first time in France, published. He fiercely defended the artist he considered his 'double', so similar were they physically and intellectually.
New edition. The journal first appeared in volume form in 1712. Title pages in red and black. Statement of fifth edition.
Heraldic wheat sheaf device of Maynon de Farcheville in gilt compartments on spine, and bookplate of the same on pastedowns, with three wheat sheaves. Vincent Michel Maynon, president of the fourth chamber of inquiries at the Parliament of Paris, lord of Farcheville.
Contemporary full brown sheep, speckled and glazed. Spine with five raised bands, red morocco title labels, brown morocco volume labels, gilt compartments and floral ornaments. All edges speckled red. Headcap of volume I partly lacking, that of volume III at head partly worn. Lacks to head of volumes V and VI. Volume I, lack to upper joint at head. 5 corners slightly bumped. Very fresh paper. Rather handsome copy.
The Spectator was one of the first English periodicals to appear daily from 1711 to 1712. Intended for the Middle Class, Addison thought that despite its print run of 4,000 copies daily, it was read by approximately 60,000 Londoners. The Spectator was very popular and reprinted many times during the eighteenth century. It cast an ironic eye on English society and durably influenced the press through its innovation. Each issue ran around 2,000 words, with Addison and Steele sharing editorial duties. The Spectator in its current form is today a well-known English newspaper.
Autograph letter dated and signed by Emile Zola, 23 lines in black ink on a page and a half, addressed to press baron Arthur Meyer
Folds inherent to postal delivery.
Emile Zola intervenes with Arthur Meyer, proprietor of the high-circulation newspaper "Le Gaulois", on behalf of his friend Louis de Robert: "Vous sentirez comme moi que c'est un garçon d'avenir, et je suis convaincu que vous l'utiliserez... Je le connais et je désire qu'il travaille." ["You will feel as I do that he is a young man with a future, and I am convinced that you will make use of him... I know him and I want him to work."] in whom he recognizes a talented writer: "Me permettrez-vous de vous recommander un de mes jeunes confrères Louis de Robert, dont j'ai lu les chroniques charmantes. Je crois que vous devriez l'encourager, le mettre à l'essai, car vous trouveriez en lui un excellent rédacteur pour "Le Gaulois"..." ["May I recommend to you one of my young colleagues Louis de Robert, whose charming chronicles I have read. I believe you should encourage him, put him to the test, for you would find in him an excellent editor for 'Le Gaulois'..."]
Manuscript list by André Malraux (20 lines in blue ballpoint pen) providing details and instructions for André Parinaud concerning the publication of his works forming the "Ecrits sur l'art" collection illustrated with photographs by Roger Parry.
Fold marks inherent to postal mailing.
Resistance member and contributor to Combat, André Parinaud was a journalist, columnist, art critic and writer. From 1959 to 1967, he held the position of editor-in-chief of the important weekly Arts bringing together the elite of French creation in all artistic fields : literature, painting, theater, cinema... He would then conduct more than 1000 radio interviews with the greatest writers and artists including Salvador Dali, Louis-Ferdinand Céline, Colette, Paul Léautaud, André Breton, Georges Simenon and André Malraux... While continuing to work at O.R.T.F. and on radio, he founded several festivals or artistic events such as Le Festival international du film d'art, l'Académie nationale des arts de la rue.
Original photo from Christopher Street Liberation Day March, New York - "Master and Slave""On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)
Original photo from Christopher Street Liberation Day March, New York - "Perverts' Union for Gay Liberation""On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)
Original photo from Christopher Street Liberation Day March, New York - "Activist in a Wheelchair""On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)
"On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)
Original photo from Christopher Street Liberation Day March, New York - "Kiss under an umbrella""On June 28, 1970, I attended the first New York Gay Pride March. The date marks the first anniversary of the Stonewall riots, which launched the LGBTQ+ liberation movement in the U.S. We left from Christopher Street, a gay cultural mecca in Greenwich Village, and walked up 6th Avenue to Central Park. To end the day, a kissing contest was held in the middle of the park! It was a great moment of joy, love and freedom. This couple, who kissed for hours under an umbrella, obviously didn't care about photographers" (Interview with Clément Thierry, 2021)
Complete run of the first twenty years of the newspaper Libération, founded in 1973 by Jean-Paul Sartre, Serge July, Philippe Gavi, Bernard Lallement and Jean-Claude Vernier.
6,200 issues in pristine condition (never opened).
This unique collection comprises 6,200 issues of Libération in impeccable condition (never opened), and is absolutely complete – including all the “numéros zéros”, promotional issues, special reports, thematic supplements (including the entire series of the celebrated “Sandwich” issues), and the commemorative twentieth anniversary album – from Monday 5 February 1973 to Monday 3 January 1994.
The collection is offered with its custom-made display unit (2.60 m high, 4.20 m wide, and 50 cm deep). It consists of 35 stackable compartments, each measuring 84 x 36.5 x 50 cm, each housing two sliding drawers. Each drawer holds approximately one hundred issues of the newspaper.
Provenance: Frédéric Fredj Collection.
