Théodore MONOD, Bruno de MONES
Théodore Monod - Portrait 1
S. n.|s. l. • [Paris] avril 1984|24 x 30.50 cm|une feuille
Original photograph. Vintage black and white gelatin silver print. Artist's proof signed on verso.
Portrait of writer Théodore Monod.
In 1983, Bruno de Monès began a regular collaboration with Le Magazine littéraire which would last until the mid-1990s.
€300
(Jorge AMADO) Bruno de MONES
Jorge Amado. Portrait
S. n.|s. l. • [Paris] s. d. [circa 1980]|24 x 30.50 cm|une feuille
Original photograph. Vintage black and white gelatin silver print. Artist's proof signed on verso.
Portrait of writer Jorge Amado.
In 1983, Bruno de Monès began a regular collaboration with Le Magazine littéraire which would last until the mid-1990s.
€300
Gustave EIFFEL, WALERY
Portrait photographique dédicacé de Gustave EiffelOriginal signed photograph of Gustave Eiffel
London 1889|28.70 x 38.40 cm|une photographie encollée sur carton
London 1889, Mount: 28,7x38,4cm - photograph : 18,3x27,4cm, a photograph mounted.

Rare original portrait of Gustave Eiffel, carbon print mounted with the stamp of the Walery studio on mount.
Signed and inscribed to lower right corner of mount: "Au Camarade Richard Souvenir du banquet du 22 Nbre [18]89 G. Eiffel" (To fellow comrade Richard Souvenir of the banquet from 22 November [18]89 G. Eiffel)
This striking portrait of the engeneering legend was shot in the year of the tower's inauguration. Built on the occasion of the Paris Universal Exhibition, it was the tallest man-made structure at the time, towering 300 meters over the Parisian landscape. Eiffel is also responsible for designing the iron structure of the Statue of Liberty.
Another print of this portrait is kept at the National Portrait Gallery, London.
€3,800
Betty GRABLE
Photographie dédicacée de Betty Grable, la première pin-up de l'histoire du music-hall
S. n.|s. l. s. d. [circa 1950]|12.50 x 18 cm|une feuille
Reproduction of a photographic portrait showing Betty Grable, standing, in pin-up attire, hands crossed behind her neck, her right leg folded over the left.
Autograph inscription signed by Betty Grable: "Hello, Eileen, greetings from Betty."
The first pin-up girl in history, Betty Grable was one of the great stars of musical comedies, especially those created by Fox, from before and after the war to the point of accompanying American G.I.s during the Second World War, her legs being insured by Lloyd's for one million dollars. The arrival, in the early 1950s, of Marilyn Monroe, Fox's new star, would eclipse the aura that Betty Grable had with the American public.
€120
(Nicolas de STAËL) Denise COLOMB
Portrait photographique original de Nicolas de Staël contemplatif et signé par Denise Colomb
Paris 1990|18 x 26.50 cm|une feuille
Original portrait of Nicolas de Staël signed by Denise Colomb

Silver pint portrait of Nicolas de Staël by Denise Colomb. Later print made by the photographer in the 1990s from her 1954 negatives.
Signed by Denise Colomb in the lower right-hand corner. On the back: "N. D. S. 1954" with a signed inscription by Denise Colomb to photographer Serge Tamagnot: "Pour mon cher ami Serge/ Le roi des collages. Denise Colomb 7-5-2000 Bon anniversaire à Serge, je penserai à toi le 9 mai" (For my friend Serge/The king of collages. Denise Colomb 7-5-2000 Happy birthday Serge, I'll be thinking of you on May 9).
An exceptional 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).
€1,800
(Thierry MUGLER) Sylvie GERMOND
Monumentale photographie représentant Thierry Mugler entouré des artistes de son spectacle de cabaret "Mugler Follies"Monumental photograph of Thierry Mugler surrounded by the performers of his cabaret show "Mugler Follies"
s. l. • (Paris) 19 décembre 2013|116.50 x 86.50 cm|une photographie encadrée
Very large-format photograph of Thierry Mugler surrounded by the performers of his cabaret show "Mugler Follies" in a silver metal frame and under a mat bearing colorful birthday wishes and signed inscriptions in felt-tip pens.
Several celebrities are pictured including singer Marie-France (interpreter of Marlene Dietrich and Marilyn Monroe) and drag queen Lola Dragoness Von Flame.
Signed and dated by the photographer Sylvie Germond on the back. A small crack in the glass to the bottom left corner.
Enclosed: a folder of computer graphics used to design the Mugler Follies sets and costumes.
A monumental and unique photograph, bearing witness to the eccentricity of the costumes designed by Mugler and the attachment of the artists who worked with him.
€2,500
Jean-Pierre LAFFONT
Photographie originale - Christopher Street Liberation Day March, New York - "Perverts' Union for Gay Liberation"
Paris 1970|19.50 x 30 cm|une photographie
"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"
Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
This fine photograph shows three young women holding a sign "Perverts' Union for Gay Liberation" and another that reads "Gay Pride".
Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
€1,200
Jean-Pierre LAFFONT
Photographie originale - Christopher Street Liberation Day March, New York - Militant en fauteuil roulant
Paris 1970|19.50 x 30 cm|une photographie
"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"
Original black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
This fine picture shows a man in a wheelchair with a sign that reads "Gay Pride" in the middle of the crowd.
Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
€1,200
Jean-Pierre LAFFONT
Photographie originale signée - Christopher Street Liberation Day March, New York - "Gay People This Is Your Church"
Paris 1970|19.50 x 30 cm|une photographie
"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 black and white silver print ; with the stamp of Jean-Pierre Laffont for the Gamma agency, and a lengthy mimeographed caption for the French press.
Original prints from this event are extremely rare, as museums and galleries only have modern reprints.
A touching and vivid account of the first Gay Pride March, in the aftermath of the Stonewall riots that became the cradle of the modern LGBTQ+ rights movement and subsequent gay liberation movements around the world.
On June 28, 1969, police raided Stonewall, a mafia-owned dance bar in Greenwich Village catering primarily to gay and transgender people. The city had revoked the liquor licenses of gay bars and police officers regularly hassled its customers because of their sexual orientation. That night at Stonewall was one too many: cornered by Village residents and customers, the police were forced to retreat inside the bar and the riot lasted seven days. On June 6, 2019, nearly 50 years after the historic uprising, the New York Police Department has apologized for its role in the events.
Now considered to be the origin of the gay liberation movement, Stonewall led to the creation of some of the first gay rights activist organizations, such as the Gay Liberation Front and Street Transvestite Action Revolutionaries (better known as STAR and founded by two of the most prominent transgender activists: Marsha P. Johnson and Sylvia Rivera). The uprising called for a new kind of movement. With this purpose, the Christopher Street Liberation Day March was held on June 28, 1970, one year to the day after Stonewall. Only a few brave groups first gathered at Sheridan Square (Greenwich village), before other people started joining in on their way to Sheep Meadow in Central Park, finally attracting more than 10,000 demonstrators. Annual Pride events were subsequently held in the summer in NYC and other major U.S. cities before reaching other continents after a few years, with hundreds of millions of people gathering for what has become one of the most prominent human rights demonstrations around the world.
Wonderful full-length portrait of Rev. Robert Clement, wearing his cassock and proudly holding a sign that reads "Gay people this is your church". In 1970, he founded the Church of the Beloved Disciple, the first “gay church” in New York City, not only welcoming gay parishioners, but also the first to include openly gay pastors. Rev. Clement created and celebrated the first "Holy Unions" – same-sex religious marriage ceremonies.
Jean-Pierre Laffont first arrived in the U.S. in 1965 and began his career as a photojournalist in New York for Status Magazine and then as U.S. correspondent for the French agency Reporters Associés. He became Senior Foreign Correspondent for Gamma Press and in 1969 opened the Gamma Presse Images office in the U.S with his wife Eliane. Laffont covered major American historical events- the Civil Rights movement and social protests against racial discrimination, the Vietnam War, demonstrations for Peace, women's rights, and gay liberation, etc. Initially intended for the press, his artworks have now reached iconic status and are featured in international photographic collections.
€1,800
(Alfred DREYFUS) Charles GERSCHEL
Portrait photographique dédicacé d'Alfred Dreyfus
Gerschel|Paris s. d. [1899]|10.70 x 16.30 cm|une photographie au format carte-cabinet
Original albumen print, cabinet card mount with the stamp of the Gerschel studio. Bottom margin skillfully restored, a trace a folding in the left corner.
Extremely rare signed inscription by Alfred Dreyfus in the top margin: “Souvenir reconnaissant et affectueux. A. Dreyfus” (“Grateful and affectionate souvenir”).
This portrait was taken by Charles Gerschel on September 27, 1899 in the garden of Dreyfus' brother-in-law Joseph Valabrègue in Carpentras. A week after his official pardon, the captain had come to Carpentras seeking isolation and rest while awaiting his rehabilitation.
We have only been able to locate one other copy of this photograph, inscribed to Bernard Lazare, now in the Musée de Bretagne. This same museum has a letter from Charles Gerschel to the captain's wife Lucie Dreyfus proving the rarity of these portraits: “I did not put any prints out there other than to give (and not to sell, I insist on this point) to a few faithful and devoted friends. As for the portraits of the captain [Dreyfus], I learned that one of my employees took the liberty of giving them to a dealer. By telephone I immediately had this traffic stopped.”
Original photographic portraits of Dreyfus are rare and this one was printed in small numbers for Alfred Dreyfus and probably as a gift to his supporters.
Provenance: library of Anselme Weill.

Dr. Anselme Weill was charged with the difficult task of announcing to the Dreyfus family the news of Alfred's life sentence and formal degradation. In his book Affaire Dreyfus, L'Honneur d'un patriote, Vincent Duclert writes: “Mathieu [Dreyfus, Alfred's brother] had asked a relative of the Hadamard family, Dr. Weill, to wait for the announcement of the verdict and to bring the news to the apartment on rue de Châteaudun, where a small group of friends and family members was waiting. He arrived at half past seven in the evening.” He also reveals that Anselme Weill had testified on behalf of Alfred Dreyfus at his trial: “Other allegations could be rejected, for example those directed towards Dr. Weill, whose wife was a third cousin of Lucie Dreyfus. 'I attest, as the very frequent, almost daily relations that I had with him as a relative, as a doctor and as a friend, allow me to do so, I attest that Dreyfus was always a perfect husband, and that I never knew him to be a gambler nor a libertine. However, it is just the opposite that I am made to say, and I protest against these allegations. I have nothing to add', he declared to the court.”
€10,000
Pablo VOLTA, Blaise CENDRARS
Portrait photographique de Blaise Cendrars
1956|12.20 x 14.40 cm|une photographie
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.
€680
(Edith PIAF)
Photographie originale représentant Edith Piaf et Alice Rim sur un pédalo dans le port de Cassis en 1942Original photograph depicting Edith Piaf and Alice Rim on a pedalo in the port of Cassis in 1942
S. n.|s. l. • [Cassis] 1942|13.50 x 8.50 cm|une feuille
Original photograph depicting Édith Piaf and Alice Rim on a pedalo in the port of Cassis in 1942

[Cassis] 1942 | 13,5 x 8,5 cm | one photograph

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...
€1,000
(Edith PIAF) Norbert GLANZBERG
Photographie originale représentant Edith Piaf enlacée par Norbert Glanzberg aux côtés d'Alice et Carlo Rim dans le port de Cassis en 1940Original photograph depicting Edith Piaf embraced by Norbert Glanzberg next to Alice and Carlo Rim in the port of Cassis in 1940
S. n.|s. l. • [Cassis] 1940|8.50 x 13.50 cm|une feuille
Original photograph depicting Édith Piaf embraced by Norbert Glanzberg next to Alice and Carlo Rim in the port of Cassis in 1940

[Cassis] 1940 | 8,5 x 13,5 cm | one photograph

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...
€1,000
Orane DEMAZIS
Carte postale photographique dédicacée par Orane Demazis
Studio Pathé Natan|Paris s. d. [1934]|9 x 14 cm|une feuille
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.
€80
Photographie de l'édition originale de Madame Bovary de Gustave Flaubert contrecollée sur aluminiumPhotograph of the first edition of Madame Bovary by Gustave Flaubert, mounted on aluminum. For decoration.
Librairie Le Feu Follet|Paris 2022|60 x 60 cm|Photographie|autre
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.
€270
Izis BIDERMANAS, Jacques PRÉVERT
Portrait photographique de Jacques Prévert enrichi d'un envoi autographe signéOriginal collage produced on an original photograph portrait of Robert Doisneau enriched with a handwritten inscription signed by Jacques Prevert
s. l. • [Paris] s. d. [ca 1950]|23 x 27.50 cm|une photographie
Original collage produced on an original photograph portrait of Robert Doisneau enriched with a handwritten inscription signed by Jacques Prévert

[Paris 1955] | 18,7 x 27 cm | one photograph

Original photograph by Robert Doisneau in contemporary silver print showing Jacques Prévert, in front of the pediment of a church, on which the poet glued an old engraving depicting a bird and which he enriched with a signed handwritten inscription to his friend Jean Mattei. Prévert also, using paint, reddened the end of his cigarette.

Stamp of the Doisneau studio in Montrouge on the back of the picture. One central fold.

On this rare photograph, reproduced in the book Rue Jacques Prévert by Robert Doisneau, the poet poses in front of the Catéchismes chapel of the Église Saint-Jacques-Saint-Christophe de la Villette, situated in the 19th arrondissement in Paris.
Jean Mattei, dedicatee of this work, was Chagall and André Gide's doctor and lived in Saint-Paul-de-Vence.
€2,800
[Paul Véronge DE LA NUX]
Portrait photographique de Paul Véronge de la Nux dédicacé à la future artiste peintre Maxa Nordau, fille de Max Nordau
S. n.|s. d. [ca 1900]|9 x 13.60 cm|une photographie
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.
€500
Thérèse LE PRAT (Marcel AYMÉ)
[PHOTOGRAPHIE] Portrait photographique de Marcel Aymé
Paris s. d. [ca 1950]|22.70 x 30 cm|une photographie
Black and white photographic portrait of Marcel Aymé by Thérèse Le Prat in a period silver gelatin print on baryta paper. Manuscript signature by Thérèse Le Prat in white ink at the bottom left of the photograph.Photographer's stamp on verso and pencil annotation.
Fine copy despite a fold to the upper right corner.
We have been able to locate only one other example of this photograph at the Médiathèque de l'Architecture et du Patrimoine in Charenton-le-Pont.
€400
Jean COCTEAU
[PHOTOGRAPHIE] Portrait photographique de Jean Cocteau dédicacé par le poète à Willy MichelLarge photographic portrait of Jean Cocteau inscribed by Cocteau to Willy Michel
S. n.|1943|29 x 22.80 cm|une photographie
Large photographic portrait of Jean Cocteau inscribed by Cocteau to Willy Michel
1943 | 29 x 22.8 cm | one photograph

Extremely rare photographic portrait of Jean Cocteau, in contemporary silver print, produced during the shooting of Serge de Pologny's film Le Baron fantôme for which he wrote the dialogues.
Beautiful, signed autograph inscription, in the upper margin of the photo, to which Cocteau has added his famous little star: “à mon cher willy Michel. Souvenir très amical de nos complicités cinématographiques. Le Baron fantôme, Jean Cocteau. 1943” “To my dear Willy Michel. Very fond memory of our film-making complicity. Le Baron fantôme, Jean Cocteau. 1943”
Some tiny lacks in the left margin of the photograph.
Magnificent large photographic portrait offered to the photographer Willy Michel, who installed the first photo booth in France in his studio and became famous for his “selfies” with all the artists, actors and writers of his time.
With this superb, highly expressive, photograph in costume, Cocteau offers this bibliophile, patron of artists and accustomed to cinema sets, an item of choice for his famous collection of portraits and artists' signatures.

A wonderful highly expressive portrait of which we have not found any other copy in international public collections.
€3,000
Charles MAURRAS
Photographie originale de Charles Maurras datée et dédicacée
Pierre Ligey|Paris 1936|19 x 14 cm|une photographie
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."]
€500
Jean-Jacques HENNER
[PHOTOGRAPHIE] Portrait photographique de Jean-Jacques Henner dédicacé
Ad. Braun & Cie|Paris 1880|11 x 16.50 cm|Photographie|une photographie
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.

€1,000
Jean-Léon GÉRÔME, Charles GALLOT
[PHOTOGRAPHIE] Portrait photographique de Jean-Léon Gérôme dédicacéExtremely rare original albumen carbinet card photograph of painter Jean-Leon Gerome.
Alphonse Giroux|Paris 1880|10.50 x 16.20 cm|une photographie
Extremely rare original albumen photograph, cabinet card format, mounted on cardboard, depicting Jean-Léon Gérôme.
Dedication to Henry Graves in black ink with the signature JL Gérôme. Henry Graves was an American banker, collector and president of Patek Philippe and responsible for the Supercomplication, one of the most complex watches ever created. He purchased several works from Gérôme, notably A Sultan at Prayer.
Caption beneath the photograph: Photographed by Charles Gallot. On verso, advertisement: Photographie artisitique, Charles Gallot, photographe des gens de lettres.
Charles Gallot was a French photographer. Active in Paris from 1876 to 1898, he is notably credited with the last photographic portrait of Victor Hugo during his lifetime, taken on April 12, 1885.

€1,200
“Judge me, gentlemen of the jury, but if you have understood me, in judging me, judge all the unfortunate people whose misery, united with natural pride, have made criminals, and for whom wealth, for whom affluence would have made honest people!”
“Judge me, gentlemen of the jury, but if you have understood me, in judging me, judge all the unfortunate people whose misery, united with natural pride, have made criminals, and for whom wealth, for whom affluence would have made honest people!”
RAVACHOL, Alphonse BERTILLON
Unique portrait photographique daté et signé par Ravachol connu à ce jour[PHOTOGRAPH] Unique photographic portrait dated and signed by Ravachol as known to this day
S. n.|Paris [à la prison de la Conciergerie] [Paris] s. d. [6 mai 1892]|11.70 x 16.90 cm|une photographie
Superb original photographic portrait of Ravachol taken by Alphonse Bertillon, contemporary print on albumen mounted on bristol board.
Extremely rare handwritten caption signed by the most famous of the French anarchists, written in his hesitant and naive handwriting, at the bottom of the photo: “1er mai 1892 Koningstein [sic] Ravachol” “1st May 1892 Koningstein [sic] Ravachol”.
The spelling Koningstein chosen by Ravachol differs from his father's surname (Königstein). This variation confirmed by the Maintron (Biographical dictionary of the social and labour movement) is found in particular in a piece of his writing by hand dated 13 April 1892 and kept at the Conciergerie.
“ Un certain Varinard des Cotes a tracé son portrait graphologique. Il crut pouvoir noter l'absence d'orgueil et de vanité, la droiture et la loyauté des convictions” “A certain Varinard des Cotes drew his graphological portrait. He believed he could note the absence of pride and vanity, the righteousness and loyalty of convictions”. (Ramonet et Chao, Guide du Paris rebelle, 2008).
We have not been able to find any other copy of this photograph in international public collections or on sale at auction. Autographs of the “Christ de l'anarchie” “Christ of anarchy” are extremely rare. We know only of this unique, signed photograph of Ravachol with the exception of the one mentioned in the Conciergerie surveillance reports: “Le nommé Ravachol nous a fait voir sa photographie sur le recto de laquelle il a inscrit ces mots : « à tous ceux que j'ai aimé. Mon cœur sera toujours près de vous, ma dernière pensée sera pour vous. Tous mes baisers” “The named Ravachol showed us his photograph on the front of which he wrote these words: “To all those whom I have loved. My heart will always be near you, my last thought will be for you. All my love”. Signed Ravachol. He intended to send this photograph to his brother, along with a letter summarised as follows: “Comme vous le voyez, je suis souriant sur ma photographie, vous pourrez donc en déduire que mon sort n'est pas si triste que vous le pensez. Il ne me manque qu'une chose : la liberté. Du reste je ne fais aucune différence entre ma vie en prison et celle que je menais auparavant. Toutes les deux ne sont que souffrance. Le vrai bonheur n'existera pour moi que lorsque je verrai la réalisation de mes projets, si cela ne se peut, je préfère la mort. J'envisage ces deux points le sourire aux lèvres .” “As you can see, I am smiling in my photograph, so you can assume that my fate is not as sad as you might think. I miss only one thing: freedom. Otherwise, I notice no difference between my life in prison and the one I led before. Both know only suffering. True happiness will only exist for me when I see my projects realised, if that is not possible, I prefer death. I consider these two points with a smile on my lips”. (8 May 1892). We were un able to identify this photo and have found no other trace of it since this report. For that matter, we are not certain that this photograph still exists. Like ours, it was taken during a sitting at the Conciergerie prison on 6 May 1892 during which several poses were taken. Therefore, Ravachol backdated his dedication by probably using the symbolic date 1st May 1892, the first anniversary of the Fourmies massacre.
Mention is certainly made of our photo in the memoires of the photographer and father of anthropometry, Alphonse Bertillon: “Ce fut l'identification de l'anarchiste Ravachol qui consacra la sûreté de sa méthode. Ravachol avait fait sauter au moyen d'une bombe l'immeuble où habitait alors le procureur de la République ainsi que le restaurant Véry et menaçait de continuer cette besogne de destruction quand il fut arrêté au milieu d'une foule hurlante qui voulait le mettre en pièces, au point qu'il arriva au service anthropométrique avec un visage boursouflé, tuméfié, hideux. Il fallut toute la diplomatie, toute la pénétration psychologique d'Alphonse Bertillon pour le convaincre de se laisser mensurer et photographier. Ravachol exprima le désir, vu l'état effrayant de son visage, d'être photographié une seconde fois dès que ses plaies et ses ecchymoses seraient guéries. Bertillon le lui promit et tint parole, il poussa même la délicatesse vis-à-vis de ce bandit jusqu'à lui porter dans la cellule qu'il occupait au dépôt un exemplaire de son portrait collé sur bristol. Et Ravachol qui ne pouvait en croire ses yeux, de s'écrier : – vous êtes un honnête homme, vous au moins, monsieur Bertillon.” “It was the identification of the anarchist Ravachol who established the reliability of his method. Ravachol had blown up the building with a bomb where the public prosecutor was living at the time, as well it housing the Véry Restaurant, and he threatened to continue this destruction work when he was arrested in the middle of a screaming crowd who wanted him in pieces, so much so that he arrived at the anthropometric service with a puffed up, swollen, unsightly face. It required all Alphonse Bertillon's diplomacy, all his psychological penetration, to convince him to let himself be measured and photographed. Ravachol expressed a desire, given the frightening state of his face, to be photographed a second time as soon as his wounds and his bruises were healed. Bertillon promised him and kept his word, he even showed gentleness towards this bandit so far as to bring him in his cell a copy of his portrait mounted on bristol board. And Ravachol, who could not believe his eyes, exclaimed: – you are an honest man, you at least, Monsieur Bertillon.” (Suzanne Bertillon, Vie d'Alphonse Bertillon l'inventeur de l'anthropométrie, 1941). This highly accurate testimony sheds light on the significance of Ravachol's arrest in the famous criminologist's career and the particular relationship linking the two men. It must be said that it was Bertillon himself who proceeded to identify the activist who had been “bertillonné” (captured by Bertillon) two years earlier, demonstrating the efficacy of his classification method with vigour: this first record was among 500,000 others, already carried out since the creation of the Judicial Identification Service in 1889.
We do not know to whom Ravachol intended this portrait that he so carefully considered, but the absence of a dedicatee and the highly symbolic date he affixed to it, the ultimate challenge to the police state, suggests that he offered it to a supporter of his cause.
An extremely rare contemporary print of the anarchist icon Ravachol, whose name – immortalised in popular culture – will even become a common name, from one of Captain Haddock's insults (“ Mille millions de mille milliards de mille sabords !...Espèce de cannibale ! ... Bachi-bouzouk ! ... Ravachol !...” “A thousand millions of a thousand billions of a thousand portholes!...You cannibal!... Bachi-bouzouk!... Ravachol!...”) to a Bérurier Noir punk litany: “Salut à toi l'Espagnol / Salut à toi le Ravachol !” “Hi to you Spaniard / Hi to you Ravachol!”.
€6,000
Philippe PÉTAIN
Photographie originale de Philippe Pétain qu'il a dédicacée aux élèves en histoire de la Matthew Fontaine Maury High School
Henri Manuel|Paris s. d. [circa 1927]|9.50 x 13 cm|une photographie
Original photograph on albumen paper laminated on cardboard and produced by the art gallery Henri Manuel and representing, slightly in profile, Marshal Philippe Pétain. Vintage print.
Autograph signed by Philippe Pétain: "To the students of the history school. Virginia. Ph. Pétain.
This photograph was signed by Philippe Pétain for the students of the Matthew Fontaine Maury high school located in Norfolk in the state of Virginia.
We are enclosing a typed letter from Philippe Pétain's orderly officer, headed by his office of Inspector General of the Armies and the Vice-Presidency of the Superior War Council, indicating that this autographed photograph has been sent. by post, handwritten envelope attached.
€500
(Jacques-Yves COUSTEAU) Raoul WALLEMME
Reportage photographique des établissements Arbel réalisé dans le cadre de la fabrication de la soucoupe plongeante du commandant CousteauPhotographic report of the etablissements Arbel carried out for the manufacture of Captain Cousteau's diving saucer
Février 1964|26 x 30 cm|documents et photographies conservés dans un classeur
Collection of documents formed of 33 original contemporary silver halide print photographs, a reproduction of a press clipping from La Voix du Nord and three mimeographed technical plans, united in a black binder with a label with the inscription «Production Report «press» – press-forming of the ½ spheres of Ct Cousteau's diving saucer – February 1964.» Handwritten title page.
Signed, handwritten presentation: «Avec les amitiés du reporter photographe Wallemme Raoul» «With love from the photojournalist Wallemme Raoul.»
Very beautiful and unique collection, testifying to the genius of the making of the Deep Star 4000, a diving saucer invented by Commander Cousteau.
The reproduction of the press clipping glued at the beginning of our collection explains: «The French Office for Underwater Research in Marseille will build, on behalf of an American firm, a diving saucer, the ‘S.P. 4000,' which can descend to a depth of 4000 metres. This machine, whose full-scale model has just been produced, must be completed in May 1964. It will be able to carry out its first trials the following month, before leaving for the United States where
it take the name ‘Deep Star.'»
In 1964, the French Office for Underwater Research, led by Commander Cousteau, entrusted the company Arbel de Douai with the work of forming the hemispheres in Vasco Jet 90 steel intended for the manufacture of the diving saucer «S.P. 4000.» The 33 photographs collected in this album of internal archives recount all the stages of this conception. We see the metalworkers at work, dressed in suits worthy of science-fiction; the last shot immortalised the team posing proudly in front of photojournalist Raoul Wallemme's camera.
It is the American company Westinghouse Corp who, under Cousteau's leadership and the French Office for Underwater Research, will manufacture the submersible. For certification purposes, the Vasco sphere manufactured by the Douai workshops will not be used by the American firm, who will prefer another model used by the US Navy. It will finally be used on another machine, the S.P. 3000 or Cyana. «In September 1971, a trial dive, luckily without crew, went wrong. Cyana, hanging on a cable and weighted with a heavy weight, is submersed off Sicily to a depth of 3 200m. A shackle opens, releasing the cable. The saucer remains unable to move, a few metres from the bottom. The sinking point is immediately marked by an ultrasonic beacon that can only beep for one month. A race against the clock begins: it is necessary to rearm the Archimède and urgently equip it with shears inspired by a charcutier's ham slicer! Fourteen days after the sinking, while the beacon still emits weakly, the Archimède finds the Cyana and cuts the cable that holds it prisoner. It was the deepest ever successful rescue!» (Ifremer website).
The Cyana carried out more than 1 300 dives from Ifremer's different oceanographic vessels (Jean Charcot, Le Suroît, Le Noroît, Nadir, L'Atalante) and opportunity vessels (Castor, Ravello).
Superb and unique testimony of French metalworking know-how at the service of Commander Cousteau and the pioneers of oceanography.
€2,300
(Michael JACKSON) Arno BANI
[PHOTOGRAPHIE] Diptyque photographique original de 20 portraits de Michael Jackson à la cape d'or brodée de face et de dos.Diptych of twenty original photographic portraits front and back of Michael Jackson with the golden cape embroidered
1999|29.70 x 25 cm|deux planches-contact encadrées sous passe-partout
Diptych of twenty original photographic portraits front and back of Michael Jackson with the golden cape embroidered
1999 | Photograph: 29.7 x 25 cm / Frames: 62 x 52 cm | two contact-sheets framed under a mount
Unique original prints of these color photographs, presented like contact sheets, signed by the artist, numbered 1/1 and dated 2010 – date of sale of these unpublished shots by Pierre Bergé et Associés.
Original photographs of Michael Jackson by Arno Bani

It is in 1999 during a stay in London that Michael Jackson noticed Arno Bani's work in an issue of the Sunday Times magazine. Fascinated by his fashion shots, he brought the young 23 year old photographer to New York and asked him not only to photograph him, but also to define his look for the next ten years. This meeting will be followed by several working meetings and finally a three-day photoshoot at the Malakoff studios in the southern suburbs of Paris.
These photographs, supposed to serve as an illustration for the Invincible album cover, were claimed by Michael Jackson's record company and were not revealed to the public until 2010, the year after the King of Pop's death.
«This collaboration will finish Arno Bani's installation as one of the most talented photographers of his generation. Subsequently, he was contacted by fashion and luxury institutions such as Lacroix, Givenchy and Cartier and by musicians such as the duo Air, David Guetta and Bob Sinclar. At 25 years old, Arno Bani is a photographer recognised beyond the borders of fashion. Made of oppositions, mixing classicism and modernity, his monochrome approach to image is now inescapable and is seen on the pages of Citizen K, Spoon, Visionaire and Jalouse. He also photographed Monica Bellucci, Mélanie Thierry and Noémie Lenoir.» (Pierre Bergé et Associés sales catalogue, December 2010)
Ten original photographic portraits of Michael Jackson with the embroidered golden cape
€3,000
Jean de BOSSCHERE
Photographie originale dédicacée de Jean de Bosschère au poète Guy Lavaud
S. n.|s. l. 1949|8.50 x 11.50 cm|une feuille
Original photograph, vintage albumen print, representing Jean de Bosschère slightly in profile posing the head leaning back.
Signed autograph dated Jean de Bosschère on the back of the photograph: "For the poet Guy Lavaud / Jean Bosschère: Photo G. ballereau 1949".
€250
Edmond de PONCINS
Album photographique - UlwarPhotograph album - Ulwar
1894|26 x 19 cm|1 album
Photograph album – Ulwar
1894 | 26 x 19 cm | one album
Album bringing together a total of 49 contemporary albumen print photographs (15.5 x 10.5 cm), laminated on thick card and mounted on guards. All of the shots are captioned by hand in the lower margin. Three other albums, containing 196 photographs, were sold at auction when the Viscount's collection was put up for sale by his heirs in 2003.
The album contains 49 photos, of which 29 are village scenes with people and animals (elephants, nilgai, camels, etc.),
8 views of the camp, 5 of people, including a surprising Fakir with high dreadlocks, 4 of the caravan and 3 landscapes. Contemporary binding in half green shagreen, spine decorated with blind tooled fillets and bands, gilt title in the second band, paper boards with several blind tooled frames, the first stamped in the centre with a gilt title.
Some rubbing, slightly worn corners, one of which is more significant, some small white spots. Some loose boards.
This album was put together by Viscount Edmond de Poncins, naturalist and adventurer descendant of Montaigne, during his trip to Rajasthan.
These photographs were taken in Ulwar (the Alwar district in Rajasthan), where the photographer visited in 1894, following his expedition to the State of Kanjut (today the Hunza Valley), the previous year.
€1,500
Lawrence DURRELL, Mark GERSON
Photographie signée de Lawrence Durrell à une jeune française Photograph signed by Lawrence Durrell to a young French lady
1970|21.90 x 16.20 cm|Photographie|une feuille
Photograph signed by Lawrence Durrell to a young French lady

1970 | 21.9 x 16.2 cm | one photograph

Original black and white photograph of Lawrence Durrell signed and dated, taken by the photographer Mark Gerson, and bearing his stamp on the back: «Photograph by MARK GERSON, FIIP. ARPS. 24, Cavendish Ave., St. John's Wood, London NW8».
Original photograph in black and white of Lawrence Durrell with the author's handwritten signature: «Buttons you are impossible 1970,» addressed to Janine Brun, his young French lover.
The writer is smiling in front of the camera of the photographer famous for writers' portraits, Mark Gerson, at a book signing in London for the release of Tunc, the first volume of his dystopian series entitled The Revolt of Aphrodite.
€500
John MILLS
Photographie dédicacée de John Mills
S. n.|s. l. 1930|8 x 13.50 cm|une feuille
Photograph of Maurice Chevalier standing with his hands in the pockets of his jacket.
Autograph tribute signed by Maurice Chevalier.
€80
(Léo MALET) Bruno de MONES
Léo Malet - Portrait 4
S. n.|s. l. • [Paris] 1983|24 x 30.50 cm|une feuille
Original photograph. Vintage gelatin silver print in black and white. Artist's proof signed on verso.
Portrait of the writer Léo Malet.
In 1983, Bruno de Monès began a regular collaboration with Le Magazine littéraire that would continue until the mid-nineties.
€350

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