Painting & Drawing

Original linen-backed lithograph, featuring a large portrait of Liane de Pougy by A. Gallice after a photograph by Léopold-Emile Reutlinger ("cliché Reutlinger" stated on the plate). Printed by G. Bataille. Horizontal and vertical fold marks, discreet traces of rolling at the hem of the dress, four pasted and stamped tax stamps, and a shadow in the left margin.

Exceptionally rare original poster advertising a performance by the dancer and courtesan Liane de Pougy, renowned for boldly displaying her beauty on stage and for the openly sapphic loves recounted in her writings (Idylle saphique, 1901).  This unrecorded document is the only copy we can trace.

Original ink composition in magenta, brown, green, and blue hues, titled and signed “Moscou / LD” by Léon Deubel made on the verso of a leaf from his collection of poems titled La Lumière natale.

Magnificent multicoloured ink-blot drawing (klecksography) signed by the poète maudit Léon Deubel, inspired by Arthur Rimbaud’s Illuminations. This early Rorschach-like fold drawing was created using a technique dear to Victor Hugo.

Original ink drawing by Marie-Laure de Noailles, signed "Marie-Laure" within the artwork (appearing twice as a result of folding the paper while the ink was still wet). With an autograph postcard signed to Valentine Hugo, with 2 inscriptions and some parts of the photograph drawn over. 

A Rorschach-like Surrealist decalcomania by Marie-Laure de Noailles created for painter and photographer Valentine Hugo, the “Queen of Hearts” of the Surrealists.

First edition, one of 26 copies on pure wove paper, the only deluxe-paper issue.

A rare and handsome copy.

Antoine Tudal was the son-in-law and close confidant of Nicolas de Staël, who confided to him a few days before his death: "Tu sais, je ne sais pas si je vais vivre longtemps. Je crois que j'ai assez peint. Je suis arrivé à ce que je voulais..."

Rare first edition of the catalogue for Picasso’s final exhibition at the Galerie Paul Rosenberg in Paris, held from 17 January to 18 February 1939 at 21 rue La Boétie. The front wrapper is illustrated with a black-and-white photograph of the exhibition’s centrepiece: La sculpture nègre devant la fenêtre, now known as Buste de Minotaure devant une fenêtre (Private Collection; see Zervos, vol. VIII, p. 360). Painted on 19 April 1937, the work is widely regarded as a precursor to the bull of Guernica, executed only a few weeks later.

An excellent, well-preserved copy.

The plaquette lists the 33 works exhibited, arranged by year of execution- 1936, 1937, and 1938. The verso carries the notice of the next exhibition, “Centenary of Cézanne”, dated 20 February 1939. These two events were followed only by a final show devoted to Georges Braque, before the gallery closed and Paul Rosenberg left France for permanent exile in the United States.

Rare first edition comprising a fine suite of 40 two-tone lithographs by Yuko Watanabe depicting Japanese types, scenes of traditional life, costumes, and more: Ronin, hara-kiri, samurai, the attack on Shogun Nobunaga, a geisha’s visit, young women paying a call, a game of go...

Not in Colas, nor Hiler & Hiler; lacking from the Bn; not in Nipponalia or Cordier. Wenckstern, I, p. 228 (gives the Yokohama address, undated, and mentions two volumes, the second—of which no trace could be found—containing 25 plates).

Bound in full beige cloth, smooth spine without lettering, lithograph mounted on the upper cover; twentieth-century binding.

Minor tears affecting three remargined plates and the final leaf (backed); a few small spots of foxing; small green ink stain touching most of the prints in the margin only, not affecting the image.

Rare and luxurious invitation card for the exhibition organized by art critic André Warnod on "art nègre," a term he coined in 1910 in the journal Comœdia to originally designate African and Oceanic statuary. From January 20 to February 20, 1926, four painters were invited to exhibit at the art gallery of the Grande Maison de Blanc, Place de l'Opéra in Paris. These were most likely the French artists Marguerite Guy-Lemm (née Lemaire) and Luc-Albert Moreau, the Uruguayan Pedro Figari, and the Dutchman Kees van Dongen.

Fine condition, light gray debossed lettering on soft dark gray paper, crease marks at upper right corner.

First edition, one of 40 numbered copies on Ingres paper, deluxe issue.

A fine copy.

First edition, with no deluxe-paper copies printed.
Illustrations.

A handsome copy despite the slightly faded spine.

Precious and fine signed presentation copy from Louis Aragon to Maurice Druon: "A Maurice Druon, pour qu'il sache que de temps je m'égarée dans Césarée. [sic] Louis".

Handwritten postcard from André Breton signed by himself, his wife Elisa, Benjamin Péret, Toyen and Jindřich Heisler addressed to Marcel Jean and his wife and written on the back of a black and white photograph view of the Chaise-du-Curé rocks on the Île de Sein (Finistère).
Charming poetic postcard, written during a stay in Brittany: "la corne de brume manque à tous ses devoirs quoique le coupage au couteau soit de règle. Dans la vase à quoi se limite la vue de l'hôtel de l'Océan un bateau penché dit son nom : "Rose effeuillée". Rien de moins. Mais c'est toujours très bien dans l'ensemble." Returning to more “professional” discussions, Breton asks for news of the American gallery owner Sidney Janis: “What was the result of the Janis' visit?”

First edition of this magazine led by Ivan Goll, uniting French surrealists then in exile in the United States with their American peers.
Several contributions including those from Saint-John Perse, Roger Caillois, William Carlos Williams, Alain Bosquet, Ivan Goll, André Breton, Aimé Césaire, André Masson, Henry Miller, Kurt Seligmann, Denis de Rougemont, Julien Gracq, Eugène Guillevic, Robert Lebel...
Illustrations by George Barker, André Masson, Wifredo Lam, Yves Tanguy.
Pleasant and rare collection despite a small piece missing at the foot of the spine on the double issue 2 & 3.
Complete collection in 6 issues and 5 deliveries (numbers 2 & 3 being double) of this important magazine that offers a panorama of the Surrealist movement in exile and provides an insight into the influence of the contributors on the New York art scene.

First edition of this issue of the review consisting of two folded sheets.
Marginal lacks very skillfully filled on the sheets.
On the first, a color woodcut representing Paul Signac by Georges Seurat.
On the following ones, text by Félix Fénéon in first edition entitled "Signac".
Very rare issue.

First bilingual edition with texts in Spanish and French, one of the numbered copies.

Publisher’s full beige cloth bindings, smooth spines, complete with their illustrated dust jackets and slipcase.

A richly illustrated work featuring numerous black and colour reproductions of Vieira da Silva’s artworks.

Texts by Jean-François Jaeger, Guy Weelen, Jean-Luc Daval, Diane Daval Béran, Virginie Duval...

A fine copy, complete with the chronological list of works reproduced in colour, inserted as a loose leaf.

First edition, richly illustrated with reproductions of works by Edouard-Marcel Sandoz.

Publisher’s full cream cloth binding, smooth spine, complete with its illustrated dust jacket.

A very handsome copy.

First edition of this album of caricatures by Frédéric-Auguste Bartholdi which he numbered and initialled (copy no. 36, followed by his initial). Printed "in small numbers” (Bartholdi Museum), with only six located in institutions (Colmar Museum, BnF, Harvard, UPenn, NYPL, Rutgers University).

Publisher’s blue cloth binding, smooth spine gilt-lettered along its length, upper board numerously framed in black, anchors and stars stamped in black at the corners, title and date gilt-stamped; lower board numerously framed in black, black stars at the corners and a central anchor, red edges. Slight rubbing to joints, faint mottling to the lower part of the upper board, a few plate tabs slightly split at foot, not affecting the integrity of the binding.

Illustrated with an engraved title-frontispiece, a half-title featuring the head of the Statue of Liberty, and 30 full-page hand-coloured lithographs.

Exceptionally rare copy of Auguste Bartholdi’s caricature album created on board the steamship bound for the United States for the 1876 Philadelphia World’s Fair, where he exhibited part of the Statue of Liberty.

This curious album contains the only caricature of the Statue by Bartholdi ever published: a vignette on the half-title depicting the top of Lady Liberty’s crowned head with her amused eyes emerging above the Atlantic. Moreover, the profits from the album were donated to the Franco-American subscription fund for the statue's construction.

Portrait of Tsuguharu Foujita, original photograph on albumen paper. Blue stamp of the studio "Photographie Simon's, 40 rue de Passy, Paris" on the back of the print.

Splendid portrait inscribed by Foujita on his birthday: "A Lolotte Rabinovitz / Avec mes amitiés / Je suis toujours / prêt à toi [sic] / à Yoshinoya New York / ma fête 27 nov 1930". "To Lolotte Rabinovitz / With my friendship / I am always / close to you / at Yoshinoya New York / my birthday 27 Nov 1930".

Partly original edition, with no mention of a deluxe paper issue.

Half black shagreen binding, spine with five raised bands tooled with gilt garlands, gilt date at foot, marbled paper boards, comb-marbled endpapers and pastedowns, gilt edges, contemporary binding.

Pleasant copy.

Partly original edition, entirely revised.

Some foxing.

Rare copy preserved in its original wrappers.

Exhibition catalogue of paintings by Tony Curtis, presented at the Center Art Galleries in Hawaii.

Catalogue illustrated with reproductions of works by Tony Curtis.

A very good copy. The original mailing envelope for the catalogue is included.

Signed by Tony Curtis in blue felt-tip pen on the front cover of the catalogue.

Provenance: from the collection of the distinguished autograph collector Claude Armand.

First edition of the exhibition catalogue presenting 37 works by Claude Monet at the Galerie Durand-Ruel from 9 May to 4 June 1904.

During the exhibition, most of the paintings were immediately purchased by American collectors.

Binding in vellum-effect paper boards, names of the catalogue preface writer and the painter inscribed in ink, water-effect paper endpapers, covers and spine preserved, curious ex-libris drawn by H. P. Gassier glued to a pastedown endpaper, binding signed Gonon.
Preface by Octave Mirbeau.

A rare and pleasant copy.

First edition of this program of events organized by the Centre National d'Art Contemporain from 16 October to 23 December 1974, presenting the works of Christian Boltanski and Jacques Monory.
The December date has been modified in green felt pen at the foot of the program.
Presentation of photographic, cinematographic and book-based works by Christian Boltanski and pictorial works by Jacques Monory.

A very rare document.

First roneo edition of the prospectus for the exhibition organized by the A.R.C. (Animation Recherche Confrontation) cinema section at the instigation of Christian Boltanski.
Signs of folding due to having been placed in an envelope.

The event was attended by Edmund Alleyn, Gianni Bertini, Christian Boltanski, Guðmundur Guðmundsson said Erró, Gérard Fromanger, Ipousteguy, Jean Le Gac, Tamas Zanko, Bruce Nauman, Pesce, Martial Raysse, Peter Stämpfli.

A rare document.

Very rare first issue of this periodical, the mouthpiece of German Expressionism founded by Herwarth Walden in 1910.
Text by Rudolf Blümmer.

One tear at the bottom of the spine, another at the head, pale angular damp stain on the marginally discoloured
covers, the text sheet tends to come apart. A fragile set held together by two strings.

Illustrated catalogue of 15 colour reproductions of artworks, laid on thick black paper by Marc Chagall (3 works), Wassily Kandinsky (2), Alexander Archipen
ko (1), Rudolf Bauer (1), Albert Gleizes (1), Reinhard Goering (1), Jacoba von Heemskerck (1), Paul Klee (1), Fernand Léger (1), Franz Marc (1), Johannes Molzahn (1) and Nell Walden (1).

First edition printed with 750 numbered copies on Arches Velin and planned for the exhibition of Léger's works organised at the Louis Carré gallery from 19 November to 31 December 1954, for which the catalogue has been published only two years after the retrospective.

Work illustrated with original lithographs by Fernand Léger: 6 unpaged colour plates, two of which are double pages, 5 black and white unpaged plates and 10 within the text.

A beautiful copy despite slight rubbing to the caps.

First edition, one of 20 numbered copies on alfa, the only deluxe issue.

Illustrations.

A few very light, insignificant spots of foxing.

A handsome copy, complete with its illustrated dust jacket.

Autograph manuscript signed by the painter and writer Jacques-Émile Blanche, entitled « Serge de Diaghileff ». Five leaves written in black ink, with numerous corrections in blue. Autograph foliation in black ink, later foliation in blue pencil. Leaf 4, originally in two parts, was joined with a strip of adhesive affixed to the verso.

Crossed-out passages and corrections.

A very fine funeral oration by Jacques-Émile Blanche for his friend Serge Diaghilev, director of the celebrated Ballets Russes.
The painter and writer Jacques-Émile Blanche pays tribute to the genius of Serge Diaghilev, shortly after his death in Venice in 1929. Chosen as a « godfather » to the Ballets Russes, the painter followed closely the choreographer’s work as a regenerator of the performing arts and applauded Stravinsky’s Sacre du printemps. He also produced numerous portraits of the Ballets Russes dancers, which he presented at the Venice Biennale in 1912.
At the beginning of the century, Diaghilev’s company, the « Ballets Russes », had dazzled audiences across Europe with a rich and vigorous art which, moving from one new form to another, remained at the avant-garde for twenty years. The painter recalls his first encounter with Diaghilev, a figure of undeniable charm: « j'éprouvai qu'on ne pouvait lui résister. Son autorité, ses caprices d'enfant gâté, on les subissait, tant son intelligence éclatait dans ses paroles d'adolescent. Il ressemblait, alors, assuraient ses compatriotes, au Tzar Alexandre Ier ». He evokes the impresario’s troubled existence and his dazzling triumphs with the Ballets Russes: « Eh quoi ! vingt ans d'expériences, vingt ans d'incomparables spectacles - et la perfection d'une technique de plus en plus déconcertante, ne nous conseilla-t-il pas d'accorder crédit illimité à notre cher ami, le plus artiste des hommes - et somme toute, le plus sûr de soi-même, malgré l'extravagance, le paradoxe de la vie qu'il menait et qu'il imposait à sa troupe ? ».
Blanche highlights Diaghilev’s taste for French culture, which he shared with his friends and collaborators. This passion, inherited from Russian aristocratic circles, made him « Le plus parisien des cosmopolites, croyant au prestige de Paris comme un boulevardier du second Empire ». We also learn of Diaghilev’s unrealized plan to travel to Moscow and stage ballets in the young USSR, then regarded as a land of political and artistic avant-garde. The letter closes with a moving evocation of Venice, where Diaghilev passed away on 19 August 1929:
« voici qu'un funèbre cortège de gondoles accompagne sur la lagune torride [...] les restes de notre cher camarade. Il est bien - puisqu'il devait nous quitter - qu'il fermât les yeux sur la cité du Sang, de la volupté et de la Mort ».

A remarkable panegyric to the creator and impresario Serge de Diaghilev by Jacques-Émile Blanche, his loyal friend and portraitist of the Ballets Russes.

First edition of this issue of the magazine edited by Jean-Louis Bory, with Pierre Bourgeade as editor-in-chief.
The entire issue is devoted to the work of Arman, who also authored the texts.
Illustrated throughout.

A handsome copy.

First edition on ordinary paper.
Tiny and very discreet restorations to the verso of the first blank leaf.

Significant and fine signed autograph inscription by Antonin Artaud:
« à M. Fernand Pouey qui a voulu comprendre mon aride effort. Antonin Artaud. 13 décembre 1947. »
Signed autograph inscriptions by Antonin Artaud are exceedingly rare in this text.

First edition, printed on vellum paper in 260 numbered copies.

Bradel binding in half vellum-style boards, smooth spine, gilt title running lengthwise, gilt fillet framing the marbled paper covers, top edge gilt.

A long orange offset to the margin of the lower cover on the vellum-style board, light orange offsets to the margins of the white endpapers.

Illustrated with 68 plates reproducing drawings by Max Liebermann in facsimile.

This copy retains the two original etchings by Max Liebermann, each signed by him in pencil.

First edition of this exceptionally rare complete set of twelve dance scores, each comprising a color-printed wrapper and five leaves (title page, four numbered pages of engraved music, and one blank leaf). All covers were lithographed and hand-colored using stencil techniques by Adolphe Cathelin, whose name appears on the title pages.

The musical works are by composers Alexandre Croisez, Alexandre Artus, Eugène Dupuis, Camille Michel, Alphonse Leduc, Émile Waldteufel, Voctir-Auguste Dolmetsch, Félix Joufferoy, and Antony Lamotte.

Contemporary half green calf binding, smooth spine decorated with gilt and blind-stamped fillets and dotted lines, joints rubbed; granite-patterned paper boards framed with double gilt fillets (thick and thin), gilt monogram "C.B." at center of front board, marbled endpapers and pastedowns, bumped corners, marbled edges, bookplate mounted on one pastedown. Contemporary binding.

Some foxing, mainly at the end of the volume.

A handsome and exceptionally rare period-bound collection.

First edition printed in 700 numbered copies, ours being one of the 50 non-commercial copies.

Publisher's binding in full blue cloth, smooth spines, copies complete with their illustrated dust jackets.

Rich iconography.

Beautiful copy in two volumes, complete with its soft cardboard case.

First edition, one of 40 numbered copies, the only copies printed on deluxe paper.

A handsome and scarce copy.

Illustrated with full-page color drawings by André François.

Pencil signature by Vincent Pachès at the colophon.

Autograph letter signed by Jean-Auguste-Dominique Ingres to Charles Paillet, with autograph address and title "Honorary Expert Commissioner of the Royal Museums", with postal stamps. Usual fold marks. A marginal tear repaired without affecting the text.

Ingres provides descriptions and exhibition instructions for his two paintings Aretino and the Ambassador of Charles V and Aretino in the Studio of Tintoretto.

First edition, one of 950 copies on Vélin Vidalon signed by André Marchand, the only printing following 49 copies on Vélin d'Arches.

Bound in black morocco-backed boards with corners, smooth spine, gilt fillet borders on cat's eye paper-covered boards, marbled endpapers and pastedowns, original wrappers and spine preserved, all edges gilt. Slipcase edged in black morocco, marbled paper panels. Binding signed by D. Saporito.

Illustrated with 50 splendid original lithographs by André Marchand, printed by Mourlot.

Featuring previously unpublished texts by Georges Spyridaki, René Lacôte, Georges Hugnet, Gabriel Audisio, Raymond Queneau, David Herbert Lawrence, Pierre Emmanuel, Luc Decaunes, Léon-Marie Brest, Jean Grenier, Antonio Machado, Marie Mauron, Paul Eluard...

A handsome and finely bound copy.

Handsome suite of 72 engraved plates of ornamentation, including the title page, printed on bluish paper. The first 64 plates feature decorative friezes and motifs characteristic of the Empire style—Neoclassical elements and the so-called “Retour d’Égypte,” adorned with laurel and oak wreaths, imperial eagles, etc. The final 7 leaves display interior arrangements in the style of the period.

Enclosed: the price list for the models offered by the manufactory of Joseph Beunat, recipient of a silver medal for patented inventions.

Contemporary temporary binding in marbled blue paper boards, flat spine with scuffs and small paper losses, red morocco title label, lower corners rubbed.

Pleasant internal condition despite some minor marginal foxing.

First edition.

Publisher's full cloth-backed pictorial boards, front board with color illustration, pictorial endpapers, a newspaper clipping photograph of the Disney couple pasted on the front pastedown. Minor lacks to the upper cover, corners slightly creased.

Exceptional incribed copy by Walt Disney on the front pastedown: "Best wishes / Walt Disney," below a portrait of him with his wife and their dog.

First edition of this issue entirely devoted to Guillaume Apollinaire.
With numerous contributions including those by Guillaume Apollinaire, Tristan Tzara, Pierre Albert-Birot, Paul Dermée, André Salmon, and Roche Grey. Iconography, illustrations, facsimiles; a complete copy including the portrait of Guillaume Apollinaire by Marcoussis.
Two small tears at the head and foot of the spine, a well-preserved copy.

Front cover illustrated with a portrait of Guillaume Apollinaire by Pablo Picasso.

First edition of the French translation by Dominique Aubier, printed in 150 numbered copies on Rives wove paper, ours being one of 30 copies including the original print, numbered and signed by Louis Chavignier.

Our copy is one of only 10 exceptionally enriched with an additional suite on chine appliqué of the etching by Alberto Giacometti and the 14 burin engravings by Louis Chavignier.

The work is illustrated with an original etching as frontispiece by Alberto Giacometti, and 14 full-page original burin engravings by sculptor Louis Chavignier.

A handsome and rare copy.

Enclosed is the printed report, on Rives paper, of the general meeting held on 16 May 1962 by the bibliophile society Les Impénitents.

Also included is the promotional leaflet illustrated with an original burin engraving by Louis Chavignier, justified and signed by the artist, announcing the forthcoming publication of the book.

Minor, insignificant foxing affecting one leaf of the final gathering.

A rare and desirable copy.

First edition, one of the review copies.

Spine faded with noticeable waterstaining at foot, a few small spots in the margins of the covers.

Illustrated with 53 photographs by Brassaï.

On a card mounted to the front endpaper, a moving presentation inscription, dated and signed in blue ballpoint pen by Brassaï: "Pour Francis Ponge amical hommage de Brassaï Eze-Village le 29 octobre 1964."

First edition, one of 25 numbered copies on pure wove paper, the only deluxe copies.

First endpaper slightly and partially toned, without consequence.

A handsome copy with full margins.

Rare first edition, as referenced by Clouzot (see Guide du bibliophile français XIX^e siècle, p. 256).

A few insignificant spots of foxing, a small black ink stain at the bottom of pages 354–355. Complete with the errata leaf at the end of the volume.

Caramel half calf binding, spine with five raised bands ruled with gilt dotted lines and decorated with gilt and black tools, gilt fillets at head and foot of spine. Minor rubbing to the spine. Brown morocco title label. Marbled paper-covered boards framed with blind-stamped vertical rolls, endpapers and pastedowns in cat’s-eye paper, all edges gilt. Roman bookseller’s label at the top of a pastedown. Period-style binding signed in blind by Durvand.

Rare and important work (cf. Carteret), notable for being the first to bear Stendhal’s pseudonym on the title page.

First edition, one of 15 copies printed on japon impérial, most limited deluxe issue.

Bradel binding with grey box spine, front board in plexiglass revealing the original cover, back board in grey box, original wrappers and spine preserved, housed in a soft grey paper chemise lined with light grey felt; unsigned binding by Mercher.

Illustrated with three original lithographs, including the original colour illustration on the cover.

Discreet repairs to the head of the front wrapper, which also shows slight sunning along the left margin.

A very rare and beautiful deluxe copy of this major scenario for an imaginary Dadaist film by Picabia: "

I ask each of my readers to stage and film for themselves on the screen of their imagination [...] record for yourselves while reading La Loi d'accommodation chez les borgnes; all seats are the same price, and you can smoke without bothering your neighbors.

" (Picabia, preface). This work related to his celebrated Dada piece L’Œil Cacodylate, directly references the theme of distorted vision – a significant inspiration for Picabia, who suffered from ophthalmic shingles: "The title of the scenario itself (La Loi d’accommodation chez les borgnes) can be seen as an (ironic or humorous) echo of the visual processes explored in his latest works. Depth perception requires two eyes. The lack of stereoscopic vision in monocular vision results in a flat image, and the brain must work harder to construct a sense of relief." (Bernard Marcadé, Francis Picabia Rastaquouère, p. 390)

Our copy includes an autograph letter by the publisher confirming to the recipient that the work is complete and does indeed include two illustrations by Francis Picabia (in addition to the cover), contrary to what Skira indicated in his bibliography.

First edition, with no deluxe copies printed.
Pleasant copy, which is uncommon given the fragility of this book, often handled without care.
Inscribed and signed by Serge Gainsbourg to a recipient named Georges.
 

First edition of the catalogue of the 33 works by Paul Cézanne exhibited at the Galerie Bernheim Jeune & Cie from Wednesday 1st to Saturday 18th December 1920.

Upper cover lightly sunned along the edges, printed stamp and shelf number to upper left corner of the inside front cover; otherwise a rare and attractive copy.

Some pencil annotations in the margins of a few of the listed works.

Catalogue illustrated with 10 reproductions of the artist’s works.

Introductory text by Octave Mirbeau.

Autograph letter signed by Jean-Jacques Henner to his friend Castagnary, 18 lines in black ink on a bifolium.

The letter is almost entirely devoid of punctuation.

A date written in violet ink, likely indicating when the recipient received the letter.

"Mon cher ami,

votre très aimable invitation m'est arrivée malheureusement un peu en retard vous aviez l'adressé place Clichy au lieu de place Pigalle et à mon grand regret je ne suis pas libre j'en suis désolé vous savez tout le plaisir que j'ai a venir chez vous soyez donc mon interprète auprès de madame Castagnary et excusez moi. Votre tout  dévoué JJHenner."

Autograph note signed by Caran d'Ache to a lady friend, 18 lines in pencil on a bifolium, with each letter written in uppercase.

Tears repaired with adhesive patches, minor loss to corners not affecting the text.

"Admirable madame ! Grandpierre & non Dampierre est votre proche voisin rue d'Offemont. Je me traîne à vos pieds heureux de baiser la pointe de vos pieds. Caran d'Ache."

The rue d'Offemont, located in the Plaine Monceau district, is now known as rue Henri Rochefort.

First edition of the retrospective exhibition catalogue of 109 works by George Bottini, held at Galerie L. Dru from 15 April to 8 May 1926.

Minor foxing to the front cover, not affecting legibility.

Text by Adolphe Tabarant.

A rare and appealing copy.

Catalogue for the exhibition of 28 works by Edouard Vuillard held at Galerie Bernheim Jeune & Cie from Monday 13 to Saturday 25 February 1911.

Three light halos along the left margin of the upper cover, and a small tear along the right margin of the lower cover.

Illustrated catalogue featuring 3 reproductions of works by Edouard Vuillard.

Rare.

Exhibition catalogue of the 43 works by Kees Van Dongen shown at the Galerie Bernheim Jeune from Tuesday, March 1 to Wednesday, March 9, 1921.

Illustrated catalogue with 5 reproductions of Van Dongen's works.

Ink annotations on the verso of the front wrapper, the title page, and continuing on the final two pages of the catalogue, regarding a painting by the artist. Minor, usual rust marks around the staples.

Rare.

First edition of the catalogue listing 58 works by Henri Matisse exhibited at Galerie Bernheim Jeune & Cie from October 15 to November 6, 1920.

Upper cover slightly faded along the left margin, printed stamp to upper left corner of the verso of the front cover, otherwise a rare and attractive copy.

Illustrated catalogue featuring 19 reproductions of the artist's works.

Introductory text by Charles Vildrac.

First edition of the exhibition catalogue for 21 recent works by Pierre Bonnard, shown at the Galerie Bernheim from 19 May to 7 June 1913.

Catalogue illustrated with 10 reproductions of works by Pierre Bonnard.

Rare and handsome copy.

First edition, one of 50 numbered copies on Japan paper, ours not numbered but printed for the publisher, a copy from the deluxe issue.

Half black morocco binding, spine with five raised bands, date gilt-stamped at foot, moiré paper sides, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, binding signed in blind by Ch. Septier.

Illustrated with 21 hors-texte engravings by Daniel Vierge, along with numerous in-text black-and-white engravings.

Our copy, as with all copies on Japan paper, includes the hors-texte engravings in two states.

A handsome and finely bound copy.

Autograph letter dated and signed by Théophile-Alexandre Steinlen, 30 lines in black ink, written from his Montmartre residence at 21 rue Caulaincourt, addressed to his friends the Lefèvres.

Folding marks inherent to mailing, minor marginal tears.

The painter inquires after the health of Madame Lefèvre, who was unwell at the time, and asks his correspondent to see that everything is put in order at their house in Saint Ay, where his wife and model Massia would soon be staying.

Steinlen is held back in Paris: "Pour moi, je ne se sais trop ce que je ferai, en tout cas, je ne puis quitter Paris avant le 15 - d'ici là des évènements peuvent survenir qui me bloqueront ici... ou ailleurs - s'ils ne s'arrangent pas de la façon que je souhaite St Ay ne me verra pas cette année..."

Catalogue for the exhibition of 29 works by Édouard Vuillard held at the Galerie Bernheim Jeune & Cie from Monday 15 to Saturday 27 April 1912.

Illustrated catalogue featuring 3 reproductions of works by Édouard Vuillard.

Rare and appealing copy.

Autograph note dated and signed by Henri Laurens, 7 lines in black ink, addressed to a Mr Fardel, most likely Gildas Fardel, the prominent art collector.

A handsome example.

Henri Laurens writes to postpone their appointment, as he will not be at his studio at the agreed time.

A major collector of abstract art, Gildas Fardel donated part of his collection to the Musée des Beaux-Arts in Nantes in 1958.

First edition, one of 515 copies.

The set of 8 issues is housed under two half-oasis black folders, smooth spines, gilt dates at foot, decorative paper boards, lined in green paper, set signed by Atelier Laurenchet.
Minor lacks of paper and tears to some spines and boards, some spines with slight restorations. The eighth issue has marginally soiled boards and a detached engraving, occasional foxing mainly affecting the sixth issue, part of the first issue being almost detached, some rare lacks of paper in the margins due to its innate fragility.

Exceptional illuminated manuscript of 35 poems by Stéphane Mallarmé, probably copied by Joris-Karl Huysmans on watermarked Hollande laid paper, after pre-first editions of the poems published in journals. Most of the poems are preceded by a separate title-page noting the source from which it is taken.

The manuscript includes a fine charcoal portrait of Mallarmé as a frontispiece by Charles Tichon, after a photographic portrait by Van Bosch. The portrait was published in the Mallarmé issue of Empreintes (Bruxelles, L’Écran du Monde, n° 10-11). Another version was published in 1889 (Caprice Revue, 2e année, n° 60). 

 two floral compositions in gouache and watercolor illustrating the poems Les Fleurs and Apparition, as well the calligraphed author's name as a title-page. Although unsigned, the illutrations are attributed to Louise or Marie Danse.

Bradel binding, contemporary cream silk boards with floral motif, two embroidered green silk markers with floral motif, gilt semis patternerd flyleaves and pastedowns, slightly faded red edges. Dampstains on the lower part of the lower board, rubbed corners, a few silk threads loosened on the spine, rubbed boards. 

Outstanding manuscript of 35 poems by Stéphane Mallarmé, written shortly before the first collected edition of his poetry of which only 47 copies were ever printed (Poésies, photolithographed, Revue indépendante, 1887). This carefully calligraphed collection is attributed to the hand of writer Joris-Karl Huysmans, a great admirer of the poet who is said to have given the manuscripts to his friend Jules Destrée.

Autograph letter dated and signed by André Breton, 21 lines in blue ink on a single sheet, addressed to Georges Isarlo of the journal Combat-Art concerning a text given to him by his friend José Pierre.

True to form, the leading figure and high priest of Surrealism seeks to clarify matters with his correspondent: "Vous comprendrez sûrement le souci que je puis avoir de ne pas, sous un vain prétexte d'anniversaire, laisser dénaturer le sens et gâter le fruit de quarante années de lutte et voudrez bien considérer qu'il a pour tous ses signataires - répondants du surréalisme aujourd'hui - la même importance vitale que pour moi."

Autograph manuscript by André Breton initialed three times by his hand, written in black ink on two leaves. Multiple crossed-out and rewritten passages, annotations by his hand in pencil.
Pagination in blue pen on each of the leaves. Published in the review Medium, Paris, 1st series (sheet) no. 8, June 1953.
Breton delivers spirited literary and artistic chronicles for the Surrealist review Médium - and lashes out with great virulence against the "false witnesses" and "dubious witnesses" who criticize Surrealism.
The praise of Premier bilan de l'art actuel by his friend Robert Lebel becomes the occasion for a violent attack against Michel Tapié:

"Déplorons seulement qu'on ait fait appel [...] à un faux-témoin avéré comme M. Tapié, de qui nous avions déjà pu apprendre, au mépris de toute évidence, que ceux qu'il appelle dans son affreux jargon "les informels" (Mathieu, Riopelle, et autres) œuvraient à rebours de tout automatisme et qui a aujourd'hui le front de prétendre que Brauner, Maria, Matte et Dali ont pris l'initiative de rompre avec le surréalisme "où ils ne trouvaient plus leur compte" ce qui se passe tout autre commentaire" ("Let us only deplore that they have called upon [...] a proven false witness like M. Tapié, from whom we had already learned, in defiance of all evidence, that those he calls in his dreadful jargon 'the informals' (Mathieu, Riopelle, and others) worked against all automatism and who today has the audacity to claim that Brauner, Maria, Matte and Dali took the initiative to break with surrealism 'where they no longer found their advantage' which defies all other commentary").

In three other chronicles, he receives with interest the new work by Pierre Geyraud L'Occultisme à Paris:

"Le récent procès dit "des J. 3" a appelé l'attention sur la personnalité du père de la victime, qui, sous l'anagramme de Pierre Geyraud, a mené une série d'enquêtes 'parmi les sectes et les rites" [...] M. Geyraud continue à y braver les menaces de graves représailles que lui ont valu ses divulgations. L'accent reste ici sur l'activité luciférienne [...]" ("The recent trial known as 'the J. 3' has drawn attention to the personality of the victim's father, who, under the anagram of Pierre Geyraud, has conducted a series of investigations 'among the sects and rites' [...] M. Geyraud continues to brave the threats of serious reprisals that his disclosures have earned him. The emphasis here remains on Luciferian activity [...]")

salutes the "multiple originals" by painter Jean Fautrier:

"Par un procédé à lui, de la reproduction si fidèle d'une toile jusqu'à travers ses plus menus accidents de la pâte qu'il est impossible à l'œil nu de distinguer les copies de l'original, Jean Fautrier est passé à la création d'originaux multiples [...] Le silence gardé par la critique sur cette entreprise attesterait à lui seul de sa valeur révolutionnaire. Brisant avec un mode d'agiotage particulièrement impudent, il ne s'agit rien de moins que de mettre la peinture vivante à la portée de ceux qui l'apprécient pour elle-même" ("Through his own process, of such faithful reproduction of a canvas down to its smallest accidents of paint that it is impossible for the naked eye to distinguish copies from the original, Jean Fautrier has moved to creating multiple originals [...] The silence kept by critics about this enterprise would alone attest to its revolutionary value. Breaking with a particularly shameless mode of speculation, it is nothing less than making living painting accessible to those who appreciate it for itself").

and becomes enthusiastic about the masterpiece La Chouette aveugle by Iranian poet Sadegh Hedayat:

"Jamais plus dramatique appréhension de la condition humaine n'a suscité pareille vue en coupe de notre coquille, ni pareille conscience de nous débattre hors du temps, avec les immuables attributs qui sont notre lot [...] Un chef d'œuvre s'il en fût ! Un livre qui doit trouver place auprès de l'Aurélia de Nerval, de la Gradiva de Jensen, des Mystères d'Hamsun, qui participe des phosphorescences de Berkeley Square et des frissons de Nosferatu [...]" ("Never has a more dramatic apprehension of the human condition inspired such a cross-section view of our shell, nor such awareness of struggling outside of time, with the immutable attributes that are our lot [...] A masterpiece if ever there was one! A book that must find its place alongside Nerval's Aurélia, Jensen's Gradiva, Hamsun's Mysteries, which partakes of the phosphorescences of Berkeley Square and the shivers of Nosferatu [...]").

Superb manuscript by the father of Surrealism filled with annotations and revisions.

Autograph letter dated and signed by Henri Martin, post-impressionist painter who was a pupil of Jean-Paul Laurens, 20 lines written in black ink. 
Central fold inherent to postal dispatch. At the end of the missive, some calculation notes in black ink probably traced by the recipient.