Antique and illustrated books, first edition drawings, painters' monographs, artists' watercolors, studies, catalogs, painting history

Autograph letter signed by painter Elis­abeth Vigée-Lebrun addressed to his­torical painter and portraitist Hortense Haudebourt-Lescot. Two pages in black ink on a bifolium. Autograph address of Mme Haudebourt, 19 rue Rochefou­cauld, on verso of second leaf. Usual horizontal folds, tear without damage to the text on the second leaf due to the wax seal. A bibliographer's note in blue pencil on the verso of the last leaf.

Engraved bookplate of Eward Wasserman by Marie Laurencin with the words "Ex-libris Edward Wasserman" inscribed on the plate.

Outstanding print on japon with wide margins of Laurencin's engraving for bibliophile Edward Wasserman.





 

Deluxe edition specially produced for members of the Club français du livre and printed in 1,000 numbered copies.

Publisher's special binding in full red cloth, smooth spine, housed in a black slipcase bearing at the foot of the upper cover the gilt statement : "cette édition de luxe a été spécialement réalisée pour les adhérents du Club français du livre".

Richly illustrated, with an essay by José Bergamin and the French translation prepared by Elisabeth Servan-Schreiber.

Nice copy.

First edition of the English translation published in New York, based on the 1927 first edition and the second edition of 1928, both printed in German.

Publisher's binding in black cloth, title and author's name gilt to spine and upper board, polychrome reproduction of a work by the artist laid down to the same board.

Small losses to the upper headcap, which is beginning to lift slightly, minor wear to the lower headcap, gilt entirely faded to spine, a few faint white offsetting marks to spine and boards, marginal stain to upper board, corners bumped.

Browning to pastedowns and endpapers, as is common; a few small instances of offsetting to the text block.

First edition of the English translation published in New York, based on the first edition and the second edition, both printed in 1912.

Publisher's binding in black cloth, title and author's name gilt to spine and upper board, polychrome reproduction of a work by the artist laid down to the same board.

Upper headcap missing, lower headcap worn, three small holes to the spine cloth, gilt entirely faded to spine, slightly so to the upper board, faint offsetting to the rear board, tail board edges and corners bumped.

Faint staining to pp. 48 and 49.

First edition of the French translation by Eugène Guillevic, printed in 35 copies numbered and signed in the colophon on japon ancien, ours one of the 10 hors commerce lettered copies.

Presentation copy, signed and inscribed by Hélène Iliazd to Claude Nardin in pencil in the colophon.

A rare copy complete with its folders and guards made of various papers, its folded parchment chemise with a large outward flap, and its blue cloth chemise and slipcase.

This first edition, conceived and produced by Hélène Iliazd and Ania Staritsky in memory of Iliazd, contains an unpublished poem by the Russian poet, with his autograph Russian manuscript in facsimile along with its French translation by Eugène Guillevic.

The work is illustrated with 6 original copper plates by Staritsky, including 2 double-page plates; the artist also designed the book.

We include the invitation card for the opening presentation of the book by Hélène Iliazd at the Alexandre Loewy bookshop on Tuesday 1 February 1983.

Our copy exceptionally contains a signed autograph letter from Hélène Iliazd to Claude Nardin (two pages with its envelope), concerning the distribution of the work and an invitation to the gallery opening.

First edition, one of the numbered copies on offset paper, the only issue after 42 copies on Arches vellum.

A pleasing copy.

First edition, one of 10 copies numbered and signed by Eugène Guillevic and Ania Staritsky in the colophon on Verveine de Puymoyen paper specially designed for this work, ours being one of the few hors commerce copies, from the deluxe issue.

Work illustrated with 5 original copper engravings in colour by Ania Staritsky.

A rare and pleasing copy, complete with its chemise and slipcase in almond-green full cloth, the spine of the chemise slightly yellowed.

As stated in the limitation notice, our copy is indeed complete with the original collage by Ania Staritsky and the six-line autograph manuscript poem signed by Eugène Guillevic, and, exceptionally, with a full suite of all the engravings by Ania Staritsky.

First edition of this issue entirely devoted to Louis Marcoussis.

Small tears and minor spotting to the margins of the covers.

Literary contributions by Tristan Tzara "Marcoussis

First French edition.

Profusely illustrated.

Text by Edgar Morin, Georges Lois, Jean-Paul Gaultier, Eric Troncy, Jérôme Sans.

Valuable signed autograph inscription from Jean-Paul Goude to Sonia (Rykiel) in capital letters: "POUR SONIA QUE J'AIME."

First edition of the catalogue for the exhibition of works by Claude Monet held at the Galerie Bernheim-Jeune in Paris from 28 May to 8 June 1912.

Preface by Octave Mirbeau.

Bradel binding in half fawn morocco, smooth spine, date gilt at foot, minor rubbing to spine, boards of marbled paper framed with a gilt fillet, marbled endpapers and pastedowns, wrappers (a pink stain at the foot of the lower wrapper) and spine preserved, top edge gilt; contemporary binding signed L. Bernard.

The paintings were exhibited four years after Claude Monet’s sole journey to Venice.

Illustrated catalogue with 9 reproductions of paintings by Claude Monet.

First edition, limited to 500 copies, this being one of only 8 numbered, signed and justified by Jean Lurçat in the colophon, constituting the deluxe issue.

As is often the case, this copy lacks the original drawing by Jean Lurçat that accompanied each of the eight deluxe copies.

Bookplate pasted to the upper left corner of the inside of the front cover, a scarce and pleasing copy.

First edition, limited to 59 numbered copies on Arches vellum, signed in pink pencil by André Masson beneath the limitation statement.
Rare and fine copy.
Illustrated with two original etchings by André Masson, printed full-bleed and issued hors texte.

First edition and complete run of the 9 G.L.M. cahiers issued between May 1936 and March 1939.

A few spines slightly faded, as is often the case; otherwise a pleasing copy, complete with its original publisher’s slipcase in full grey boards, with red printed title label pasted to the spine.

With numerous contributions by most of the Surrealist poets, writers, and artists, including: André Breton, René Char, Paul Éluard, Philippe Soupault, René Crevel, Valentine Penrose, Federico García Lorca, Pablo Neruda, Michel Leiris, Max Ernst, Man Ray, and André Masson, as well as several spiritual forebears of Surrealism such as Franz Kafka, Lewis Carroll, and Raymond Roussel...

First edition, one of 100 copies numbered on Arches wove paper, the only deluxe issue.

This exhibition catalogue devoted to the painter’s work at the Pierre Matisse Gallery in New York, marking his sixtieth birthday, is illustrated with three original lithographs (two double-page and one single-page) together with numerous black-and-white and colour reproductions.

Offsetting from the lithographs visible on the facing text leaves.

Autograph signature by Joan Miró, dated at the colophon number.

As stated in the limitation, this copy indeed includes its original lithograph, dated and signed by Joan Miró.

First edition, deluxe issue, one of 58 numbered copies on Montval paper signed by the artist on the colophon, with two original color lithographs signed by Max Ernst.

Additionally illustrated with 11 full-page drawings reproduced in black and reproductions of paintings by the artist, including one folding plate.

Copy as issued, green wrappers illustrated with an original artwork by Ernst in perfect condition without any trace of discoloration as is commonly found.

Pristine copy of the Max Ernst exhibition catalogue published in 1950 by the René Drouin gallery in Paris, signed by the artist with two signed lithographs, as well as texts by Joë Bousquet and Michel Tapié.

First edition of this rare catalogue for the sale of the antiquities collection of Claude-Madeleine Grivaud de La Vincelle (1762-1819), deputy head of accounting at the Chamber of Peers, archaeologist, and numismatist.

497 lots are described.

Late nineteenth-century bradel binding in half blue cloth, smooth spine, brown shagreen title label lettered lengthwise, marbled paper boards.

Some minor foxing, otherwise a pleasant copy.

Autograph letter signed by Jean-Jacques Henner to a friend, 20 lines in black ink on a bifolium.

Horizontal fold mark from original mailing.

"Chère madame et amie,

excusez-moi si ne ne suis pas encore venu et si je suis si en retard pour répondre depuis plus de 10 jours. Je cherche un moment pour m'échapper et aller vous voir car je suis toujours avec vous dans la pensée. Je surveillerai votre recommandé et sitôt débarassé de ces travaux j'irai vous voir. Votre dévoué J.J. Henner."

Autograph note signed to his friend and publisher Felia Léal, concerning in particular a political meeting on the situation in Algeria; 17 lines in black ink on a small sheet.

A well-preserved example. A date pencilled in by Felia Léal: the day she received the autograph note (“Reçu le 21 juin 56”).

"Jeudi,

Bien chère amie. Vous devriez bien aller à cette conférence algérienne, qui vous donnerait d'excellentes idées, jeune perfide. Ci-joint les épreuves. Faut-il maintenir l'épigraphe ? Ce n'est pas très necéssaire. Il me semble aussi qu'en petites italiques ce serait mieux. Mais vous déciderez. Jean P. vous embrasse et à qui ne vous préférerait-il pas ? J'ajoute deux ligres et même, si vous le voulez, trois."

Autograph note signed, addressed to his friend and publisher Felia Léal concerning the completion of their joint project: the forthcoming publication of the book "Les paroles transparentes" illustrated by Georges Braque.

Seventeen lines in black ink on two small leaves.

A handsome ensemble, with a paperclip mark to the upper left corner of both leaves.

"Wednesday,

Dear Felia, here is the letter. Are *Les Paroles* still coming out on June tenth? Very impatient. (When I think of it, I am amazed by your patience, your tenacity, your gentle forcefulness. Good evening, dear dangerous one. Affectionately, Jean. (To be honest, G. showed a little annoyance. He said to me 'but just correct the number!' Please do not mention this to Monsieur Léon Léal."

Autograph envelope addressed by André Breton to his friend Géo Dupin, curator of the La Cour d'Ingres art gallery at 17 quai Voltaire, from whom the Pope of Surrealism acquired several paintings.

The address is written in black ink (some letters slightly smudged).

A well-preserved example.

First edition, with no copies printed on deluxe paper.

A very good copy.

Precious signed autograph inscription from Jean-François Lyotard to Pierre Vidal-Naquet.

Black-and-white photographic postcard depicting a young Ludmila Tcherina.

Pinholes to the corners of the card.

Signed autograph inscription by Ludmila Tcherina, in white felt-tip pen, to the prominent autograph collector Claude Armand: "A Claude bien amicalement Tcherina."

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

First edition, one of the numbered copies on vellum, the only printing.
Publisher's binding executed after the original design by Paul Bonet.
Rich iconography.
Handsome copy complete with its illustrated dust jacket.
Precious autograph inscription signed by André Malraux: "Pour Georges Bataille André Malraux."

First edition of the exhibition catalogue of Albert Aymé's works presented at Galerie Editions from February 11 to March 7, 1976.
Handsome copy.
Text by Mireille Guezennec.

 

First edition of the exceptionally rare catalog of Claude Monet and Auguste Rodin's dual exhibition at the Georges Petit gallery in Paris.
With introductory essays by Octave Mirbeau for Monet and Gustave Geffroy for Rodin. The catalog features 145 paintings by Monet and 36 sculptures by Rodin in chronological order, including the famous Impression soleil levant (Impression, Sunrise) as well as Le Penseur (The Thinker), still described as a part of the Gates of Hell for which it was originally created.
Small restoration to head of spine, title and dates penned on spine, traces of stamp on front pastedown, scattered foxing thoughout. 
Rare copy of the exhibition catalog of Claude Monet and Auguste Rodin: the greatest of the Impressionists and the most famous sculptor of his time, united by their love of nature and their tireless quest towards artistic ideal.
"Rodin and Monet were bound by a lifelong friendship and reciprocal admiration. While they were true contemporaries, born within two days of one another in November 1840, it is hard to pinpoint when they actually met. They were almost certainly introduced by mutual friends like writers and critics Octave Mirbeau and Gustave Geoffroy, or the art dealer Paul Durand-Ruel. On his return from Belle-Île in 1886, Monet is known to have started attending dinners held by the "Bons Cosaques", a group of artists and men of letters gathered together by Octave Mirbeau. Rodin also frequented these literary and artistic dinners that contributed to the intellectual effervescence of the period and challenged Academicism. By the time of the exhibition held at the Galerie Georges Petit in 1889, the four protagonists (Rodin, Monet, Mirbeau and Geffroy) definitely knew and already respected each other. On a visit to the Mirbeau family, near Auray (Brittany), in 1887, Rodin saw the ocean for the first time and is said to have exclaimed: "It's a Monet!" To Mirbeau's way of thinking, Rodin and Monet had embarked on the same artistic adventure and were destined to be equally successful. In November 1886, he wrote to Rodin about the paintings that Monet was going to exhibit at Petit's gallery the following year: "He works hard and, in my opinion, he has done great things: it will be a new facet of his talent; a formidable, awe-inspiring Monet, of whom we were unaware... Our friend Monet is a heroic man of courage, and if anyone deserves to succeed alongside you, it's him. [...] the dual exhibition was a great success with the public and critics. According to Mirbeau, Monet and Rodin embodied "most gloriously and most definitively, the two arts of painting and sculpture" (Rodin Museum).

Original portrait of the painter Mai Trung Thu, known as Mai-Thu, inscribed on verso with his emblematic monogram in colored pen: "à l'abbé Guéniart en souvenir du séjour au S.U.J.A / Maï Thu / 14.6.57".

In this handsome portrait, Mai-Thu is surrounded by his paintings on silk - no fewer than seven, including a children scene closely related to his 1965 masterpiece (Aguttes sale, September 26, 2023). The great themes that made the Hanoi School painter famous are to be found here: ideal women, children's games, tea ceremonies... Each canvas is carefully framed, often in Mai-Thu's own tireless perfectionist hands.

The painter underwent several cures in the 1950s to treat his tuberculosis, including one at the Sanatorium Universitaire Jacques Arnaud (mentioned by its acronym the inscription), where he met Father René Quéniart to whom he gifted the photograph.