Signed art books: autograph inscriptions, first edition drawings, artists' signatures

Handwritten manuscript signed by the choreographer Maurice Béjart. 

10 leaves written in blue pen. Handwritten pagination.
Maurice Béjart's handwritten proofs for his book Béjart-theâtre: A-6-Roc (éditions Plume, 1992), about his play A-6-Roc, first performed in the same year at the Vidy theatre in Lausanne.
After the foundation of “Béjart Ballet Lausanne” and his definitive departure from Belgium in 1987, Béjart continues to stage operas, produce films and publish several books (novel, memories, personal diary...). In addition, he wrote and directed his third play A-6-Roc performed in Lausanne in 1992, which he published w

Photographic postcard depicting Jean-Paul Belmondo with sunglasses and a cigarillo between his teeth.
Handsome copy.
Autograph inscription signed by Jean-Paul Belmondo in the lower margin of the photograph: "Pour Claude JP Belmondo".
Provenance: from the collection of the great autograph collector Claude Armand.

First edition, printed in a small run of numbered copies.

With two photographic portraits: one of Charles Pathé and the other of his brother Émile, and a view of the Kodak-Pathé and Pathé-Cinéma factories.
3/4 beige sheepskin binding, spine with four raised bands decorated with black typographical motifs, date at foot of spine, marbled paper boards, endpapers and flyleaves.
Discrete restorations to spine, some rubbing to upper corners of boards.

Signed by Charles Pathé on his photographic portrait.

Original drawing signed in black and red felt-tip pen by Yves Saint Laurent, inscribed “Pour Gilles Bernard un souvenir amical / Yves Saint Laurent”. Single leaf mounted on card, with minor undulations. A dampstain not affecting the drawing, and a small restoration in the margin.

We also include the first edition of this infamous album of cartoons (La Vilaine Lulu, Claude Tchou, 1967) as well as the large-format and illustrated subscription slip for the album.

Rare first edition of this lecture delivered at the Cercle de France in Paris on January 8, 1958, no copy referenced in Worldcat. Light foxing to the front board.

Rare utopian pamphlet celebrating the creation of Brasilia and laying the theoretical foundations for the cities of the future. Inscribed and signed by Robert Miocque to his friend Marcel Dollfus at the top of the first page of text.

First edition of the catalogue published for the exhibition of works by Max Ernst, held from 15 November to the end of December 1961.

A fine copy.

Illustrated, with a foreword by Alain Bosquet.

Signed autograph inscription by Max Ernst to Madame de Harting.

First edition, illustrated with photographs by Lucien Clergue.

Publisher’s binding in full boards, smooth spine,

With a text by Jean-Marie Magnan.

Signed autograph inscription by Lucien Clergue to the writer Christiane Baroche: "Pour Christiane ces images de notre éternelle jeunesse ! et avec la bise de Lucien. 5.X.2002."

Original ink composition in magenta, brown, green, and blue hues, titled and signed “Moscou / L D” 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 techniq

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 two inscriptions and some parts of the photograph drawn over. 

Handsome and uncommon album comprising 36 vintage silver-print photographs (18.5 × 23 cm, mounted and captioned by hand), depicting exterior views—façades, gardens, and architectural perspectives—of this English neo-Gothic estate built between 1868 and 1872 by Thomas Smith and the Cannes contractor Scavy for one Michael Hugh Scott, who never lived in it: the property quickly passed to the businessman Debionne, who resold it to Lord Wolverton after furnishing and decorating the interior.

Publisher’s blue percaline binding, smooth unlettered spine, blind-ruled frame on the boards, gilt-lettered title to the upper cover, marbled endpapers and pastedowns; contemporary binding.

A f

First edition, printed in a small number of copies, of this offprint from the Revue des arts décoratifs of January 1885.

Unbound copy.

Copies recorded in the CCFr only at the BnF, the Musée des Arts décoratifs, and Troyes.

This offprint gathers the three lectures delivered on 18, 21, and 25 October 1884 by the influential art critic Philippe Burty (1830–1890), a key figure in the emergence of Japonism.

Inscribed by Philippe Burty to the archivist and historian Pierre Margry (1818–1894).

Autograph letter signed "R" by Auguste Renoir, addressed to his friend and great collector of his works Paul Bérard. One and a half pages in black ink on a bifolium.
Horizontal fold mark inherent to mailing.

 

Autograph letter signed by Auguste Renoir, dated in his hand 5 February 1909. 2 pp. in black ink on a double leaf.

Horizontal mailing fold. Renoir penned this letter at his villa Les Collettes in Cagnes, where he created works of great sensuality and essayed sculpture. The painter orders brushes and refers to an expected visit from the family of Dr Emile Baudot, his physician of long standing and chief medical officer of the Compagnie des chemins de fer de l'Ouest. Renoir's sole pupil was the venerable doctor's daughter, Jeanne Baudot, of whom he painted a portrait and who sat alongside her master for a canvas by Mauri

First edition of this album of caricatures by Frédéric-Auguste Bartholdi which he numbered and initialed (copy no. 36). 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, flat spine gilt-lettered lengthwise, 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

First edition of the French translation by Pierre Jean Jouve of Georg Büchner's libretto for Alban Berg's opera, one of 40 copies on pure wove paper, this one specially printed for Charles Orengo.

Endpaper partly toned, a pleasant copy.

Inscribed, dated and signed by Pierre Jean Jouve to Charles Orengo.

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".

First edition, printed in a very small number of copies, of this extract from the Revue archéologique.

The booklet is illustrated with several figures in the text and, at the beginning of the volume, a full-page plate.

Charles Simon Clermont-Ganneau (1846-1923), orientalist and archaeologist, made major archaeological discoveries in Palestine, where he had resided since 1867 as dragoman-chancellor at the French consulate. Appointed consul in Jaffa in 1881, he accepted a mission on the Egyptian coast east of the Nile, in Philistia, Phoenicia and Palestine; he published the results in the Archives des missions scientifiques.

Until his death, he pursued a dual

First edition, for which there was not printed any grand papier (deluxe) copies.
Publisher's binding in full grey cloth.
Illustrations.

Copy complete of its dust jacket illustrated by Jimmy Ernst, the dust jacket being in a poor state with several tears and corners missing.

Very precious handwritten dedication signed by Harriet Janis to Boris Vian: “To Boris Vian with Paris greetings for Rudi Blesh & myself, Harriet Janis. May 1953.”

Personal diary handwritten by Maurice Béjart, written in a 1969 diary celebrating the centenary of the birth of Mahatma Gandhi.
52 handwritten leaves, written in red and blue pen in a spiral-bound notebook. This diary features amongst Béjart's very rare, privately owned manuscripts, the choreographer's archives being shared between his house in Brussels, the Béjart foundation in Lausanne and the Théâtre Royal de la Monnaie.
The choreographer Maurice Béjart's diary written during the year 1969. An extremely rare collection of thoughts, questions and introspections from the point of view of Hinduism and Buddhist wisdom, which Béjart adopts following his first trip to

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

Autograph letter by Pablo Picasso to Max Pellequer, vividly executed in multiple colours, signed and dated by the artist, 27 January 1956, addressed from his villa “La Californie”. Fourteen lines written in green, blue, pink, orange, red, violet and turquoise pencil on a watermarked “BFK Rives” sheet.
A few negligible transverse folds, as expected from mailing.

Picasso did not regularly employ colour in his correspondence. Here, however, he seems to have offered a gracious gesture to his friend and banker Max Pellequer, as the

Multi-coloured autograph letter from Pablo Picasso to Max Pellequer, signed and dated by the artist on June 5,  1956. The document includes the autograph address of his villa ‘La Californie’. Twelve lines in orange, pink, blue, yellow and purple pencil on one sheet. 
Minor folds. 

A very elegant letter written in pastel colours by Pablo Picasso.

Multi-coloured autograph letter from Pablo Picasso to Max Pellequer, signed and dated by the author on June 13, 1957. The document includes the autograph address of his villa ‘La Californie’. 2 pages on one sheet, 22 lines in green, blue and red pencils on a watermarked sheet.
Minor folds. 

An exceptional account of Pablo Picasso's passion for bullfighting, a recurring theme in his art since his very first works painted at the age of eight ("The Little Yellow Picador", 1899). 

Pablo Picasso gives Max Pellequer and his wife details regarding a trip to

Autograph letter in blue and red pencil by Pablo Picasso to Max Pellequer, signed and dated by the author on June 7, 1956. The document includes the autograph address of his villa ‘La Californie’.  12 lines on the front of the letter and two lines on the back on a printed notice announcing the forthcoming publication of a book by Thérèse Leroy. 
Minor folds and a slight crease in the lower left corner. 

We have here a rare written account of Pablo Picasso engaging in self-deprecation. In his villa "Californie", the painter found a printed poster announcing the forthcoming publication of the book "La technique du

Multi-coloured autograph letter from Pablo Picasso to Max Pellequer, signed and dated by the artist on September 23,  1959. The document includes the autograph address of his villa ‘La Californie’. Ten lines in blue and green pencils on a watermarked “BFK Rives” sheet.
Minor folds and marks.

A very elegant letter written in pastel colours by Pablo Picasso.

Multi-coloured autograph letter from Pablo Picasso to Max Pellequer, signed and dated by the artist on September 23,  1958. The document includes the autograph address of his villa ‘La Californie’. 13 lines in a multi-coloured tip pen (orange, red, blue and green) on a sheet marked ‘VIA WESTERN UNION’.
Minor folds. Tear in the lower left corner. 

Colour is not systematically used in Pablo Picasso's letters. It would seem that the artist wanted to make a kind gesture towards his friend and banker Max Pellequer, because the more aesthetically pleasing his letters are, the more valuable they are.

The use of a multicol

Multi-colored autograph letter to Max Pellequer

Elegant multi-colored autograph letter by Pablo Picasso to Max Pellequer, signed and dated 'December 20, 1955'. A leaf in multi-color pencil (blue, green, orange and red).
Traces of transverse folds.
This "graphic" letter in the most literal sense constitutes a superb polychrome and artistic link in an epistolary chain that linked Picasso and his prominent patron for decades.

First edition, consisting of the facsimile of the author’s autograph manuscript.
Publisher’s binding in full white boards, smooth spine, covers illustrated with drawings by Oscar Niemeyer.
A handsome copy, complete with its illustrated dust jacket showing very minor tears and insignificant losses.
Work illustrated with drawings by Oscar Niemeyer.
Rare presentation copy, dated and signed by Oscar Niemeyer to Georges and Alice (Raillard).
Georges Raillard was an art critic and a close friend of Antoni Tàpies and Joan Miró; his wife Alice translated into French the leading Brazilian authors of the second half of the 20th century, such as Jorge Amado.
 

First edition.
Publisher’s full white boards, smooth spine.
A fine copy, complete with its illustrated dust jacket bearing very minor, inconsequential tears.
Illustrated with drawings by Oscar Niemeyer.
Rare signed presentation inscription from Oscar Niemeyer to Henri (Raillard).
 

First edition with 25 full-page photographs.
Green cloth publisher's binding. Copy complete with its dust jacket, with very slight tears, and traces of wear to the margins.
Rare autograph signature of Maria Callas on the title page.

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.

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.

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.

Five compositions in Indian ink signed and dated 1923 by George Barbier on a leaf of thick paper. Traces of paper pasted down at the four corners on the back, a few very faint traces of previous pencil inscriptions on the front.

An exceptional ink drawing by the eminent fashion illustrator George Barbier for the “Elegances” section of the newspaper La Vie Parisienne, featuring four silhouettes at the height of 1920s fashion, with boyish haircuts, dressed in flowing, low-waisted tube dresses or wrapped in luxurious furs.

Original vintage photograph, signed and dated by Jeanne Moreau, showing her alongside Raymond Pellegrin during the filming of "Les hommes en blanc" as part of the Caméra du lundi series.

Black and white vintage print, with printed stamp and notations on the verso.

Manuscript signature by Jeanne Moreau, dated, at the foot of the image.

First edition of the vocal and piano score of the opera Déjanire by Camille Saint-Saëns.

A few pencil annotations in the margins of certain staves.

Our copy is presented in a 3/4 shagreen clamshell box, spine with five raised bands framed by gilt garlands and decorated with gilt fleurons, gilt lettering at foot of spine: "Inscribed by composer". Boards, endpapers and pastedowns in marbled paper. Spine of the box slightly faded.

Inscribed, dated and signed by Camille Saint-Saëns to music critic Edouard Beaudu.

First edition, printed on laid paper.

Contemporary bottle green half shagreen binding, spine faded, with five raised bands framed by black fillets and adorned with gilt lyres, some rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, gilt top edge.

Frontispiece portrait of Camille Saint-Saëns.

Inscribed and signed by Camille Saint-Saëns to A. Lasserre, inspector at the Opéra Garnier.

Signed and inscribed newspaper clipping with Picasso's portrait.

Newspaper clipping from 'Le Patriote de Nice et du Sud-Est' (25 October 1959) signed and inscribed by Pablo Picasso. A folded leaf inscribed with a large red felt-tip pen.

A pictorial and unusual inscription signed by Picasso on the front page of a Nice newspaper celebrating his 78th birthday: “For Max Pellequer / his friend / Picasso”. A beautiful testimony of friendship in an important political newspaper which featured many of the artist's original creations.

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 agai

Autograph letter signed and dated by Auguste Bartholdi to writer Edmond About. Three pages written in black on a bifolium with his letterhead.
Traces of folds inherent to mailing.

Bartholdi returns from Egypt after having presented his project for a colossal statue on the Suez Canal, whose design will eventually be used for the Statue of Liberty. The sculptor gives his impressions of the trip, and brings back silks and Persian carpets from the bazaar for his friend.
From March to April 1868, Bartholdi stayed in Egypt to submit his monument project to Viceroy Ismaïl-Pacha. The idea of building a statue at the entrance to the Suez Canal had stemmed from the sculptor's visit

First edition, no limited issue printed, of this exhibition catalog. This solo exhibition of Perrriand's works was held at the Musée des arts décoratifs from February 5 to April 1, 1985.
Scuffing on lower right-hand corner of second cover faded.
With a lot of illustrations, a nice copy.

Signed and dated inscribed copy by Charlotte Perriand to Michel Troche: "... que d'efforts conjugués...Vive l'amité. Charlotte" (...what a combined effort... Long live friendship. Charlotte).
 

First edition printed in 112 copies, ours one of the 90 numbered copies on Arches laid paper.

A pleasant and scarce copy.

Illustrated with 5 original lithographs by Juan Gris.

Manuscript signatures of Armand Salacrou and Juan Gris at the colophon.

First edition richly illustrated with reproductions of works by Francis Bacon in the second volume.

Text by Gilles Deleuze for the first volume.

The slipcase is lacking in our copy.

Spine and boards slightly and marginally sunned, as usual.

Inscribed copy signed by Gilles Deleuze to the art critic Gilbert Lascault in the first volume.

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, 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, 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 colour 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 discolouration as is commonly the case.

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.

First edition abundantly illustrated with photographs.
Publisher's full black cloth binding, smooth spine, black paper endpapers and pastedowns, black edges, complete with dust jacket and soft cardboard slipcase.
Signed and inscribed by Peter Marino to a couple of friends accompanied by two drawn hearts on an endpaper: "For Christine & Olivier. Love. Peter"