First edition, one of 20 copies on Arches paper, most limited deluxe issue (tirage de tête).
Like all copies on Arches, it is wrapped in a double dust jacket in yellow and white, and bears the rare sanguine vignette drawn and engraved by Hans Bellmer.
Preface by Jean Paulhan.
Our copy is housed in a custom clamshell box featuring an original design signed by Julie Nadot.
Beautiful first edition copy of this masterpiece of erotic literature, in its most limited deluxe issue.
Illustrated edition with 38 original engravings by Ling Chou, copper-engraved and hand-printed in sanguine, printed in 134 nominative and numbered copies on double Yu-Pan China paper.
The book, separated into two fascicles hand-sewn and covered in green moiré silk, is protected by two black lacquer plates and laces, work of the master lacquerer Tchou-Tze-Tsin.
The whole is contained in a moiré silk case closed by two ivory clasps, following the illustrator's design.
The case is partially and lightly discolored, with a light stain at the head of the first board of the case, handsome copy.
Signatures of Ling Chou, of the president and vice-president of the Society of Women Bibliophiles which published the work.
Original lithographed color poster depicting Théophile Delcassé as a circus poodle.
Transverse folds and minor marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense color caricature portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these extremely violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from wide promotion by antisemitic newspapers which announced a fantasized print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: "A very witty artist, whose pencil stroke is intensely comic, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series 'Musée des Horreurs' is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series." First a street vendor then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialized in the commercialization of anti-Dreyfusard and antisemitic ephemera and placards.
However, only very rare examples in fine condition of these pamphlet caricatures that participated in the social and political fracture of France survive today. Published during the full expansion of the written press - at the same time as Émile Zola's famous "J'accuse...!" - these propaganda documents had a significant impact particularly on young generations and prefigure the ideological violence of the 20th century.
Original color lithographed poster depicting Georges Leygues as a donkey.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these extremely violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasized print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1st, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: "A draftsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, has had the happy idea of inaugurating a series of portraits of the most famous sellouts from the Dreyfusard rabble. The title of this series 'Musée des Horreurs' is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series." First a street peddler then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialized in the commercialization of ephemera and anti-Dreyfusard and antisemitic posters.
However, only very rare copies in fine condition of these pamphleteering caricatures that participated in the social and political fracture of France survive today. Published during the boom of the written press - at the same time as Émile Zola's famous "J'accuse...!" - these propaganda documents had a significant impact particularly on younger generations and prefigured the ideological violence of the 20th century.
Original color lithographed poster depicting Louis Lucipia as a dog wearing a masonic sash.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these extremely violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasized print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1st, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: "A draftsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, has had the happy idea of inaugurating a series of portraits of the most famous sellouts from the Dreyfusard rabble. The title of this series 'Musée des Horreurs' is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series." First a street peddler then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) specialized in the commercialization of ephemera and anti-Dreyfusard and antisemitic posters.
However, only very rare copies in fine condition of these pamphleteering caricatures that participated in the social and political fracture of France survive today. Published during the boom of the written press - at the same time as Émile Zola's famous "J'accuse...!" - these propaganda documents had a significant impact particularly on younger generations and prefigured the ideological violence of the 20th century.
Original color lithographed poster depicting Joseph Reinach in the guise of a king slumped on his throne.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these highly violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasy print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: « A draughtsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series « Musée des Horreurs » is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series. » First a street vendor then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) indeed specialized in the marketing of ephemera and anti-Dreyfusard and antisemitic broadsides.
However, today only very rare copies in fine condition survive of these pamphlet-like caricatures which participated in the social and political fracture of France. Published during the height of the written press boom - at the same time as the famous « J'accuse...! » by Émile Zola - these propaganda documents had a significant impact particularly on younger generations and prefigure the ideological violence of the 20th century.
Original color lithographed poster depicting Jude Philipp in the guise of a vulture nailed to a wall.
Transverse folds and minute marginal tears without loss.
Distributed between October 1899 and December 1900 in a France inflamed by the Dreyfus Affair, these immense satirical color portraits are the work of Victor Lenepveu who announced the publication of 150 then 200 drawings and ultimately produced only about fifty. Despite the 1881 press freedom law allowing the distribution of politically subversive imagery, the publication of this nightmarish pantheon was interrupted by order of the Ministry of the Interior.
The fragility of the paper and the imposing format of these highly violent posters, as well as their almost immediate seizure by the police, contributed to the disappearance of these caricatures which nevertheless strongly marked public opinion.
These horrors benefited from extensive promotion by antisemitic newspapers which announced a fantasy print run of 300,000 copies, thus insinuating the success of antisemitic ideas among the population.
On October 1, 1899, L'Intransigeant announced the publication of the Musée des horreurs in its columns: « A draughtsman of great wit, with a pencil stroke of intense comic effect, M. V. Lenepveu, had the happy idea of inaugurating a series of portraits of the most famous sellouts of the Dreyfusard rabble. The title of this series « Musée des Horreurs » is sufficiently suggestive and clearly indicates what it promises. [...] It is the Hayard house that will put on sale, starting today, number 1 of this hilarious series. » First a street vendor then a bookseller-publisher, Napoléon Hayard (known as Léon Hayard) indeed specialized in the marketing of ephemera and anti-Dreyfusard and antisemitic broadsides.
However, today only very rare copies in fine condition survive of these pamphlet-like caricatures which participated in the social and political fracture of France. Published during the height of the written press boom - at the same time as the famous « J'accuse ! » by Émile Zola - these propaganda documents had a significant impact particularly on younger generations and prefigure the ideological violence of the 20th century.
