‎Collectibles‎

‎Honore DAUMIER‎

‎Lithographie originale en noir et blanc - Caricaturana - ""Un propriétaire.""‎

‎Paris: Chez Aubert 1837. Fine. Chez Aubert Paris s. d. 1837 27.20 x 35.20 cm une feuille Original black and white lithograph created for Le Charivari and printed on heavy paper. Delteil 1039 Some foxing tear to upper margin not affecting the image and caption slightly faded at lower left. Chez Aubert unknown‎

Riferimento per il libraio : 74649

‎Alexandre ARNOUX - Henry de WAROQUIER‎

‎Haute-Provence‎

‎Paris: Emile-Paul frères 1926. Fine. Emile-Paul frères Paris 1926 14.50 x 18.50 cm broché First edition one of 50 numbered copies on Japan paper this copy unnumbered deluxe copy. The work illustrated with a frontispiece by Henry de Waroquier. Handsome full-margined copy. Our copy is complete with the duplicate state of the frontispiece by Henry de Waroquier which is often missing as indicated by the publisher on an accompanying leaf: ""Due to a binding defect in the volume. the frontispiece suite was forgotten. We are providing it to you under this chemise to be joined to the volume."" Emile-Paul frères unknown‎

Riferimento per il libraio : 75076

‎Honore DAUMIER‎

‎Lithographie originale en noir et blanc - Bohémiens de Paris - ""Le réfugié politique""‎

‎Paris: Chez Aubert 1842. Fine. Chez Aubert Paris s. d. 1842 25.90 x 34.50 cm une feuille Original black and white lithograph second state for Le Charivari printed on heavy paper. Signed on the plate. Delteil 836 Monogrammed stamp ""AB"" from the collection of Dr Albert Bloch on the reverse of the plate. Foxing on the lower margin and verso ink numbering in the upper right. Chez Aubert unknown‎

Riferimento per il libraio : 74740

‎Edmond AMAN-JEAN‎

‎"Sous les fleurs"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Janvier 1898 27 x 35 cm une feuille Rare original lithograph executed by Edmond Aman-Jean for L'Estampe Moderne series number 9 published in January 1898. One of 50 deluxe proofs printed on China paper with wide margins artist's signature in the plate publisher's dry stamp depicting a child's profile in the lower margin mounted on a sheet of wove paper with the numbered stamp of the deluxe printing on verso pale marginal foxing. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of original chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specifically by each artist for the magazine. Thus 100 prints appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Époque. Each delivery of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F. This print of handsome format is superbly printed on one of the most prestigious papers: China paper. ""Despite all its qualities China paper too insubstantial owes its reputation not to its own beauty but to its particular affinities with printing ink. Its texture smooth and soft at once is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings."" ""Malgré toutes ses qualités le papier de Chine trop inconsistant doit sa réputation non pas à sa propre beauté mais bien à ses affinités particulières avec l'encre d'impression. Son tissu lisse et mou tout ensemble est plus apte qu'aucun autre à recevoir un beau tirage. Cette propriété fait rechercher le papier de Chine pour le tirage des gravures."" Anatole France. French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne to describe this fever invented the term ""affichomanie"". The poster originally popular and posted in the streets of the capital then became an art object and its ephemeral medium became precious and destined for preservation. Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right on par with the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. Handsome copy in the Symbolist style. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74284

‎Louis-Ferdinand CELINE‎

‎Lettre autographe signée adressée à Maître Thorvald Mikkelsen : ""Nous dirons si vous le voulez bien en simple et bon français que Marcel Aymé a : de la pénétration. . Et si Marcel a de la pénétration moi j'ai de la vision.""‎

‎s. l. Klarskovgaard 1950. Fine. s. l. • Klarskovgaard 22 octobre 1950 21 x 34 cm 2 pages sur un feuillet Signed autograph letter partly unpublished by Louis-Ferdinand Céline addressed to his lawyer Maître Thorvald Mikkelsen. Two pages written in blue ink on a large sheet of white paper; number ""582"" in Céline's hand in red pencil at top left. Cross-folds inherent to mailing. This letter was very partially transcribed in Année Céline 2005. Fine letter mentioning Marcel Aymé: ""We will say if you please in simple and good French that Marcel Aymé has: penetration. . And if Marcel has penetration I have vision."" We will not revisit the friendship that united Céline and Aymé - the latter even visited him at Klarskovgaard in March 1951 - but we will content ourselves with quoting a passage from the text that the Montmartre writer composed in homage to his sulphurous friend: ""I knew him twenty-five years ago before the war when he was celebrated everywhere admired - but rarely understood - and after his return from Denmark during the nine years of suffering that led him to death. Before as after the storm his conversation revealed the idealist whose sarcasms denounced the hundred thousand miseries of a cruel vain bulimic humanity bent on its own destruction. 'Before' his indictments against man's murderous and suicidal follies against the injustices and snares of society had the joyful force of a fighter bursting forth with inexhaustible verbal invention that amazed his listeners."" Ecrits sur la politique 1933-1967 Céline also speaks in this letter of Albert Naud his lawyer between 1947 and 1951 who ""is strolling in Canada"" and ""is going to get himself a Thénardière on the St Lawrence"". This is followed by a very Célinian consideration: ""I also believe that the next and ultimate Capital of France will be Montreal."" The Danish exile then fantasizes about a world government to be established: ""And René Meyer sic minister of Justice always of course! over there! You will then yourself be minister of War in Denmark in retirement."" In 1947 Céline pursued by French justice for his collaborationist commitment is confined in Denmark. It is in May 1948 accompanied by Lucette and Bébert that he arrives at his lawyer Maître Thorvald Mikkelsen's home at Klarskovgaard. The latter owns a large property by the Baltic Sea and invites the exile to stay there. On February 21 1950 as part of the purge the writer is definitively condemned in absentia by the civic chamber of the Paris Court of Justice for collaboration to one year's imprisonment which he had already served in Denmark. The consul general of Sweden in Paris Raoul Nordling intervenes on his behalf with Gustav Rasmussen Danish minister of Foreign Affairs and manages to delay his extradition. On April 20 1951 Jean-Louis Tixier-Vignancour his lawyer since 1948 obtains Céline's amnesty under the title of ""grand invalide de la grande guerre"" by presenting his file under the name Louis-Ferdinand Destouches without any magistrate making the connection. Céline will leave Denmark the following summer after three years spent at his lawyer's home. unknown‎

Riferimento per il libraio : 75962

‎Louis-Victor DE BROGLIE‎

‎Discours de réception de M. le Prince Louis-Victor de Broglie à l'Académie Française et réponse de M. le Duc de Broglie‎

‎Paris: Albin Michel 1945. Fine. Albin Michel Paris 1945 13.50 x 19 cm broché First edition one of 800 numbered copies on Holland paper the only deluxe copies. A tiny lack at foot of spine two small stains at head of first board. Albin Michel unknown‎

Riferimento per il libraio : 74451

‎Roger CAILLOIS‎

‎Lettre autographe signée adressée à Arnost Budik‎

‎Paris 1972. Fine. Paris 25 juin 1972 21 x 27 cm une page sur un feuillet enveloppe jointe Autograph letter signed by Roger Caillois addressed to Arnost Budik; one page written in black ink on a sheet of tissue paper. Envelope included. Some punch holes in the margin of the letter and envelope not affecting the text as well as some folds inherent to the folding of the missive. Roger Caillois thanks the Czech writer for the ""issues of Gravida that he was kind enough to send him"". Arnost Budik was indeed part of the editorial committee of this Belgian surrealist magazine and seems to have solicited a contribution from Caillois: ""Please find enclosed a text that I have just completed."" Caillois was alongside the surrealists only very briefly from 1932 to 1935 and here seems to apologize for this distancing: ""Surrealism never much appreciated descriptive-meditative poetry where I believed later to find my path. So if the text does not suit you have no qualms about returning it to me quite simply. I would understand very well."" unknown‎

Riferimento per il libraio : 75103

‎Alfons MUCHA‎

‎Couverture de L'Estampe Moderne n°18 octobre 1898‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Octobre 1898 41 x 56 cm une feuille Original black and white print with wide margins serving as the cover for the celebrated monthly publication L'Estampe Moderne. Printed entirely in black our print is the cover of the rare deluxe wide-margin volume compilation of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of original chromolithographies which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specifically by each artist for the magazine. Thus 100 prints appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Époque. Each installment of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China paper at the considerable price of 30F. French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne to describe this fever invented the term ""affichomanie."" The poster originally popular and displayed on the streets of the capital then became an art object and its ephemeral medium became precious and destined for preservation. Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a work of art in its own right on par with the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. The publisher also integrated into his project a Czech artist freshly arrived in Paris Alfons Mucha ""qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches que tout le monde connaît et recherche il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur de décorateur et de coloriste."" ""who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters which everyone knows and seeks he shows us here the varied resources of his multiple and sure talent as a draughtsman decorator and colorist."" caption printed on the tissue guard of Salomé. It was indeed to him that the magazine's first premium was entrusted offered ""à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne"" ""to all subscribers of the twelve annual installments of L'Estampe moderne"" as well as the famous cover illustrations. Very handsome copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74589

‎Andre BRETON‎

‎Manuscrit autographe signé de deux chroniques intitulées ""Une fameuse gorgée de poison"" et ""ça !""‎

‎1953. Fine. mai 1953 21 x 27 cm une feuille et un petit papillon André Breton autograph manuscript signed ""A.B."" of two chronicles entitled ""Une fameuse gorgée de poison"" and ""ça !"" written for issue no. 7 of May 1953 of the review Médium. One long page written in black ink in careful handwriting on a white sheet some corrections and additions sometimes in blue ink. Included is a small slip in Breton's hand concerning an article by René Alleau containing a small printed text annotated by him in red and blue ballpoint pens and bearing an explanatory note at the top. Two transverse folds of no significance. This is the final version of these two texts; an intermediate version of these articles more crossed out than ours can be seen on the Breton Archives website. ""Une fameuse gorgée de poison"" ""A famous gulp of poison"" is a critical text on two films: Le Rideau cramoisi by Alexandre Astruc drawn from a story by Barbey d'Aurevilly and La Canduela by Maurice Clavel drawn from a novel by Stendhal: ""As they stand these two films constitute an unforgettable ensemble. Love is kindled there in the wind it loves that of perdition."" ""ça !"" ""that!"" whose title we can clearly see was previously chosen by Breton ""Le gredin du jour"" ""The scoundrel of the day"" is a diatribe against ""The frightful fool who bears for so few days more the name of Francis Jourdain"" and who ""recently allowed himself some sordid senile drivel which the press made much of. The old idiot had got it into the rotten parsnip that serves him as head and excretory organ to soil Huysmans if you please!"" unknown‎

Riferimento per il libraio : 75168

‎Fernand PIET - (Pierre BURMAN)‎

‎"Un marché en Zélande"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Juillet 1898 24 x 31.50 cm une feuille Rare original lithograph executed by Fernand Piet for L'Estampe Moderne series number 15 published in July 1898. One of 50 deluxe proofs printed on China paper with wide margins artist's signature in the plate publisher's dry stamp depicting a child's profile in the lower margin mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on verso pale marginal foxing. Lithograph inspired by an extract from a text by Pierre Burman describing a market scene. Magnificent French monthly publication issued between May 1897 and April 1899 L'Estampe moderne consists of original chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specially by each artist for the magazine. Thus 100 prints appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F. This print of handsome format is superbly printed on one of the most prestigious papers: China paper. ""Despite all its qualities China paper too inconsistent owes its reputation not to its own beauty but indeed to its particular affinities with printing ink. Its texture smooth and soft at once is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings."" Anatole France. The interest of French collectors in artistic posters grew in the early 1890s. Octave Uzanne to describe this fever invented the term ""affichomanie."" The poster originally popular and pasted on the streets of the capital then became an art object and its ephemeral support became precious and destined for preservation. Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. Handsome copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74498

‎Albert-Emile ARTIGUE - (Emile ZOLA)‎

‎"Albine"" - Lithographie originale sur Japon - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Février 1898 31 x 27 cm une feuille et une serpente Rare original colour lithograph executed by Albert-Émile Artigue for L'Estampe Moderne series no. 10 published in February 1898. One of 50 deluxe proofs printed on Japon with wide margins artist's signature within the stone publisher's blindstamp depicting a child's profile in the lower margin numbered stamp of the deluxe issue on the verso; the print is preceded by a captioned tissue guard with the artist's name the title and an excerpt from the work; with additional plain tissue guard. Lithograph inspired by an excerpt from Emile Zola's novel La Faute de l'abbé Mouret reproduced on the tissue guard of the print. A magnificent French monthly publication issued between May 1897 and April 1899 L'Estampe Moderne comprises original chromolithographs which unlike other periodicals such as Les Maîtres de l'Affiche and as specified on the tissue guards were created expressly for the journal by each artist. In all 100 prints were published encompassing the major artistic movements of the late 19th century: Symbolism Art Nouveau the Pre-Raphaelites Orientalism and the Belle Époque. Each issue of four plates was printed in 2000 copies sold at 3.50 francs and 100 on Japon paper offered at 10 francs. Henri Piazza also planned an exclusive printing of the utmost luxury: 50 copies on Japon with wide margins and 50 in black on China paper at the considerable price of 30 francs. This large-format print is superbly printed on the most prestigious of papers: Japon. Thick silky satin-finished and pearly it elevates each sheet into a work of art in its own right. Its exceptional capacity for ink absorption and affinity with colour make it the ideal medium for these splendid lithographs. The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne to describe this craze coined the term “affichomanie”. The poster originally popular and pasted up on the streets of the capital then became an art object its ephemeral support transformed into something precious and destined for preservation. Piazza resolved to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right on a par with the deluxe illustrated book. In this way he assembled a prestigious collection of entirely original works by the most prominent European artists of the time: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. A handsome copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74340

‎Robert de MONTESQUIOU‎

‎Lettre autographe signée de Robert de Montesquiou priant son correspondant journaliste de faire la chronique dans le Gaulois du dernier ouvrage qu'il lui a adressé‎

‎s. l. Paris: S. n. 1890. Fine. S. n. s. l. • Paris s. d. circa 1890 23 x 18 cm deux pages sur une feuille Autograph letter signed by the dandy count two pages 27 lines written in black ink to Henri Lapauze then journalist at Le Gaulois asking him after receiving his latest published work which he sent him to write a favorable article about him: "". I am sending you my new volume asking you to announce it with your usual good grace. I furthermore desire that the subsequent and detailed review of it be written by you for the readers of Le Gaulois."" Robert de Montesquiou also requests from Henri Lapauze a meeting when he returns to Paris: ""I will ask you for a brief meeting and we can chat for a moment."" Henry Lapauze 1867-1925 was a journalist art critic then in 1905 curator of the Petit Palais converted four years earlier into a museum and whose collections he considerably enriched by acquiring notably the Courbet Henner Falguière collections with at the twilight of his life a marked predilection for the Decorative Arts of which he was one of the ardent promoters. S. n. unknown‎

Riferimento per il libraio : 74257

‎Honore DAUMIER‎

‎Lithographie originale en couleurs - ""Mr de Robert-Macaire restaurateur""‎

‎Paris: Chez Aubert Galerie Vero-dodat 1836. Fine. Chez Aubert Galerie Vero-dodat Paris s. d. 1836 25.80 x 33.30 cm une feuille Original lithograph heightened in colors and gum arabic highlights in second state for Le Charivari printed on heavy paper. Delteil 1000 Plate uniformly shaded some foxing including a more significant spot to the right of the lower margin. Chez Aubert, Galerie Vero-dodat unknown‎

Riferimento per il libraio : 74784

‎Alfons MUCHA‎

‎Couverture de L'Estampe Moderne n°24 avril 1899 • Cover of L'Estampe Moderne n224 April 1899‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1899. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Avril 1899 41 x 56 cm une feuille Cover of L'Estampe Moderne n°224 April 1899 L'Estampe Moderne Imprimerie Champenois pour CH. Masson & H.Piazza Paris April 1899 41 x 56 cm one leaf Original large margin print in black and white serving as the cover of the famous monthly publication Estampe Moderne. Entirely printed in black and white our print is the cover of the rare collection in a large-margin luxury print of the first year of publication. Artist's signature on the board and number of the luxury print added in pencil. A magnificent monthly French publication published between May 1897 and April 1899 L'Estampe moderne comprised unpublished chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as is stipulated on the protective tissue were specially made for the magazine by each artist. There are thus 100 prints that appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau the Pre-Raphaelites Orientalism and the Belle Epoque. Each delivery of four prints was printed with 2000 copies and sold for 3.50F with 100 on Japan offered for 10F. Henri Piazza also planned a high-luxury confidential print: 50 copies with wide margins on Japan and 50 in black and white at the considerable price of 30F. French collector's interest in artistic posters grew from the beginning of the 1890s. Octave Uzanne invented the term “affichomanie” “poster-mania” for this growing interest. The poster originally common-place and plastered across the streets of the capital then became an object of art and its ephemeral medium precious and dedicated to conservation. Piazza decided to remove the poster from its advertising role and elevate it to the rank of a work of art in its own right in the same way as the luxury illustrated book. Thus he composed a prestigious collection of entirely original works by the most well-known European artists of the time: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. The publisher also included in his project a Czech artist newly arrived in Paris Alfons Mucha “qui s'est révélé depuis peu en France et qui a conquis d'emblée une si grande place dans la faveur du public. Comme dans ses affiches que tout le monde connaît et recherche il nous montre ici les ressources variées de son talent multiple et sûr de dessinateur de décorateur et de coloriste.” “who has recently emerged in France and who has straightaway conquered a significant place in the public's favour. As in his posters that everyone knows and desires he shows us here the varied resources of his multiple and sure talent as an artist decorator and colourist.” caption printed on the Salomé protective tissue. Incidentally it is also to him that the first premium of the magazine will be entrusted offered “à tous les souscripteurs des douze livraisons annuelles de L'Estampe moderne” “to all the subscriber of the twelve annual deliveries of L'Estampe moderne” as well as the famous illustration of the covers. A very beautiful copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74837

‎Alfons MUCHA‎

‎Couverture de L'Estampe Moderne n°15 juillet 1898‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Juillet 1898 41 x 56 cm une feuille Original black and white print with wide margins serving as cover for the celebrated monthly publication L'Estampe Moderne. Entirely printed in black our print is the cover of the rare deluxe wide-margined volume gathering of the first year of publication. Artist's signature in the plate and deluxe edition number added in pencil. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of original chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created especially by each artist for the magazine. Thus 100 prints appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan with wide margins and 50 in black on China at the considerable price of 30F. French collectors' interest in artistic posters grew at the beginning of the 1890s. Octave Uzanne to describe this fever invented the term ""affichomanie"". The poster originally popular and plastered on the streets of the capital then became an art object and its ephemeral medium became precious and destined for preservation. Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art in the same way as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. The publisher also integrated into his project a Czech artist freshly arrived in Paris Alfons Mucha ""who has recently revealed himself in France and who has immediately conquered such a great place in public favor. As in his posters which everyone knows and seeks he shows us here the varied resources of his multiple and sure talent as draughtsman decorator and colorist."" legend printed on the tissue guard of Salomé. It is moreover to him that the first premium of the magazine will be entrusted offered ""to all subscribers of the twelve annual issues of L'Estampe moderne"" as well as the celebrated illustration of the covers. Very handsome copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74526

‎Ferdinand LUIGINI - (Max ELSKAMP)‎

‎"La servante"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1899. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Février 1899 22.50 x 33.50 cm une feuille Rare original lithograph executed by Ferdinand Luigini for L'Estampe Moderne series number 22 published in February 1899. One of 50 deluxe proofs printed on China paper with wide margins artist's signature in the plate publisher's dry stamp depicting a child's profile in the lower margin mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso some foxing. Lithograph inspired by a song from the collection Six chansons pour célébrer la semaine de Flandre by Max Elskamp. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of original chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specially by each artist for the magazine. Thus 100 prints appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe edition: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F. This print in handsome format is superbly printed on one of the most prestigious papers: China paper. ""Despite all its qualities China paper too inconsistent owes its reputation not to its own beauty but to its particular affinities with printing ink. Its texture smooth and soft together is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings."" Anatole France. French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne to describe this fever invented the term ""affichomanie"". The poster originally popular and pasted on the streets of the capital then became an art object and its ephemeral medium became precious and destined for preservation. Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. Handsome copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74822

‎A YANK - (Leo DESMARAIS)‎

‎"La femme au perroquet"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Novembre 1898 17 x 34.50 cm une feuille Rare original lithograph executed by A. Yank for L'Estampe Moderne series number 19 published in November 1898. One of 50 deluxe proofs printed on China paper with wide margins artist's signature and date in the plate publisher's dry stamp representing a child's profile in lower margin mounted on a sheet of laid paper with on verso the numbered stamp of the luxury edition pale marginal foxing. Lithograph inspired by an extract from Miroirs by Léo Desmarais. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of original chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specially by each artist for the magazine. Thus 100 prints appeared in total covering the major artistic movements of the late nineteenth century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Époque. Each issue of four prints is printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential printing of very grand luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F. This print of handsome format is superbly printed on one of the most prestigious papers: China paper. ""Despite all its qualities China paper too inconsistent owes its reputation not to its own beauty but indeed to its particular affinities with printing ink. Its fabric smooth and soft together is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings."" Anatole France. The interest of French collectors in artistic posters intensified at the beginning of the 1890s. Octave Uzanne to qualify this fever invented the term ""affichomanie."" The poster originally popular and plastered in the streets of the capital then became an art object and its ephemeral support became precious and devoted to conservation. Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. Handsome copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74606

‎Lieutenant ROTTIER‎

‎MANUSCRIT Manuel pratique de Langue Bambara à l'usage des Officiers et Sous-Officiers des Troupes Sénégalaises par le Lieutenant Rottier de L'infanterie Coloniale • MANUSCRIPT Practical Manual of the Bambara Language for the Use of Officers and Non-Commissioned Officers of the Senegalese Troops by Lieutenant Rottier of the Colonial Infantry‎

‎s. l. 1914. Fine. s. l. Juillet 1914 17 x 21.50 cm 9 p. 140 pages manuscrites dans un cahier Rare unpublished manuscript consisting of a French–Bambara lexicon intended for the use of Officers and Non-Commissioned Officers of the Senegalese Troops written by Lieutenant Rottier. 9 pages of handwritten introduction and 140 numbered pages penned in black ink in a lined notebook bound in half black cloth with green paper boards. With erasures and corrections as well as a useful table of contents at the end. A fine and early testimony to the interest of a French officer in the Bambara language then only spoken orally. The manuscript opens with nine pages of historical introduction beginning with the origins of the ""création d'une armée noire"" by Colonel Mangin in 1909 explaining the need for a ""manuel vraiment pratique"". It is followed by a first section containing elements of Bambara grammar then a ""vocabulaire général et manuel de conversation"" and finally a ""vocabulaire militaire"". In his introduction Lieutenant Rottier outlines the rationale for the creation of this lexicon: ""Le Bambara est actuellement la langue la plus répandue en A.O.F. il est parlé couramment par près de 5 millions de noirs . C'est après le français la langue des tirailleurs sénégalais c'est le bambara que parle tout homme n'ayant que quelques mois de service dans ses relations avec ses camarades d'autres races ou surtout avec ses gradés alors qu'il ne bredouille encore qu'un français 'petit nègre' presque incompréhensible. Au milieu de l'amalgame de races si diverses que représente actuellement l'armée noire le bambara est l'espéranto qui les unit qui tend toutes leurs fibres en un même sentiment commun à toutes celui de l'amour de la France."" Of the 200000 ""Senegalese"" enlisted 30000 would fall on the field of honour. hardcover‎

Riferimento per il libraio : 74275

‎(to Paul ELUARD) - Ilarie VORONCA‎

‎Pater noster suivi de Ebauches d'un poème - Exemplaire de Paul Eluard • Pater Noster followed by Drafts of a Poem – Paul Éluard’s copy‎

‎Paris: Editions R.A. Corrêa 1937. Fine. Editions R.A. Corrêa Paris 1937 14 x 19.50 cm broché First trade edition. A pleasant copy. Inscribed by Ilarie Voronca to Paul Eluard: ""A Paul Eluard le coeur ému et reconnaissant de Ilarie Voronca."" Editions R.A. Corrêa unknown‎

Riferimento per il libraio : 75986

‎Eugene MULLER - Oreste CORTAZZO‎

‎La mionette‎

‎Paris: Librairie L. Conquet 1885. Fine. Librairie L. Conquet Paris 1885 13.50 x 20.50 cm relié First edition one of 150 numbered copies on Japan paper deluxe copy. Half tan shagreen binding with corners smooth spine faded decorated with gilt cartouche and black typographical motifs marbled paper boards marbled endpapers and pastedowns covers and spine preserved. Work illustrated with 28 original compositions by Oreste Cortazzo engraved as etchings by Abot and Clapès. Our copy like all copies of the deluxe edition is complete with the double state of the etchings. Spine and boards slightly and marginally faded. Librairie L. Conquet hardcover‎

Riferimento per il libraio : 75252

‎Theophile Alexandre STEINLEN - (Edmond & Jules de GONCOURT)‎

‎"Bal de barrière"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Juin 1898 34.50 x 21 cm une feuille Rare original lithograph executed by Théophile Alexandre Steinlen for L'Estampe Moderne series number 14 published in June 1898. One of 50 deluxe proofs printed on China paper with wide margins artist's signature and date in the plate publisher's dry stamp depicting a child's profile in the lower margin mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso some foxing. Lithograph inspired by an excerpt from Germinie Lacerteux by the Goncourts. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of unpublished chromolithographs which unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specially by each artist for the magazine. Thus 100 prints appear in total covering the major artistic movements of the late nineteenth century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Epoque. Each delivery of four prints is published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also provides a confidential printing of very high luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F. This print of handsome format is superbly printed on one of the most prestigious papers: China paper. ""Despite all its qualities China paper too inconsistent owes its reputation not to its own beauty but indeed to its particular affinities with printing ink. Its texture smooth and soft together is more apt than any other to receive a fine printing. This property makes China paper sought after for printing engravings."" Anatole France. The interest of French collectors in artistic posters amplifies at the beginning of the 1890s. Octave Uzanne to qualify this fever invents the term ""affichomanie"". The poster originally popular and posted in the streets of the capital then becomes an art object and its ephemeral support becomes precious and devoted to conservation. Piazza decides to remove the poster from its advertising vocation and to elevate it to the rank of a complete work of art on the same level as the luxury illustrated book. He thus composes a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. Handsome copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74859

‎Sylvain SAUVAGE - JRC CUISIN J R C‎

‎La vie de garçon dans les hôtels garnis de la capitale‎

‎Paris: J. Fort 1924. Fine. J. Fort Paris 1924 14.50 x 22 cm relié Edition illustrated with 80 original woodcuts by Sylvain Sauvage one of 1100 numbered copies on gothic laid paper. Half morocco binding with corners spine slightly sunned with five raised bands set with gilt fillets and decorated with double gilt compartments marbled paper boards marbled endpapers and pastedowns covers and spine preserved top edge gilt binding signed Barbance successor to Yseux-Simier. Handsome copy beautifully bound. J. Fort hardcover‎

Riferimento per il libraio : 74947

‎Emmanuel MOUNIER - COLLECTIF‎

‎POESIE HONGROISE Esprit N°4 de la nouvelle série‎

‎Paris: Esprit 1970. Fine. Esprit Paris Avril 1970 14.50 x 22.50 cm broché First edition of this issue of the important humanist review founded by Emmanuel Mounier one of 50 numbered copies on alma du Marais paper the only deluxe copies. Issue partly devoted to Emmanuel Mounier with contributions by Jean-Marie Domenach ""Mounier surpassed"" Marcel Reggui ""How I knew Mounier"" Michel Steiner ""Pages to read in the present"". This issue also deals with Hungarian poetry with Sandor Csoori Gyula Illyes Zoltan Jekely Laszlo Nagy Otto Orban Gyorgy Raba Judith Toth Zsuzsa Takacs. Other contributions by Steven Kehnan & Dick Howard ""The new student left in the United States"". Occasional light foxing principally marginal. Esprit unknown‎

Riferimento per il libraio : 75508

‎Boris VIAN‎

‎Manuscrits de travail et partition manuscrite complète de la chanson de Boris Vian intitulée ""Ou. Ou. Ou. ""‎

‎s. l.: S. n. 1957. Fine. S. n. s. l. 1957-1959 13.50 x 21 cm 5 feuillets perforés 3 feuillets Set of four working manuscripts of nearly 90 lines on five perforated sheets written in blue ink and pencil of the song entitled ""Ou. Ou. Ou."" presenting differences from the final state of the song. Each manuscript is crossed out corrected and therefore presents variants sometimes significant from the final text. Completing the set a typescript of the song accompanies the manuscripts. We include on three sheets the manuscript score of ""Ou. Ou. Ou."" written by Henri Salvador. A handsome set of this song which was written between 1957 and 1959 and whose music was composed by Henri Salvador. Provenance: Boris Vian Foundation. S. n. unknown‎

Riferimento per il libraio : 74235

‎Honore DAUMIER‎

‎Lithographie originale en couleurs - Bohêmiens de Paris- ""Le tondeur de chiens""‎

‎Paris: Chez Aubert 1842. Fine. Chez Aubert Paris s. d. 1842 25.20 x 33.20 cm une feuille Original lithograph enhanced with colors and gum arabic third state for Le Charivari printed on heavy paper. Delteil 845 Plate uniformly shaded. Chez Aubert unknown‎

Riferimento per il libraio : 74799