‎Collectibles‎

‎John MILSAND‎

‎L'esthétique anglaise. Etude sur M. John Ruskin‎

‎Paris: Germer-Baillère 1864. Fine. Germer-Baillère Paris 1864 11.50 x 19 cm relié First edition. Bradel binding in half burgundy cloth smooth spine decorated with gilt monogram date and double gilt fillets at foot brown shagreen title-label with rubbing and slight losses speckled paper boards binding stamp-signed Paul Vié in blind. Some foxing. Germer-Baillère hardcover‎

Riferimento per il libraio : 75458

‎Jeanne BARDEY - Pierre LOUS‎

‎Une volupté nouvelle‎

‎Paris: A. Ferroud - F. Ferroud Successeur 1929. Fine. A. Ferroud - F. Ferroud Successeur Paris 1929 17.50 x 24.50 cm broché Illustrated edition with lead pencil drawings heightened in colors by Jeanne Bardey one of 60 numbered copies on grand Japan imperial paper deluxe copies after 15 other grand Japan imperial copies. Our copy contains all 3 states of the illustrations and the reproduction of 2 sketches at the end of the volume. Very fine copy. A. Ferroud - F. Ferroud, Successeur unknown‎

Riferimento per il libraio : 75095

‎Boris VIAN‎

‎Deux manuscrits autographes complets de la chanson de Boris Vian intitulée ""Depuis le jour où devant monsieur le maire"" accompagné d'un manuscrit de travail et au verso des deux premiers manuscrits celui complet de la chanson ""C'est jeudi""‎

‎s. l.: S. n. 1956. Fine. S. n. s. l. 1956-1958 21 x 27 cm trois feuillets perforés recto-verso Two complete autograph manuscripts on two perforated leaves of 20 and 26 lines written in pencil for the song entitled ""Depuis le jour où devant monsieur le maire"" and on their versos the manuscript of the song ""C'est jeudi"". Both manuscripts conform to the final text of the song the second containing numerous deletions and corrections. On the versos of the first two leaves is found the manuscript of the song ""C'est jeudi"" of approximately 60 lines written in blue ballpoint pen very extensively corrected crossed out and corresponding to the final text of ""C'est jeudi"". The third manuscript of 27 lines written in black ink and pencil is entirely different from the final text of the song and contains deletions corrections and additions. We include on a perforated leaf a complete typescript of the song. Fine collection of this song written between 1956 and 1958 and which was never performed. Provenance: Boris Vian Foundation. S. n. unknown‎

Riferimento per il libraio : 74469

‎Giacomo PUCCINI‎

‎Lettre autographe signée inédite à un commissaire • Unpublished autograph letter signed by Giacomo Puccini to a patron‎

‎Boscolungo 1903. Fine. Boscolungo 29 août 1903 11.20 x 18 cm 2 pages sur 2 feuillets Unpublished autograph letter signed by Giacomo Puccini to a patron; two pages written in black ink on two leaves. Leaves uniformly shaded traces of former pasted mounts on verso. A photographic reproduction of the famous composer's portrait is enclosed. Puccini responds to a patron's request to have La Bohème performed at a charity event: ""Io non ho niente in contrario che la Bohème venga eseguita per una sera corta a scopo benefico."" I have no problem with La Bohème being performed for a charity event. ""Credo pero che sarebbe bene avere anche la adesione della Casa Ricordi proprietaria dello spartito."" I believe however that it would be good to have the authorization of Casa Ricordi Puccini's publishing house owner of the score. Despite the failure of the first performance on February 1 1896 La Bohème subsequently enjoyed worldwide success rapidly becoming one of the finest operas in the Romantic repertoire. A fine tribute to the triumph of one of the greatest composers of the late 19th-century. unknown‎

Riferimento per il libraio : 75723

‎Robert HOUDELOT‎

‎Toi qui dormais entre mes bras‎

‎Paris: Editions Rombaldi 1946. Fine. Editions Rombaldi Paris 1946 14.50 x 19.50 cm broché First edition one of 400 numbered copies on laid paper. Handsome copy. Autograph inscription signed by Robert Houdelot to Henry de Madaillan. Editions Rombaldi unknown‎

Riferimento per il libraio : 75032

‎Armand MONJO‎

‎Univers naturel‎

‎Paris: Pierre Seghers 1965. Fine. Pierre Seghers Paris 1965 12.50 x 19 cm broché First edition one of 500 numbered copies on special bouffant paper the only issue after 60 on alfa paper. Handsome copy. Cover illustrated with a drawing by Henri Matisse. Autograph inscription dated and signed by Armand Monjo to Charles Dobzynski. Pierre Seghers unknown‎

Riferimento per il libraio : 75441

‎Eugene DELATRE - (Ermolai EREMITCH)‎

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

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Août 1898 21 x 28.50 cm une feuille et une serpente Rare original color lithograph executed by Eugène Delatre for L'Estampe Moderne series number 16 published in August 1898. One of 50 deluxe proofs printed on Japan paper with wide margins artist's signature and date in the plate publisher's blind stamp depicting a child's profile in lower margin numbered stamp from the luxury printing on verso; engraving preceded by a tissue guard bearing the artist's name title and a poem marginal losses due to mouse damage. Lithograph inspired by an excerpt from the novel Kacia by Ermolai Erémitch reproduced on the print's tissue guard. 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 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 issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential very 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 the most prestigious of papers: Japan. Thick silky satiny and pearlescent it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs. 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 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 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 : 74572

‎Fernand CORMON - (JH ROSNY AINE) J H‎

‎"Cité lacustre"" - Lithographie originale sur Japon - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Décembre 1898 25 x 31.50 cm une feuille et une serpente Rare original lithograph in shades of grey and sepia executed by Fernand Cormon for L'Estampe Moderne series number 20 published in December 1898. One of 50 deluxe proofs printed on Japan paper with wide margins laid paper mounted on Japan paper signed by the artist and dated in the plate publisher's dry stamp representing a child's profile in the lower margin numbered deluxe edition stamp on the verso; engraving preceded by a tissue guard captioned with the artist's name the title and an extract from the work. Lithograph inspired by an extract from Vamireh roman des temps primitifs by Joseph-Henri Rosny reproduced on the tissue guard of the print. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of original chromolithographs which unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specially by each artist for the journal. 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 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 the most prestigious of papers: Japan paper. Thick silky satined and pearlescent it contributes to making each page a work in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very beautiful lithographs. The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne to qualify 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 vocation 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. A handsome copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74616

‎Auguste ROEDEL - (Pierre DUPONT)‎

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

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Mai 1898 22.50 x 34 cm une feuille Rare original lithograph executed by Auguste Roedel for L'Estampe Moderne series number 13 published in May 1898. One of 50 deluxe proofs printed on China paper with wide margins artist's signature in the plate publisher's dry stamp representing a child's profile in the lower margin mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on the verso pale marginal foxing. Lithograph inspired by a poem by P. Dupont entitled Les fraises. Magnificent French monthly publication issued between May 1897 and April 1899 L'Estampe moderne consisted of original chromolithographs which unlike other periodicals 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 Epoque. Each issue of four prints was issued 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 paper with wide margins and 50 in black on China paper at the considerable price of 30F. This print in a 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 rather 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 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 devoted to 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 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 : 74398

‎Hans CHRISTIANSEN - (Paul VERLAINE)‎

‎"L'heure du berger"" - Lithographie originale sur Japon - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Mars 1898 22.50 x 35 cm une feuille et une serpente Rare original color lithograph executed by Hans Christiansen for L'Estampe Moderne series number 11 published in March 1898. One of 50 deluxe proofs printed on Japan paper with large margins laid paper mounted on Japan paper artist's signature in the plate publisher's blind stamp representing a child's profile in the lower margin numbered luxury edition stamp on the verso; print preceded by a tissue guard inscribed with the artist's name title and a poem; blank tissue guard. Lithograph inspired by an extract from a poem by Paul Verlaine reproduced on the print's tissue guard. Magnificent French monthly publication issued between May 1897 and April 1899 L'Estampe moderne consisted of original chromolithographs which unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards were created specially by each artist for the periodical. 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 large margins and 50 in black on China paper at the considerable price of 30F. This print of handsome format is superbly printed on the most prestigious paper: Japan. Thick silky satiny and pearlescent it contributes to making each page a work in its own right. Its ink absorption quality and its affinity with colors also make it the ideal support for these very beautiful lithographs. French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne to characterize 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 in the Art Nouveau style. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 74374

‎Theophile Alexandre STEINLEN - Edmond & Jules de GONCOURT‎

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

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Juin 1898 19.50 x 36 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 copies printed on Japan 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 with the numbered stamp of the deluxe issue on verso some foxing. Lithograph inspired by an extract from Germinie Lacerteux by the Goncourts. A magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of previously 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 appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe issue: 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 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 at the beginning of the 1890s. Octave Uzanne to describe this fever invented the term ""affichomania."" The poster originally popular and posted in the streets of the capital then became an art object and its ephemeral medium became precious and devoted to preservation. Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right 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. A handsome copy. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 75859

‎Boris VIAN‎

‎Manuscrit autographe complet de la chanson de Boris Vian intitulée ""La java des Pussy-cats""‎

‎s. l.: S. n. 1956. Fine. S. n. s. l. 1956-1958 13.50 x 20 cm deux feuillets perforés Complete autograph manuscript on two perforated sheets of 33 lines written in black ink for the song entitled ""La java des Pussy-cats"" with four corrections while conforming to the definitive text of the song. We include on a perforated sheet the complete typescript of the song. Fine collection relating to this song composed between 1956 and 1958 and which was only performed by Benoît Deyrat in 1999 and les Marche-pied ten years later. Provenance: Fondation Boris Vian. S. n. unknown‎

Riferimento per il libraio : 74338

‎Gaston LA TOUCHE - Albert SAMAIN‎

‎Aux flancs du vase‎

‎Paris: Société du livre d'art 1906. Fine. Société du livre d'art Paris 1906 17.50 x 24.50 cm relié sous étui Edition illustrated with 52 original etchings by Gaston La Touche including 25 colored headpieces and 27 printed in green including a frontispiece a title vignette and 25 tailpieces. The work is printed in 100 numbered copies on Arches vellum ours one of the few copies reserved for collaborators whose name has been properly erased. Bradel binding in full glazed green marbled calf smooth spine decorated with gilt typographical motifs gilt tooling on headcaps covers with double gilt fillet border and fleurons at corners endpapers and pastedowns of moiré silk following endpapers of marbled paper covers and spine preserved gilt fillets on edges all edges gilt slipcase bordered in green calf with marbled paper boards contemporary binding signed Meunier. Some light foxing affecting mainly and marginally page 17 and the endpapers. Handsome copy perfectly executed. Société du livre d'art hardcover‎

Riferimento per il libraio : 74880

‎Eugene DEVERIA‎

‎Personnage en habit regardant dans le lointain - Dessin original à l'encre signé‎

‎1840. Fine. s. d. ca 1840 8.50 x 11 cm une feuille Original ink drawing signed E. Devéria in the lower right.Portrait of a young man in formal attire holding a handkerchief in his left hand.Eugène Devéria 1805–1865 was one of the major painters of the Romantic movement alongside Eugène Delacroix. From the start his submissions to the Salon attracted notice culminating in 1827 with la Naissance de Henri IV The Birth of Henry IV which enjoyed considerable success. He continued to depict historical scenes notably Puget presenting his Milon of Crotone to Louis XIV for a Louvre ceiling. Shortly thereafter invited to leave the capital his work became more discreet. Nevertheless he remained a reference artist for Romanticism mingling with painters and writers and producing elegant figures rendered with precise and fluid line. unknown‎

Riferimento per il libraio : 75605

‎Umberto BRUNELLESCHI - SAINT FRANCOIS D'ASSISE - Frederic OZANAM‎

‎Les petites fleurs de Saint-François choisies et traduites par Frédéric Ozanam‎

‎Paris: Gibert jeune 1942. Fine. Gibert jeune Paris 1942 16 x 21 cm broché Edition illustrated with 302 original woodcuts by Emile Bernard and printed in a numbered edition of 375 copies on laid Arches paper. Some light foxing mainly to margins of certain leaves two tears to head of spine lacking at foot of spine. Gibert jeune unknown‎

Riferimento per il libraio : 75055

‎Maurice REALIER-DUMAS‎

‎"Corinne"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1897. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Mai 1897 33 x 23 cm une feuille Rare original lithograph executed by Maurice Réalier-Dumas for L'Estampe Moderne series number 1 published in May 1897. One of 50 deluxe proofs printed on China paper with wide margins artist's signature in the plate publisher's dry stamp representing 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. Magnificent French monthly publication edited between May 1897 and April 1899 L'Estampe moderne consists of previously 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 appeared in total covering the major artistic movements of the late 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Epoque. Each delivery of four prints was issued 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 rather to its particular affinities with printing ink. Its texture 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 grew at the beginning of the 1890s. Octave Uzanne to qualify 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 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 in the artist's Art Nouveau style. Imprimerie Champenoispour CH. MassonH. Piazza unknown‎

Riferimento per il libraio : 73909

‎Julien TORMA - [Emmanuel PEILLET]‎

‎Prière d'insérer de ""Le Bétrou""‎

‎Paris: Collège de Pataphysique 1983. Fine. Collège de Pataphysique Paris 1983 15.50 x 24 cm une feuille Publisher's advertising slip printed on green paper for the first edition of ""Le Bétrou"" published in the Cahiers du Collège de Pataphysique in 1983. One of the rare literary hoaxes whose true author has not yet been officially revealed. The works of Julien Torma alleged Surrealist writer who died in 1933 were revealed by the Collège de Pataphysique. But when Henri Béhar attempted to attribute these works to some Pataphysicians such as Noël Arnaud Eugène Ionesco Jacques Prévert Boris Vian or Raymond Queneau the latter replied: "". I can assure you that I had nothing to do with the creation of the character of Torma. No more moreover than the other authors you mention with the exception perhaps of just one. Torma is not the creation of simple satraps. I will say no more."" In reality it was Emmanuel Peillet Pataphysician writer whose identity was revealed by some very rare documents including two letters to Jacques Bonnefoy described by Claude Oterelo: ""In these two letters written in green ink one being signed E Emmanuel Peillet proposes to Jacques Bonnefoy - who would help him - a strategy to mystify certain publishers by indicating codes in a meticulous and secret manner so that no one could suspect the identity of Julien Torma mythical character created by Emmanuel Peillet. Tuesday May 20th at 2 o'clock 125 Emmanuel Peillet decides to mystify Marc Barbezat publisher of l'Arbalète for this he agrees on a code with Jacques Bonnefoy "".I me you us congratulate and we you congratulate on your happy Barbezanian initiative which must be exploited to the full. Also without even waiting for your missive and so as not to let your sacred fire cool I send you instructions from the holy trinity. First as information note an interesting quotation in an article from les Taons Modernes by Monsieur J. Pouillon profane but sympathetic."" ""Second it remains for Monsieur B. to play Léon Vanier. Here is the argument of your letter taking up your Saturday conversation. That is in mathematical language L. Vanier = Barbeze. Verlaine = J. T. Insofar as it is not blasphemous to lower J. T. to the Verlanian level"". ""We had here on Jules Laforgue by Madame Guy a little lecture which was truly exquisite. Its greatest charm in my eyes was that I was not attending it having a date that evening with a certain Julien."" ""Enclosed copy of dedications to keep preciously in your archives"". Emmanuel Peillet encloses for Jacques Bonnefoy in the February 1948 letter a page of dedications addressed to René Daumal Peillet completely changes his handwriting to sign Julien Torma. Peillet would arrange so that one could imagine that Daumal had known Julien Torma well."" Handsome copy without creasing. Collège de Pataphysique unknown‎

Riferimento per il libraio : 75490

‎Therese LE PRAT‎

‎Lettre autographe datée et signée d'une page et demie à un ami son protégé le photographe Jean-Louis Nou‎

‎s. l.: S. n. 1963. Fine. S. n. s. l. 27 Décembre 1963 13.50 x 21 cm une feuille Autograph letter dated and signed 20 lines in blue ink thanking his correspondent the essential specialist photographer of Indians Jean-Louis Nou for his wishes and presenting his own. She apologizes for her late response to his mail and proposes a meeting as benevolent protector of his work: "". que vous me racontiez où vous en êtes."" "". that you tell me where you are."" Finally she congratulates him: "". la photo de P. Casals est fort belle."" "". the photo of P. Casals is quite beautiful."" S. n. unknown‎

Riferimento per il libraio : 74804

‎Leon-Paul FARGUE‎

‎Vulturne‎

‎Paris: Nrf 1928. Fine. Nrf Paris 1928 19.50 x 25 cm broché First edition one of 8 numbered copies on China paper this one being no. 1 deluxe issue. A minute tear without loss at the head of the spine a few inevitable light spots mostly affecting the endpapers and edges. A handsome copy. Nrf unknown‎

Riferimento per il libraio : 75353

‎Jean HELION - (to Raymond QUENEAU)‎

‎Carte postale autographe signée adressée à Raymond Queneau‎

‎Somme 1938. Fine. Somme 13 août 1938 14 x 9 cm une carte postale Autograph postcard signed by Jean Hélion and his wife Jean Blair addressed to Raymond Queneau written in black ink on the verso of a black-and-white photographic reproduction of a winter scene on a frozen pond in Franvillers Somme. A charming poetic card recalling the painter’s youth in the Somme: ""Des villages de briques monotones et secs étirés le long d'une route unique. C'est la Somme où j'ai passé 8 ou 9 ans de jeunesse."" unknown‎

Riferimento per il libraio : 75866

‎Henri CASSIERS - Maurice GAUCHEZ‎

‎Le charme de la Hollande‎

‎Paris: L'Edition d'art H. Piazza 1932. Fine. L'Edition d'art H. Piazza Paris 1932 15.50 x 21 cm broché sous étui Illustrated edition with 5 plates and colored vignettes by Henri Cassiers one of 150 numbered copies on Japan paper deluxe copy. Fine copy complete as specified in the colophon with its colored frontispiece and duplicate suite of illustrations. L'Edition d'art H. Piazza unknown‎

Riferimento per il libraio : 75238

‎Honore DAUMIER‎

‎Lithographie originale en noir et blanc - Flagorneries Commerciales - ""Madame ces gants sont trop larges!.""‎

‎Paris: Chez Aubert 1853. Fine. Chez Aubert Paris s. d. 1853 28 x 36.20 cm une feuille Original black and white lithograph created for Le Charivari and printed on heavy paper. Signed on the plate. Delteil 1804 Monogrammed stamp ""AB"" from the collection of Dr Albert Bloch on the reverse of the plate. Good condition. Chez Aubert unknown‎

Riferimento per il libraio : 74668

‎Paul-Cesar HELLEU - (Alfred LABARRE)‎

‎"Parisienne"" - Lithographie originale sur Chine - L'Estampe Moderne‎

‎Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1898. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris Décembre 1898 23.50 x 32 cm une feuille Rare original lithograph executed by Paul-César Helleu for L'Estampe Moderne series number 20 published in December 1898. One of 50 deluxe proofs printed on China paper with wide margins artist's signature in the plate publisher's dry stamp representing a child's profile in the lower margin laid down on a sheet of laid paper with the numbered luxury edition stamp on the verso some foxing; engraving preceded by a tissue guard inscribed with the artist's name title and an extract from a work. Lithograph inspired by an extract from Nos parisiennes by Alfred Labarre. 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 appeared in total covering the major artistic movements of the end of the 19th century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle Époque. Each delivery of four prints was issued 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 insubstantial owes its reputation not to its own beauty but rather 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 grew at the beginning of the 1890s. Octave Uzanne to qualify this fever invented the term ""affichomania."" The poster originally popular and plastered in the streets of the capital then became an art object and its ephemeral medium became precious and devoted to 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 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 : 74613

‎Honore DAUMIER‎

‎Lithographie originale en noir et blanc - Ces Bons Parisiens - ""On a beau dire.il n'y a rien de tel que la campagne pour bien se divertir""‎

‎Paris: Chez Aubert 1857. Fine. Chez Aubert Paris 1857 26.50 x 35.50 cm une feuille Original black and white lithograph in second state created for Le Charivari and printed on heavy paper. Signed on plate. Delteil 956 Some light foxing. Chez Aubert unknown‎

Riferimento per il libraio : 74670

‎Lucien DOUBLE‎

‎Promenade à travers deux siècles et quatorze salons‎

‎Paris: Imprimerie de Ch. noblet 1878. Fine. Imprimerie de Ch. noblet Paris 1878 17.60 x 27.60 cm relié First edition illustrated with numerous engraved plates of salons furniture and paintings on heavy paper. Portrait of Rembrandt in double state. Armorial copy possibly from the Amaudric du Chaffaut or Bouffard de l'Espinay family. Purpure a dove holding a golden branch in chief three silver leaves on gold the whole surmounted by a count's coronet and flanked by two unicorns with the motto Fidelitas. Contemporary full camel morocco binding signed on the pastedown L. Petit. Raised-band spine decorated with blind-tooled compartments arms at foot. Brown morocco title-label. Double blind fillet frame on covers large arms stamped at centers. Wide and rich inner dentelle. All edges gilt. At top of upper cover strip slightly lighter. Baron Léopold Double's collection was sold from May 30 to June 4 1881 on rue Louis Le Grand. It was one of the most celebrated of its time for its quality and scope and constituted the first great collection of decorative arts objects or furniture of prestigious provenance particularly Marie-Antoinette who was a true obsession for the collector. Lucien Double the Baron's son gave in this work a glimpse of his father's magnificent collections which included at least a dozen salons of various periods all furnished in the diverse styles of the time including an eighteenth-century salon that had no equal except the salon des Singes attributed to Watteau at Chantilly. These salons were reconstituted during the sale and the author gives a precise description of them. Alongside the description of paintings objects or furniture the gray pencil price of the adjudication also under each of the plates with the sale number. The sale brought in 2600000 Francs as attested by a slip of paper pasted before the title page. Imprimerie de Ch. noblet unknown‎

Riferimento per il libraio : 74320