LECLERCQ, Léna - MIRÓ, JoanLivre Rare Book
5518 resultados
1968ref. 3100Paris, GLM (Guy Lévis Mano) 1968. Un vol. grand in-8 (24,5 x 17,8 cm), broché, 24 pages sous couverture rempliée imprimée. Édition originale du recueil de poèmes de Léna Leclercq. Un des 103 sur grand vélin d'Arches, les seuls accompagnés d'une superbe EAU-FORTE ET AQUATINTE EN COULEUR SIGNÉE AU CRAYON PAR JOAN MIRÓ, placée en frontispice.
1922ref. 1186471922. First Edition. BAKST Lon. L'Oeuvre de Leon Bakst pour La Belle au Bois Dormant. Preface d'Andr Levinson. Paris: de Brunoff 1922. Large folio original limp cream paper covers uncut custom chemise. $4500.Signed limited first French edition number 308 of only 500 copies signed by both Bakst and publisher Maurice de Brunoff with 56 mounted color plates 54 full-page costumes and sets for the Ballet Russes with letterpress tissue-guards and a portrait of Bakst by Picasso.A gifted painter Bakst is best remembered for the sets and costumes he designed for Diaghilev's Ballet Russes in the early decades of the 20th century. His exotic and sumptuous designs in conjunction with Diaghilev's radical and provocative choreography helped revitalize ballet and lay the framework for modern interpretive dance. It was the Ballet Russes that first brought Tchaikovsky's Sleeping Beauty renamed Sleeping Princess to the west in 1921 featuring scenery and costumes by Bakst. ""Bakst's greatest claim to theatrical glory lies in his feeling for synthesis in his impeccable instinct for harmony"" Levinson. Without rare original slipcase. Plates and text fine only minor wear to spine of fragile original paper covers. A beautiful copy. unknown
1922ref. 1186471922. First Edition. BAKST Lon. L'Oeuvre de Leon Bakst pour La Belle au Bois Dormant. Preface d'Andr Levinson. Paris: de Brunoff 1922. Large folio original limp cream paper covers uncut custom chemise. $4500.Signed limited first French edition number 308 of only 500 copies signed by both Bakst and publisher Maurice de Brunoff with 56 mounted color plates 54 full-page costumes and sets for the Ballet Russes with letterpress tissue-guards and a portrait of Bakst by Picasso.A gifted painter Bakst is best remembered for the sets and costumes he designed for Diaghilev's Ballet Russes in the early decades of the 20th century. His exotic and sumptuous designs in conjunction with Diaghilev's radical and provocative choreography helped revitalize ballet and lay the framework for modern interpretive dance. It was the Ballet Russes that first brought Tchaikovsky's Sleeping Beauty renamed Sleeping Princess to the west in 1921 featuring scenery and costumes by Bakst. ""Bakst's greatest claim to theatrical glory lies in his feeling for synthesis in his impeccable instinct for harmony"" Levinson. Without rare original slipcase. Plates and text fine only minor wear to spine of fragile original paper covers. A beautiful copy. unknown books
ref. 073928New York: Harry N. Abrams Inc. Publishers 1990. Facsimile Mounted Prints in Clamshell Case. Near Fine. Very Large Folio: . Pablo Picasso. This edition which reunites for the first time the preliminary studies on paper that Picasso made for Guernica was printed on April 18 1990 by Akademische Druck-u Verlagsanstalt in Graz Austria. Limited to 1000 copies though not numbered. Forty-two color reproductions of select art from Pablo Picasso's work mounted in thirty-one carton mats all present. Housed in a large clamshell case in black with white lettering and color illustration of another facsimile of Picasso's works on paper affixed. Title is from enclosed booklet cover which contains forty-five numbered detailed studies of each piece of art along with the story of the Genesis of Guernica with artistic analysis. Booklet contains many smaller reproductive images of Picasso's works as well. Booklet is 20 pp. Artwork included is mounted as two-pieces per mount and as one piece per mount. Mounts with art measure 23.75" tall x almost 15.75" wide respectively as does the accompanying booklet. Large clamshell case measures 24.75" tall x 16.25" wide x 3" thick. CONDITION: All mounted plates are fine. Facsimile art is vivid and striking. Laid in text booklet and clamshell case are VG. Booklet shows moderate wrinkling and some leaves have split along the side of the spine fold at the foot about a third of the way up yet does not badly compromise the booklet's integrity. Case shows indentation along the front spine indicating a heavy book had once been placed on top. Light fading and some soiling on case with a 1/2 inch chip at the head of the back of the clamshell box. Even so this collection is stunning and the art pieces are magnificent. At over 18 lbs. due to this item's size and weight an additional shipping charge will apply and will be delivered with signature required. Full refund if not satisfied. EXCERPTS FROM THE BOOKLET: "Few names are as evocative as that of Guernica. The ruthless bombardment of this small Basque town a regional capital and ancient pilgrimage site became one of the blackest and bloodiest spots in the history of the twentieth century. Today it no longer represents only the massacre of a civilian population and a point of no return in the rise of Fascism: Picasso's painting gave to the name of Guernica the scope of a universal symbol that expresses the barbarism of modern warfare. After its militant exhibitions in 1937 Paris and 1939 New York its long exile and its final arrival in Madrid this 'living legend' is displayed behind bulletproof glass in the Cason del Buen Retiro of the Prado Museum. . Picasso executed forty-five sketches between May 1 and June 4 1937 some of which stand on their own as complete drawings. They included six compositional studies four studies of the horse one of the bull one of the horse and bull alone ten of heads of the horse and bull ten studies of female heads six of the woman with a dead child one of the horse and the woman with the child three heads of dead warriors a study of a man with raised arms and two studies of hands. He used a variety of mediums: pencil india ink gouache and oils; and supports: white blue and brown paper plywood and canvas. These studies are not only extraordinary drawings in their own right but they also show the different states of mind through with Picasso passed as he was working on the painting. They are like a seismograph of his thoughts and feelings and so they permit us to understand what he really wanted to paint in Guernica. A study of these sketches reveals the progress of the artist at work - his hesitations his searching the choices he made. They show the slow formation of the images the maturation of the initial idea the successive contributions the departures; in short Picasso's way of working and as such they constitute the laboratory of Guernica. Harry N. Abrams, Inc., Publishers unknown
1963ref. 61834London Thames and Hudson 1963. Folio-oblong 340 x 400 mm. In the original clothbinding with black printed Picasso-drawings on front board. Housed in the original slipcase. Slipcase with some wear and stains otherwise very nice and clean. 14 pp. 45 linocuts by Picasso. The uncommon and exquisitely printed “Linocuts” by Picasso which marked the beginning a new period for him as an artist. The prints were made by carving away part of the surface of a sheet of linoleum then inking and printing the remaining surface. Picasso began creating linoleum cuts to give color a more prominent role in his graphic work having previously considered it a secondary medium. His linoleum cuts emerged from a desire to adapt previous artistic concepts to a new medium and he quickly achieved original results that were not secondary to his pervious works. Inspired by memories of bullfighting from his youth in Arles and Nimes Picasso focused on this theme in his linoleum cuts produced in the fall of 1959. Despite not having seen bullfights in Spain for many years he felt their influence after the town of Vallauris allowed bullfighting under revised rules in 1954. “Just how and when Picasso became attracted by the linoleum technique is not known. Perhaps it was like the instance of the year 1957 when he capriciously finished his “L’ Arlésienne with pigeon feathers picked up from the floor of his home “La Californie.” It must be assumed aware as we are of Picasso’s working methods that his interest in linoleum technique was derived from some insignificant yet real incident as well as from a response to a deep artistic need. The smooth and supple drawings in India ink and lithograph pencil for the “Tauromaquia” which set the tone for the subsequent linoleum cuts reveal a difference something remarkably new and fresh. The ink drawings particularly point the way to heavy and unmodeled designs which are more crisp and more succinct their similarity with a silhouette-like effect is certainly significant. When he began the series of linoleum cuts the artist was already prepared with a wide range of procedures that would adjust his subjects to the flat extended areas that are inherent in this medium. Although Picasso had made only a few woodcuts in the past he immediately adopted a resolute and robust approach to the new technique and interpreted in the widest possible way the rules of carving such an easily yielding material. Formal principles that embody lines and surfaces as well as pictorial and decorative elements are freely applied to create prints that are sometimes produced from a combination of several individual color blocks or more often from a single linoleum block that was cut and recut. Others browns and blacks reminiscent of Greek vase painting became the dominating color scheme permitting a limited range of color variations. As usual Picasso intuitively developed techniques which exhausted the medium.” From the introduction to the present work hardcover
1963ref. 61834London, Thames and Hudson, 1963. Folio-oblong (340 x 400 mm). In the original clothbinding with black printed Picasso-drawings on front board. Housed in the original slipcase. Slipcase with some wear and stains, otherwise very nice and clean. (14) pp. + 45 linocuts by Picasso.
1962ref. 14645New York: Harry N. Abrams 1962. First. Hardcover. Good. Slipcase with pastedown has gotten a bit chewed up. Several scuffs and nicks and chips of the pastedown edges are visible. Clothbound hardcover is in very good shape. These lino cuts are well preserved and impressive. There is some foxing at the edges and tissue guards are missing so there has been some ghosting on the versos but the images themselves are fresh and bright. Harry N. Abrams hardcover
1918ref. 93431918 A Paris, Mercure de France, 1918. Un volume, 14,5 x 23 cm, 205 pp. + 1 portrait de Apollinaire par Picasso en frontispice. Broché, couverture rigide, protégé par un étui en demi-veau couleur marron clair/ocre, dos lisse avec titre, auteur et date en lettres dorées, le tout sous emboîtage en carton marbré. EDITION ORIGINALE numérotée (n° 418), achevé dimprimer le 15 avril 1918. Ouvrage en très bon état.
1947ref. 39474Paris-Barcelone Barcelona: Editions Albor 1947. Picasso. WITH FOUR ORIGINAL DRYPOINTS BY PICASSO IN A MASTER BINDING BY LUCIE WEILL. An outstanding livre d'artiste with four original full-page hors-texte drypoints by Pablo Picasso. Edition limited to 250 numbered copies all printed on fine Lana wove paper. Folio. ELEGANLY BOUND IN FULL BLACK MOROCCO BY LUCIE WEILL signed. Top edge gilt other edges uncut. Original wraps and backstrip preserved. Housed in custom-made slipcase also by Weill preserving the engraved front board of the original wooden chemise. FINE AND BRIGHT WITH NO DEFECTS. Goeppert 45. BEAUTIFUL AND IMPORTANT. Editions Albor paperback
1937ref. 510540Verve 1937. First Edition. Paperback. FINE. Complete run of the first four issues of Teriade's legendary art magazine. Beginning with a stunning cover produced by Matisse for the first issue Verve would incorporate fresh artwork into its cover designed newly commissioned by artists such as Miro Picasso Chagall and other leading lights of the French art world. Each issue offered spectacular color lithographs printed by the Paris lithographers Mourlot. Early issues came in litho-printed card wrappers in boxes later volumes would be in paper-over board with litho covers. This choce allowed Teriade to feature the fresh lithographic artwork in the cover design but left the books themselves extremely fragile and succeptible to wear. Additionally the full-page lithographs have been continuous targets for art dealers looking to excise the plates. So condition seen here is quite rare with each volume preserved COMPLETE FINE with no signs of the wear and toning so commonly seen. 'The cover of Verve No. 1 is by Henri Matisse; it consists of three unmodulated colors--red blue and black--that the master cut directly from printers' ink specimen books. . Mattisse's cover for the first issue lithographed by Fernand Mourlot printers was an original work of art created expressly for the magazine--as would be practically all of the Verve's covers. . The painter took great pains to make sure that the cover would turn out exactly as he wished. . THe care Matisse lavished on what others might consider a minor undertaking was one of the hallmarks of Teriade's publications. How did he induce the greatest artists of this century to give the very best of themelves . Matisse and Teriade shared a common ideal. For both of them painting was life itself.' Michel Antonioz VERVE: The Ultimate Review of Art and Literature 35-36. Verve paperback
1963ref. 1406Les Heures Claires, Paris 1959-1963. 6 volumes in-folio (34 x 26 cm / 13.4 x 10.2 in.), en feuilles sous couvertures imprimées rempliées, chemises et étuis décorés de l'éditeur. 100 AQUARELLES ORIGINALES HORS-TEXTE DE SALVADOR DALI GRAVÉES SUR BOIS EN COULEURS par Raymond Jacquet. EXCEPTIONNEL EXEMPLAIRE COMPRENANT 33 PLANCHES SUR 100 SIGNÉES DU CACHET ROUGE DE LA SIGNATURE DE SALVADOR DALI IMPRIMÉ DANS LA COMPOSITION. l' un des 3900 ex. numérotés sur pur chiffon de Rives. (Références : Michler & Lopsinger, 1039 à 1138 ; Field pages 189 à 200).
1957ref. N - 2023 - 60Louis Broder 1957 Artaud Antonin. Illustrated with a drypoint engraving in color by Picasso. Third volume of the Collection Miroir du poète. One of the 20 copies on Japon ancien paper signed in pencil by Picasso numbered in Roman numbers from X to XX. Total edition 120 copies. Complete of title text justification and one etching loose as issued in japan wrappers guarded in the original chemise and slipcase. For the engraving Cramer indicates that this is "the only color engraving that Picasso made for a book". Provenance: Collection of the publisher Pierre Cailler 1901-1971 Very good condition. Ref : Cramer 87 Louis Broder hardcover
1957ref. N - 2023 - 60Louis Broder 1957 Artaud Antonin. Illustrated with a drypoint engraving in color by Picasso. Third volume of the Collection Miroir du poète. One of the 20 copies on Japon ancien paper signed in pencil by Picasso numbered in Roman numbers from X to XX. Total edition 120 copies. Complete of title text justification and one etching loose as issued in japan wrappers guarded in the original chemise and slipcase. For the engraving Cramer indicates that this is "the only color engraving that Picasso made for a book". Provenance: Collection of the publisher Pierre Cailler 1901-1971 Very good condition. Ref : Cramer 87 Louis Broder hardcover books
1922ref. 37572Paris: Maurice de Brunoff 1922. Limited First edition. Paperback. g to g. 1/500. Folio. 8 21 3pp text 54 leaves plates. Uncut. Original glassine on decorative and printed dust-jacket over blind wrappers. Book housed in its original decorative green paper covered slipcase with gold lettering and decoration on spine and along joints. Raised bands. Limitation page signed by both Léon Bakst and Editor Maurice de Brunhoff. Color illustration pasted on title page. Stunning lithographic frontispiece portrait of Bakst after a drawing by Picasso. Decorative head- tailpiece and initial. In 1921 the opportunity arose for Sergei Diaghilev the renown Russian ballet impresario and founder of the Ballets Russes to present Tchaikovski's "La Belle au Bois Dormant" at the Alhambra Theatre in London using the notes that the Ballet Master Nicholas Sergeyev had kept from pre-Revolutionary Russia. It was to be a production of great magnificence designed by Léon Bakst and the first time the typically Russian full-length ballet in five scenes would be performed in England. Petipa's choreography preserved through the use of Stepanov notation was restaged by Nicolas Sergueev stage manager for the Maryinski Theatre. Bronislava Nijinska younger sister to Nijinski and also a dancer and choreographer adjusted several enchaînements and supervised the whole show. Olga Spessivtseva was Aurora Pierre Vladimirov the Prince and Lydia Lopokova alternated with Bronislava Nijinska in the role of the Lilac Fairy. Stanislav Idzikowski proved to be a brilliant Blue Bird. Carlotta Brianza who had created the title role of Sleeping Beauty in 1890 in Saint Petersburg played Carabosse this time. The superb scenery and costumes were designed by Léon Bakst. This stunning signed limited first edition contains the complete 54 mounted color plates depicting the exotic sumptuous and richly colored costumes and sets designed by Bakst for this memorable London performance. His ingenious designs in conjunction with Diaghilev's radical and provocative choreography helped revitalize ballet and lay the framework for modern interpretive dance. Each of the mounted color plates measures 15 1/4 x 11" image appr. 10 1/2 x 6 3/4" and is protected with a captioned tissue guard. One of 500 copies of which this is No.358. Gold lettering and decoration partly faded on slipcase. Water staining on boards. Glassine age-toned and chipped at tail of spine. Creasing along dust-jacket's spine. Wrappers intact. Book block separating. 11 plates loose. Moderate and sporadic creasing on tissue-guards. Text in French. Slipcase and glassine in overall fair to good dust-jacket in good wrappers and interior in good plates in very good condition. Maurice de Brunoff paperback
1922ref. 37572Paris: Maurice de Brunoff 1922. Limited First edition. Paperback. g to g. 1/500. Folio. 8 21 3pp text 54 leaves plates. Uncut. Original glassine on decorative and printed dust-jacket over blind wrappers. Book housed in its original decorative green paper covered slipcase with gold lettering and decoration on spine and along joints. Raised bands. Limitation page signed by both Léon Bakst and Editor Maurice de Brunhoff. Color illustration pasted on title page. Stunning lithographic frontispiece portrait of Bakst after a drawing by Picasso. Decorative head- tailpiece and initial. In 1921 the opportunity arose for Sergei Diaghilev the renown Russian ballet impresario and founder of the Ballets Russes to present Tchaikovski's "La Belle au Bois Dormant" at the Alhambra Theatre in London using the notes that the Ballet Master Nicholas Sergeyev had kept from pre-Revolutionary Russia. It was to be a production of great magnificence designed by Léon Bakst and the first time the typically Russian full-length ballet in five scenes would be performed in England. Petipa's choreography preserved through the use of Stepanov notation was restaged by Nicolas Sergueev stage manager for the Maryinski Theatre. Bronislava Nijinska younger sister to Nijinski and also a dancer and choreographer adjusted several enchaînements and supervised the whole show. Olga Spessivtseva was Aurora Pierre Vladimirov the Prince and Lydia Lopokova alternated with Bronislava Nijinska in the role of the Lilac Fairy. Stanislav Idzikowski proved to be a brilliant Blue Bird. Carlotta Brianza who had created the title role of Sleeping Beauty in 1890 in Saint Petersburg played Carabosse this time. The superb scenery and costumes were designed by Léon Bakst. This stunning signed limited first edition contains the complete 54 mounted color plates depicting the exotic sumptuous and richly colored costumes and sets designed by Bakst for this memorable London performance. His ingenious designs in conjunction with Diaghilev's radical and provocative choreography helped revitalize ballet and lay the framework for modern interpretive dance. Each of the mounted color plates measures 15 1/4 x 11" image appr. 10 1/2 x 6 3/4" and is protected with a captioned tissue guard. One of 500 copies of which this is No.358. Gold lettering and decoration partly faded on slipcase. Water staining on boards. Glassine age-toned and chipped at tail of spine. Creasing along dust-jacket's spine. Wrappers intact. Book block separating. 11 plates loose. Moderate and sporadic creasing on tissue-guards. Text in French. Slipcase and glassine in overall fair to good dust-jacket in good wrappers and interior in good plates in very good condition. Maurice de Brunoff paperback books
1934ref. 47317New York:: Random House 1934. Second edition. original spiral-bound stiff wrappers illustrated in color. The white spiral binding is slightly sunned; a few little creases to the front wrapper. . Folio. With a Portrait by Picasso. Texts by Andre Breton Paul Eluard Rrose Selavy Tristan Tzara. Preface by Man Ray. Illustrated from photographs throughout. Random House, unknown
1956ref. 895247 juin 1956 | 26.80 x 20.90 cm | un feuillet dont deux lignes sur une page
1959ref. 89523Cannes 23 septembre 1959 | 21 x 27 cm | un feuillet
ref. EXE-823Paris, Éditions Cercle d'Art, 1966. In-4°, reliure sous couverture en carton recouvert de pleine toile, reproduction en couleurs de la signature de Picasso; emboîtage en carton recouvert de cuir brun. ÉDITION ORIGINALE. Illustrée de 137 reproductions de dessins et peintures de Pablo Picasso. Tirage à 150 exemplaires, celui-ci le numéro 83. BIEN COMPLET DE LA GRAVURE SUR LINOLÉUM (397 x 340 mm), signée et numérotée (dans un portefeuille). Gravure datée du 16 février 1966, sur laquelle on reconnaît Edouard Pignon, mari de Hélène Parmelin.
1934ref. 0101403New York: The Limited Editions Club 1934. Limited edition. Hardcover. 4to. In decorated paper over boards retaining the original glassine jacket blue chemise lined with decorated paper and blue slipcase. With six original etchings in black and illustrations throughout. Very good condition; glassine is age-toned and shows a long tear to the rear panel from the top center across to the rear flap. Chemise shows age-toning to the spine; slipcase is age-toned scuffed with loss to corners and upper seams splitting. Limited edition this copy numbered 612 of 1500; SIGNED by Picasso. The Limited Editions Club hardcover
1947ref. 1909200005Paris- Barcelona Editorial Albor 1947. First Edition. Hardcover. Very Good. Fine printing of Picasso Limited edition no. 104 of 250. Four dry point plates by Picasso with tissue guards. Title engraved in upper cover in red. 28 leaves. Folio 34 cm. Loose as issued. Housed in original wooden boards with cloth ties. Title-page half-titles l 10b initials etc. reproduced from Picasso's lettering. Mornand: Vingt artistes du livre 306. Cramer Picasso livres illustres 44; Bloch 468 471. Catalan. Ramon Reventos was a Catalan writer and with his brother Conti long-time friend of Picasso who wrote one of the first articles published on Picasso's work. When Reventos passed away in 1923 his writings fell into obscurity. Many years later Picasso would write to Conti's son: "I loved your uncle so much that when it occurred to me to make him acknowledged here in Paris because this boy did not enjoy the success that he deserved it was during the war 1939-1945. I often went to the National Library on foot with all of the dangers that this entailed in order to copy these two stories and I copied them all by hand. Someday I will show you in my own handwriting" Reventos i Conti Picasso i els Reventos Barcelona 1972 p 20. This is an oversized or heavy book which requires additional postage for international delivery outside the US. Capvespre d'un faune. Paris- Barcelona, Editorial Albor hardcover
ref. 003004Paris: XXe Siecle 1975. Book. Fine. Hardcover. 1st Edition. Published as a tribute to Gualtieri di San Lazzaro the founder of the magazine XXe Siecle. Loose sheets as issued. In original wrappers and cloth clamshell box with the portrait of Gualtieri di San Lazzaro mounted on the inside. With 15 lithographs by Max Bill Alexander Calder Marc Chagall Max Ernst Hans Hartung Joan Miro Henry Moore Graham Sutherland Georges Braque Lucio Fontana Rene Magritte Pablo Picasso Serge Poliakoff and Alberto Magnelli. All but one Chagall printed in color. Text by Gualtieri di San Lazzaro Pierre Volboudt Nina Kandinsky Marc Chagall Andre Verdet Marino Marini and others. This is number 310 of a limited edition of 575 copies all printed on Velin d'Arches by Fernand Mourlot l'Imprimerie Arte Pierre Chave Les Ateliers Bellini and Curwen Studio London. 141vii pp. 38 x 288 x 55 cm. Except from the inevitable offsetting from the lithographs to the facing text pages this is a very fine almost mint copy in collectors condition. . XXe Siecle hardcover
1995ref. 56467San Francisco CA: AW Fine Arts. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request – – IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- - 17 volumes published 1995 - 2004 covering the years 1916-1973 have been published. 5 new volumes are in preparation. Approximately 5500 pp. with 21000 illustrations. Includes many works unknown to Zervos. Titles in French and English. Chronology and concordances to Zervos. Two of the volumes catalogue the printed graphic work and are revisions of the Bloch catalogues II & IV. -- with a bonus offer-- . 1995. AW Fine Arts hardcover
1976ref. 136111976 Moulin de Vauboyen à Bièvres en Essonne, Pierre de Tartas et SPADEM, 1976, 1 vol. in-folio (370 x 280 mm) en feuilles sous couverture gaufrée et boîte à châsse en toile noire de l'éditeur, auteur à l'or et signature de Picasso en rouge sur le plat supérieur et auteur et illustrateur à l'or au dos, de 71 pp. - (2) ff. (justificatif de tirage et achevé d'imprimer) - (2) ff. bl.Très bon état de lensemble.
ref. 25881Monte-Carlo Sauret 1949-1964 4 volumes in-4, brochs, couvertures illustres.Ce catalogue, tabli par Fernand Mourlot, dcrit tous les diffrents tats des lithographies excutes par Pablo Picasso entre 1919 et 1963. Il comporte plus de 575 illustrations dont 88 en couleurs et 12 lithographies originales, dont 8 pour les couvertures et les quatre frontispices. Tirage unique limit 2.500 exemplaires numrots sur vlin Renage (25881 - BPL000).
