One of the most spectacular fruits of nineteenth-century Medievalism, with its elaborate chromolithograph interpretations of illuminated manuscripts, many with gold and silver inks. The text volume additionally contains a sequence of original photographic reproductions of prints by Wierix. Issued as a series of 70 individual numbers, the pagination of the plate volumes is very erratic, with numerous additional plates outside the main sequence and with some leaves having plates on both sides, others on just one. The appendix provides an historical and bibliographical key to the plates, listing manuscripts in mainly French and Italian libraries..see full details
FIRST EDITION, one of 100 numbered copies on papier Rives.more...
A retrospective portfolio of the work of Austrian-born artist Mariette Lydis (1887-1970), with an introduction by Montherlant, who in 1925 had introduced Lydis to the vibrant artistic scene of Paris, where she permanently settled a year later. She was known for her daring prints (notably her 1926 portfolio, Lesbiennes) and illustrated deluxe editions of Boccaccio, Louÿs, Baudelaire, Mirbeau and Valéry. Lydis had no formal artistic training, but her work was no doubt inspired by the freedom of twentieth-century Paris. She escaped the Nazis during the occupation, living briefly with her partner Erica Marx in England, before the couple emigrated to Buenos Airies..see full details
COPY 9, SIGNED BY AUTHOR AND ILLUSTRATOR, WITH ADDITIONAL SERIGRAPH, AND SUITE OF 5 LARGE SIGNED PLATES (total edition of 194 copies).more...
Queneau’s playful mathematical analysis of languages, coupled with Baj’s illustrations printed from Meccano parts.’ ‘Baj’s art has always included a strong element of farce, so the use of sprockets, bolts, and other fabricated metal objects to enhance Queneau’s analysis of language parodies the author’s own mechanic’s approach.’ (Castleman, A Century of Artist’s Books, MoMA)..see full details
COPY NUMBER 1 OF 120 COPIES, WITH 2 ORIGINAL DRAWINGS, SIGNED AND NUMBERED BY THE ARTIST.more...
Oscar Milosz was a French-Lithuanian poet, playwright, essayist and representative of Lithuania at the League of Nations. His collection of poems Les Élémens appeared in 1911. Lithuanian-born Paris artist Pränas (1928–2015) apparently only illustrated/issued La Mer of the Elements sequence. His abstract expressionist linocuts are deeply impressed in thick paper..see full details
Number 39 of 140 copies on vergé ancien (total edition 195). A collection of 10 prints made from the original lino blocks from the studio of the Russian artist Pougny (1892-1956). They were made in St Petersburg and Paris from 1914-1920, and are presented here with a poem by Prévert (‘L’Atelier de Pougny’) printed partly in facsimile of his handwriting. In 1915 Pougny had organised the Tramway 5 and 0.10 exhibitions, which paved the way for the Constructivist movement. These prints were made when Pougny was working in a predominantly Cubist style, seen in their abstract and dynamic depictions of interiors, street-life and musicians playing. He often uses sharp jagged lines and dark planes of colour to create a dizzying perspective of the world around him..see full details
First edition with illustrations by Lars Bo.more...
An illustrated edition of Jean Valjean’s dream from Les Miserables: a nightmare in which he walks around a deserted city followed by numerous silhouettes of silent, standing men before eventually realising he himself is dead. Bo’s work illustrates episode with ghostly clarity. Number 87 (for Madame Charles Sarget) of 100 copies on grande vélin de Rives (total edition 150)..see full details
Number 5 of 9 hors commerce exemplaires de collaborateurs on Vélin d’Arches (total edition 186). A Rimbaud collection with a set of exquisite engravings by Vieillard, an artist who adopted an unusual method for his engraved work, adding stucco to the plate to create a relief effect in the paper, visible in these highly original interpretations, often consisting of dynamic dancing figures surrounded by an array of dots and lines in black and white..see full details
FIRST EDITION, SIGNED BY THE ARTIST AND AUTHOR.more...
A collection of twelve poems by the artist Verdet, an interesting figure from the circle of Braque, Picasso and Matisse, who expressed himself in numerous media, including poetry, painting and glass sculpture. There are seven etched plates of a Rothkoesque quality by the artist Papart who initially worked in a post-Cubist style before evolving towards the abstraction present in these wonderful prints. The collage inscribed ‘pour Claude Jobin’, dated 1968 and signed by both Verdet and Papart is a clear homage to Braque. Martin Stone’s pencil note in French indicates it was offered by him at the annual Luberon (Provence) book fair, of which he was was a devoted supporter. Number 62 of 100 copies on grande vélin de Rives, (total edition 128)..see full details
An illustrated Revelation, a particularly delightful interpretation by a Russian-Jewish artist with Polish heritage, Simon Segal (1898-1969), who created vibrant and imaginative lithographs with a childlike, expressionist quality. Segal first exhibited his work in Paris in 1935 and from then on he had numerous exhibitions in London, Paris, Milan and Brazil, both during his lifetime and after. Number 14 of 30 examples on vélin pur chiffon de Rives for the artist (total edition 150)..see full details
The fourth of Colucci’s series ‘Monumentale’: A vibrantly-illustrated version in woodcut and with specially-made type, coloured and rubricated by hand by Ferrariello, ‘maître enlumineur’. Italian-born artist Colucci had studied architecture at the École des Beaux-Arts and worked on numerous books, including editions of Dante’s Inferno and Barbey d’Aurevilly’s Le plus bel Amour de Don Juan and later decorated the Armenian cathedral of Cairo (Benezit). With its jovial tarot-card like graphics and quasi-medieval type the book is a delightful fusion of modernity and antiquity. Number 10 of 25 copies on papier auvergne pur chiffon with an additional suite in monochrome (total edition 125)..see full details
One of 500 copies, a typically-French literary celebration of progress, technology and telecommunications, commissioned by the Société anonyme de Télécommunications (established 1924). Sorel’s contribution is entitled, ‘La diplomatie et le progrès’. Demeurisse’s fine plates are twentieth-century emblems of technology and progress..see full details
FIRST EDITION, SIGNED BY THE AUTHOR, number 16 of 50 copies on Arches.more...
The text is a poem by the philosopher, painter, engraver, poet and animateur, Charaire, with a fine engraved plate showing Adam and Eve naked in the Garden surrounded by dancing silhouettes—a tapestry design by the decorative artist Naly, who produced designs for the Gobelins and Aubusson. Both text and plate are present in three states: one on a single sheet of Arches paper, uncut and unopened, with plate signed and numbered; one on a single sheet of pale blue paper also uncut and unopened, and one on Arches, opened..see full details
A collection of characteristic homoerotic lithographs by Jean Boullet, an openly homosexual artist who proclaimed himself simply as a ‘painter of masculine beauty’. Number 181 of 467 copies on Vélin de Lana, (there are a further 33 examples on Vélin d’Arches, with an original drawing, total edition 500)..see full details
A very quaint, well-illustrated book by the little-known female artist Chantal de Hemptinne (pupil of the Belgian engraver Joris Minne) which tells an anthropomorphic story. The plot begins with two characterful tortoises, Charles-Eugène and Denise who fall in love, they get married and spend their time going on many adventures. However, the lure of the human world attracts Charles who leaves Denise to subit l’amertume de la separation. Denise then drinks a magic potion from a sorceress and becomes human, where she joins a dance troupe. Charles meanwhile becomes tired of travelling and dreams of going home. The two are eventually reunited and Denise becomes a tortoise again. A lovely book.
Number 82 of 950 examples sur vélin pur fil, (after 50 copies on Hollande Van Gelder, 30 numbered I to XXX and 20 hors commerce. Total edition 1050). .see full details
The plates by Couy are typical of his lyrical abstraction. At the age of eight he had been struck by an illness which left him bed-bound for several months, during which he fed on his books and dreams, an event which left its mark on the spirit of his future works. One of 285 copies (number 110 on papier murier du japon)..see full details
FIRST EDITION, the four plates signed and numbered in pencil by the artist, one of 100 copies on vélin de Rives (after 55 copies on japon impérial, total edition 155).more...
Illustrating the history, architecture and life around the old Lille stock exchange, built in the early seventeenth century. It had remained the centre of commercial life in the city until 1921 when a new Bourse was constructed. The etchings and ornaments here were created by Lille artist Bouchery, a painter and engraver of genre and landscape scenes, who studied at Palais de Beaux-Arts de Lille and was renowned for his unrivalled handling of chiaroscuro..see full details
FIRST EDITION THUS, including an original signed watercolour.more...
Number 7 of 20 on Shanghaï spécial (total edition 1070). Spanish-born artist Zamora worked in Paris during the twenties, supplying designs for both the Moulin Rouge and Folies Bergères. His style was clearly inspired by Georges Barbier and his aptitude for fashion drawing is much in evidence in the illustrations here, which render the fluttering eyelashes of Carmen rather convincingly..see full details
Coupled with Chimot’s voluptuous plates, this novella, based on a genuine Moroccan legend (The Rose of the Souk) is a prime example of French colonial North African exoticism. One of six copies reserved for the artist, this one inscribed to Madame George Haviland with two original drawings and a signed letter from the artist, plus an additional suite of proofs (total edition, 225). The two additional drawings are a male nude in pencil and a preliminary sketch on tracing paper. .see full details
Contes Cruels (1883) is one of the aristocratic symbolist writer, Villiers’ most successful works, a short story collection expressing his disdain for the bourgeoisie and outlining the wrongs of society (the first English edition of 1927 had been entitled Sardonic Tales). ‘The Duke of Portland’ tells the tale of the eccentric and troglodytic William Cavendish-Scott-Bentinck (1800-1879). This edition is illustrated by Avati, known for his prowess in mezzotint. The etchings are characterful and semi-abstract, the artist using a series of rough lines to create chiaroscuro, lending his illustrations a unique (and appropriate) dappled effect. One of 220 copies on grand vélin de Rives, this copy for M. Bernard de Peyerimhoff de Fontenelle..see full details