Poetical pluralism of Jorge Camacho

Cuban painter, born in 1934, Jorge Camacho studied law till 1952 when he decided to devote himself to painting. He travelled to Mexico in the 50s with the painter Jose Luis Cuevas and is interested in Mayan culture. In 1959, he moved to Paris where he met André Breton. He joined the Surrealist group and in 1965, participated at the XI International Exhibition of Surrealism. He became a close friend of Henri Michaux and Joyce Mansour. In 1967, he exhibited at the Salon de Mai in Havana organized by Wifredo Lam, also Cuban. From 1968 he became interested in studying the science of alchemy, the Cabala, shamanism. Curious about everything, collector of "primitive art" Jorge Camacho fuels his art by drawing from various cultures and artistic creations: jazz, Andalusian music, French and Haitian poetry, photography. He lives and works between Paris and Andalusia since 1975.
(sources: wikipedia, maison de l'amérique latine)

Currently, the librairie Loliée offers :

• [Camacho (Jorge)] - Bedouin (Jean-Louis). Libre Espace. Paris, Seghers, 1967, in-8, in leaves. First Edition. One of the 66 first copies on Holland paper with an orginal engraving numbered and signed by Camacho.
  
• [Camacho (Jorge)] - Mansour (Joyce). Faire signe au Machiniste. Couverture et Illustrations de Jorge Camacho. Paris, Le Soleil Noir, 1977, in-8. First edition illustrated in black by Camacho. Copy on vellum paper.
• [Camacho (Jorge)] - Canseliet (Eugène). L’Hermétisme dans la vie de Swift et dans ses voyages. Illustré par Jorge Camacho. Montpellier, Fata Morgana, 1983, in-12. First edition. Copy on "verger teinté" paper.

Illustrious graffitis from the Hôtel des Haricots

Albert de Lasalle (1833-1886), music columnist for the weekly Le Monde Illustré and specialized in opera, published in 1864 a remarkable book on the Hotel des Haricots (hotel of beans). This place is primarily a religious college whose nickname "Haricots" was given by students because of the meager food served at table. In 1792, the building becomes the prison of the National Guard. After the Revolution, the prison is transferred to the hotel Bazancourt. The new lazy prison system which allows good food and good wine makes the place looks like a rowdy house. So uprises the myth of the Hotel des Haricots. The place hosts prestigious guests including Alfred de Musset, Théophile Gautier, Théodore de Banville, Honoré de Balzac who made several trips including one because he failed his military obligations. In 1837, the prison was again transferred in an old granary in the arsenal district. It is this last hotel Albert de Lasalle speaks about. He transcribes the inscriptions found on the walls of "the cells of artists". He also comments the 70 drawings reproduced by the engraver Edmond Morin (1824-1182). The book alternates graffitis, poems, songs, sheet musics.

Currently, the librairie Loliée offers:

• Morin (Edmond) - Lasalle (Albert de). L'Hôtel des Haricots. Maison d'arrêt de la Garde Nationale de Paris. Paris, Dentu, s.d. [1864], in-8, binding from the period. Edition with ornée de 70 drawings, in black, by Edmond Morin. Page 151 numbered 153.

Marcel Proust at Madeleine Lemaire's room

Madeleine Lemaire, born Madeleine Coll (1845-1928), French watercolorist and miniaturist, was holding the most attended artistic and literary room of the Belle Epoque. Marcel Proust met her in 1891 and is charmed by the fifty year old woman who loved to paint roses. The young author is anxious to consolidate its position and Madeleine Lemaire brought him in the game of society life. In summer, she invited her "followers" to stay at her chateau near Paris or a her villa in Dieppe. This is where Marcel Proust met Reynaldo Hahn, who became his lover. From this period uprised Pleasures and Days, illustrated by Madeleine Lemaire and completed by four piano pieces by Reynaldo Hahn, a work inspired by the dandy Robert de Montesquiou also met at the watercolorist room in 1893. In the preface, Anatole France summed up:
"Ce calendrier des Plaisirs et des Jours marque et les heures de la nature par d'harmonieux tableaux du ciel, de la mer, des bois, et les heures humaines par des portraits fidèles et des peintures de genre, d'un fini merveilleux. Marcel Proust se plaît également à décrire la splendeur désolée du soleil couchant et les vanités agitées d'une âme snob. Il excelle à conter les douleurs élégantes, les souffrances artificielles, qui égalent pour le moins en cruauté celles que la nature nous accorde avec une prodigalité maternelle. [...] Heureux livre que le sien ! Il ira par la ville tout orné, tout parfumé des fleurs dont Madeleine Lemaire l'a jonché de cette main divine qui répand les roses avec leur rosée."

Currently, the librairie Loliée offers :

• Proust (Marcel). Les Plaisirs et les Jours. Illustrations de Madeleine Lemaire. Préface d’Anatole France et quatre pièces pour piano de Reynaldo Hahn. Paris, Calmann-Lévy, 1896, in-8, folder, case. First edition. One of the first 30 copies on China paper.
• Proust (Marcel). Les Plaisirs et les Jours. Illustrations de Madeleine Lemaire. Préface d’Anatole France et quatre pièces pour piano de Reynaldo Hahn. Paris, Calmann-Lévy, 1896, in-8, binding by Semet et Plumelle. First edition.
  

René Char : science, a blind lighthouse

In May 1968, apart from the social events that shake France, René Char has a heart attack, first in a long series of cardiovascular accidents. He mentions that "experience" in the introductory text of the Le Chien de coeur, published a year after : "I thought death was coming, but death where, overwhelmed by an unprecedented understanding, I would still need to make a move before falling asleep, before being spread out to the universe forever." This collection, illustrated with an original lithograph by Joan Miro for the first 95 copies, expose six poems, including "Les Apparitions dédaignées" (despised Apparitions), text denouncing the absurd distortions of modern society. The poet discredits the usefulness of science which consolidate a little more the divorce between man and nature :

"Les civilisations sont des graisses.
L'Histoire échoue, Dieu faute de Dieu
n'enjambe plus nos murs soupçonneux,
l'homme feule à l'oreille de l'homme,
le Temps se fourvoie, la fission est
en cours. Quoi encore?

La science ne peut fournir à l'homme
dévasté qu'un phare aveugle, une arme
de détresse, des outils sans légende. Au
plus dément : le sifflet des manœuvres."
Qute from "Les Apparitions dédaignées" in Le Chien de coeur.

Currently, the librairie Loliée offers :

• Char (René). Le Chien de cœur. Paris, G.L.M., 1969, in-8. First edition. One of the first 95 copies on Arches paper with an original color lithograph signed by Joan Miro. (Only those copies have the lithograph).

The mithycal figure of Saint-John Perse

Saint-John Perse is a mythical figure, those of the poet who won the Nobel Prize for Literature in 1960. Saint-John Perse is also a figure magnified by Alexis Leger, diplomat who used for the first time that nickname with the release of Anabase in 1924. Exiled to the United States during World War II, refusing to ally with de Gaulle, Alexis Leger, businessman lurking in the shadow of the poet, has consistently built his own legend. He prepares himself the biography that opens the publication of his complete works released by the Pleiade in 1972. Renaud Meltz, a historian based at the University of Tahiti, published in 2008 an extensive biography, with 800 documented pages, and set straight the double face of this man of strategy and poetry. (See the interview with Renaud Meltz - source Channel Academy, review of Damien Le Guay).
The poetry of Saint-John Perse, admired for its precision and purity, is difficult and not quite engaging for big audience. It builds a hypnotic and almost liturgical music. Saint-John Perse, during the speech at the Nobel Banquet, precise his vision of what the outcome of poetry is :
"True to his office, which is deepening the mystery of man, modern poetry engages in a business whose prosecution concerns the full integration of man. There is no prophecy in such poetry. Nor is it purely aesthetic [...] It finds a ally in beauty, supreme alliance, but does not take it for an end or its sole nourishment. Unwilling to separate art from life nor love from knowledge, it is passion, it is power, and innovation that always goes beyond bounds. "

Currently, the librairie Loliée offers :

• Anabase. Paris, N.R.F., 1924, in-4. Firs Edition. One of the 62 copies on Vergé paper.
• Quatre Poèmes (141-1944). Buenos Aires, Éditions des Lettres Françaises, 1944, petit in-4, in leaves. First edition. One of the 30 copies on Whatman paper, single deluxe edition.
• Quatre Poèmes (1941-1944). Buenos Aires, Éditions Sur, in-12. First collective edition in the collection "La Porte Étroite" ran by Roger Caillois. This rare edition was withdraw and replaced by a second one which does not contain the preface by Archibald Macleish.
• Pluies. Buenos Aires, Éditions des Lettres Françaises, 1944, booklet in-4. First edition. One of the 300 copies on Holland paper.
• Pluies. Buenos Aires, Éditions des Lettres Françaises, 1944, booklet in-4, beautiful binding in grey cal leather, folder and case (P.L. Martin). First edition. One of the 30 first copoes on Whatman paper.
• Chronique. Paris, Gallimard, 1960, in-4. First edition. One of the 165 copies on Holland paper.
• Discours de Stockholm. Marseille, Cahiers du Sud, 1960, booklet in-8. First edition released with the issue n°358 (december 1960). Limited to 100 copies on Lafuma paper.
• Lettres à l'Étrangère. Textes réunis et présentés par Mauricette Berne. Paris, Gallimard, 1987, in-8. First edition. Onf of the 32 copies on vellum " pur chiffon", single deluxe edition.

Albert Marquet's last print

"By an accurate use of tones and values, by a genuineness use of connections and effects without equal today, Marquet substitutes the simplicity, purity, authority of his vision to our own vision in idyllic and sprawling places where fantasy took him from the Atlantic to the Black Sea, the North Cape to the Sahara " wrote Georges Besson in the preface of the album Albert Marquet, ten original prints. This book, sixth of the series "The Master of the Contemporary French Print, is published by Rombaldi in May 1947. The painter died shortly after. Of the ten prints available, nine are signed by the artist. As explained in the leaf joined to the first edition, the third print, entitled "Children on the beach", probably the last he realized, was not completed when death occurred to the artist.

Currently, the librairie Loliée offers :

• Albert Marquet. Dix estampes originales présentées par George Besson. Paris, Rombaldi, collection « Les Maîtres de l’estampe française contemporaine », 1947, in-folio, covers, red publisher's folder. Album with 10 original prints, one heading and a tailpiece by Albert Marquet. Limited to 100 copies on Lana vellum paper and few personal copies.

Obliques : literary magazine of the 70s

Established by Roger Borderie, the magazine Obliques, published in the 70s and 80s, proposes monographs of first importance on varied themes (Sade, Wagner Kierkegaard, the German Expressionism, The Surrealist woman, the myth of Don Juan, Sartre, Artaud, etc.), which represent the tendencies and literary influences of that time. Michel Camus, chief editor of the magazine from 1976 till 1983, groups together texts of numerous writers and thinkers: Gilles Deleuze, Jacques Derrida, Jean-Paul Sartre, Alain Robbe-Grillet, Michel Butor, etc.
The issues, in deluxe edition, include, for the greater part, original engravings numbered and signed by artists as Jean-Luc Parant, Félix Labisse, Camille Bryen, Fred Deux, etc. To underline : the magnificent serie of photographic prints signed by Henri Maccheroni which is proposed with the issue dedicated to Sade.


Currently, the Librairie Loliée offers a set dedicated to the magazine Obliques and its various publications :

Obliques issues n°1 à 21 :

• Strindberg. N°1. Paris, Editions Borderie, 1972, in-4, illustrated cover. First edition. One of the 150 copies on Arches paper with a drawing by Jean-Luc Parant signed by Parant and Michel Butor.
• Genet. N°2. Paris, Éditions Borderie, 1972, in-4, illustrated cover. First edition. One of the 150 copies on Arches paper with an original engraving numbered and signed by Fred Deux.
• Kafka. N°3. Paris, Éditions Borderie, 1973, in-4, illustrated cover. First edition.One of the 99 copies on Arches paper (without the announced engraving which was not printed).
• Don Juan. N°4-5. Paris, Éditions Borderie, 1978, in-4, two volumes bounded in one. Third edition on vellum paper.
• L’Expressionnisme Allemand. N°6-7. Paris, Éditions Borderie, 1976, in-4, illustrated cover. First edition. One of the 99 copies on Arches paper (without the announced lithograph which was not printed).
• Boris Vian de A à Z. N°8-9. Paris, Éditions Borderie, 1976, in-4, bicolore cover. First edition. One of the 124 copies on Arches paper with an original lithograph numbered and signed by Félix Labisse.
• Sade. N°10-11. Paris, Éditions Borderie, 1977, in-4, illustrated cover. First edition. One of the 99 copies on Popset Rosemary with a serie of 9 photographies by Henri Maccheroni.
• Artaud. N°12-13. Paris, Éditions Borderie, 1976, in-4, illustrated cover. First edition. One of 83 copies on Ingres M.B.M. Arches Chamois paper with an engraving numbered and signed by Camille Bryen and an engraving signed by José Quiroga.
• La Femme Surréaliste. N°14-15. Paris, Éditions Borderie, 1977, in-4, illustrated cover. First edition. One of the 99 copies on Arches paper with an engraving numbered and signed by Léonor Fini, a serigraphy numbered and signed by Titi and Jean-Luc Parant, and an audio tape with on face 1 a text read by Titi and Jean-Luc Parant and on face 2 sur a radiophonic montage ont the Surrealist woman made by Jean Couturier.
• Robbe-Grillet. N°16-17. Paris, Éditions Borderie, 1977, in-4, illustrated cover. First edition. One of the 83 copies on Arches paper with a lithograph in colors by Pierre Maltais and an engraving by Grégory Masurovky, numbered and signed by the artists.
  
• Sartre. N°18-19. Nyons, Éditions Borderie, 1981, in-4, two voluems bounded in one. One of the 99 copies on Arches paper with a lithograph "logoramme" by Christian Dotremont, numbered and signed by the artist. et signé par l’artiste.
• Brecht. N°20-21. Paris, Éditions Borderie, 1979, in-4, broché, illustrated cover. First edition. One of the 99 copies on Arches paper.

Obliques, special issues :

• Bellmer. Numéro spécial. Nyons, Éditions Borderie, 1975, in-4, illustrated cover. First edition. One 150 copies on Lana paper with an original engraving by Hans Bellmer.
  
• Kierkegaard. Numéro spécial. Nyons, Éditions Borderie, 1975, in-4, illustrated cover. First edition. One of the 33 copies on Arches paper.
• Butor - Masurovsky. Numéro spécial. Nyons, Éditions Borderie, 1976, in-4, illustrated cover. Edition on vellum paper with an "engraving-manuscript composigned by Michel Butor and Grégory Masurovsky.
• Vian (Boris). Cantilène en gelée. Numéro spécial. Nyons, Éditions Borderie, 1978, in-4. Reprint of poems first edited in manuscript form to 200 copies. Copy on arches paper with an engraving numbered and signed by Alanore.
• Lossowski (Pierre) - Zucca (Pierre). Roberte au cinéma. Numéro spécial. Nyons, Éditions Borderie, 1978, in-4, publisher's binding. First edition on vellum paper.
  
• Wagner. Numéro spécial. Nyons, Éditions Borderie, 1979, in-4, illustrated cover. First edition. One of the 99 copies on Arches paper.
  
• Butor (Michel) - Valey (Michel). Don Juan dans la Manche. Pour Michel Sicard. Numéro Spécial. S.l., Obliques, 1975, in-8, illustrated cover. First edition signed by Michel Butor, Michel Valey et Michel Sicard.
  
• Personimages. Numéro Spécial. S.l., Obliques, 1977, in-8, broché, illustrated cover. Issue published after the exhibition of art work made by students of a work reinsertion center, under the direction of Jean Révol.
  
• Lulu. Numéro Spécial. S.l., Obliques, 1979, in-8, illustrated cover. First edition.
  

Outside the magazine Obliques :

• Les Cahiers Obliques. Revue trimestrielle. N°1 et N°2. Nyons, Éditions Borderie, 1980, in-8, illustrated covers. First editions of those notebooks dovoted to Bellmer and Sartre, and giving a light version of the Obliques magazine which was long to prepare.
  
• [Parant(Jean-Luc)]. Le Bout des Bordes. S.d., Éditions Borderie, 1980, in-4, publisher's binding.
  

Joseph Kessel and Russia

Constantly placing himself in the heart of History being built, Joseph Kessel (1898-1979), a writer-reporter, seized with nearly 80 novels and 80 years of existence, the major developments of his time. He wrote in particular on Russia. During the First World War, engaged as volunteer, he was assigned on a mission in Siberia. He published in 1922, his first work, a series of short-stories on the Bolshevik Revolution. The theme of the Russian diaspora is recurrent in his work. Joseph Kessel worked with two major immigrant figures of the Russian illustration : Alexandre Alexeieff for Les Nuits de Siberie - that evokes the atmosphere of Russian cabarets, and Natalia Goncharova for Le Thé du capitaine Sogoub. In this latest book, Kessel writes the poignant encounter, around a samovar, between distinguished Russian immigrants and an ex-captain of the White Army who proudly evokes his memories.

Currently, the librairie Loliée offers :

• Gontcharova (Nathalie) - Kessel (Joseph). Le Thé du capitaine Sogoub. Nouvelle illustrée d’images hors-texte gravées par Nathalie Gontcharova. Paris, Au Sans Pareil, 1926, in-8. First edition with 6 original engravings by Gontcharova. One of the s 1000 copies on Annonay vellum paper.
  
• Alexeieff - Kessel (Joseph). Les Nuits de Sibérie. Eaux-fortes de Alexeieff. Paris, Flammarion, 1928, in-8. First edition with 5 etchings by Alexeieff. One of the 40 copies 40 "not to sale" copies on Rives vellum paper.
• Kessel (Joseph). Secrets Parisiens. Paris, Éditions des Cahiers Libres, 1930, in-12. Firsit edition on vellum paper.