Krapp's Last Tape

Krapp's Last Tape (in French, La Dernière Bande) is a monologue primarily written in 1958 for the English radio. Samuel Beckett finally adapts the text to the theater in addition to Endgame played at the Royal Court Theatre of London. The role was created by Patrick Magee, Irish actor for who Beckett imagined the text. In a room occupied by a single table and dusty archives, Krapp, an old and shabby intellectual, records on an antique tape recorder his comments on the past year. He listens to the sound of his own voice and makes a bitter analysis of his vanished existence. Beckett riddles the text with stage indications, specifies the intonation of the voice, indicates the rythme of the delivery in order to create the space in which fits Krapp's memories.
A few months after the first production in London, Beckett translated in French this "monodrama" with the help of Pierre Leyris. It was not until 1960 that the piece is created by Roger Blin at the Récamier theatre in its French version.


Now a classic, Krapp's Last Tape is one of the great dramatic texts by Beckett. Many artists have tried to interpret the figure of Krapp: in 2000 John Hurt in the Atom Egoyan's film adaptation or in 2006, Harold Pinter who, to celebrate the 50th season anniversary of the Royal Court Theatre, took over the role.
(source : Wikipedia).

Currently, the librairie Loliée offers Samuel Beckett's french first editions :

• La Dernière Bande. Traduit de l’anglais par Pierre Leyris et l’auteur. Paris, Éditions de Minuit, 1959, in-12. Limited to 47 copies on Marais vellum paper. Complete of the errata folio.
• Tous Ceux qui tombent. Pièce radiophonique traduit de l’anglais Robert Pinget. Paris, Editions de Minuit, 1957, in-12. Limited to 80 copies on Marais vellum paper.
• Bing. Paris, Éditions de Minuit, 1966, in-12. Copy on BFK vellum paper.
• Sans. Paris, Éditions de Minuit, 1969, in-12. Limited to 742 copies on Rives vellum paper.
• Berceuse suivi de Impromptu d’Ohio. Traduits de l’anglais par l’auteur. Paris, Éditions de Minuit, 1982, in-16. Limited to 99 copies on Arches vellum paper.
  
• Pour en finir encore. Paris, Éditions de Minuit, 1976, in-12, grey bradel (Mouillac). Copy on Arches Vullum paper.
  

Small and Large Drinks

"As for France, it seems that the cocktail made its first appearance with the Anglo-American bars shortly after the exhibition of 1889. Column talks about it and newspapers are aware of it. Alphonse Allais is prompt to stuff his tales with those new beverage names which have then all the flavour of novelty : Sherry Cobbler, Mint Julep, pick-me-up, prairie oyster, etc. "

Petits et Grands Verres (Small and Large drinks), published in 1927, offers a choice of the best cocktail recipes, sometimes with fanciful names which titillate imagination and taste buds. The 10 engravings by Jean-Emile Laboureur, who illustrates the book, highlight the delicate etiquette of the manners at the time.

Currently, the librairie Loliée offers :

• Laboureur (J.-E.). Petits et Grands Verres. Choix des meilleurs cocktails. Recueillis par Nina Toye et A.-H. Adair et mis en français par Ph. Le Huby. 10 gravures de J.-E. Laboureur. Paris, Au Sans Pareil, 1927, in-4. 10 original and full-page ethcings by Laboureur. Limited to 270 copies, this one on vellum paper.
  

Charles Bovary and Flaubert savoir-faire

The first Madame Bovary that we discover in the famous novel written by Gustave Flaubert is not necessarily the one we think about. The story opens with a sketch taken place in a provincial school : "the new fellow", a shy and meticulous boy does not dare throwing on the floor, like his schoolmates, the new and ridiculously pedantic cap his mother makes him wear. In one chapter, Flaubert tells how a relentless maternal love brings Charles, future husband of Emma, to surpass his mediocrity in order to reach an acceptable social status. Madame Bovary wants her son to become a doctor. The young man moves in town to study and is stunned by the list of disciplines he must follows. "He understood nothing of it all ; it was all very well to listen he did not follow. Still he worked, he had bound note-books, he attended all the courses, never missed a single lecture. He did his little daily task like a mill-horse, who goes round and round with his eyes bandaged, not knowing what work he is doing. " In this quote, we can sense Flaubert savoir-faire, the syntax made of simple and acurate sentences which build up to conclude on an obvious and almost cruel metaphor.

One night, Charles, now a rural doctor, is called to treat a fracture, by chance, "simple". He meets Emma and his father, injured. Young widow of an unhappy first marriage, Charles falls in love with Emma. It is through his eyes that we see for the first time this young and pale woman with a look "that came at you frankly, with a candid boldness." After a court whose romantic dimension seduces Emma but reflects mostly Charles clumsiness and inexperience, a marriage is quickly settled. As a happy man, Mr. Bovary becomes puffy, lost in a comfortable routine ; regarding Madam ... after only fifty pages, the issue comes as a bolt from the blue : "Before marriage, she [Emma] thought herself in love ; but the happiness that should have followed this love not having come, she must, she thought, have been mistaken. And Emma tried to find out what one meant exactly in life by the words felicity, passion, rapture, that had seemed to her so beautiful in books. "

Currently, the librairie Loliée offers :

• Flaubert (Gustave). Madame Bovary. Mœurs de province. Paris, Michel Lévy Frères, 1857, 2 volumes bound in one, in-12, full red levant, original covers preserved, case (Chambolle-Duru). First edition.

When Louis Legrand illustrates Edgar Poë

Bank employee, Louis Legrand takes night classes at the Ecole des Beaux-Arts of Dijon. It is then with Félicien Rops that he learns the techniques of printmaking. He becomes famous by working as a cartoonist for the periodical Le Courrier Français. His dark and macabre vision of Paris nights causes him to be charged for obscenity and briefly imprisoned in 1891. Legrand then turns to more soft subjects and participates in Gil Blas, an illustrated periodical which makes sales records. His engravings on dance classes are reprinted, the following year, by E. Dentu, under the title Cours de danse fin de siècle. Legrand continues to describe this art with Les Petits du Ballet published in 1893 by Gustave Pellet. This is the beginning of a long collaboration with the editor who published thereafter among the most beautiful works of Toulouse-Lautrec, a master who outshined Legrand yet his predecessor.
In his study of the work of the painter, published also by Pellet, Camille Mauclair focuses on the illustrations made for Quinze Histoires d'Edgard Poe and adds :
"Those fifteen plates are little known and not often reproduced. They deserve yet to be widely shared, not only because of their beauty, but because they are so far the only illustrations work that someone dared try of these terrible masterpiece. "

Currently, the librairie Loliée offers :

• Legrand (Louis) - [Baudelaire (Charles)]. Quinze Histoires d'Edgar Poë. Illustrations de Louis Legrand. Paris, imprimé pour les Amis du Livre, Chaumerot et Renouard, 1897, in-4, binding in full black levant (Chambolle-Duru). Edition illustrated with 15 full-page original etchings, in two state, on Japan paper, et with 30 in-text drawings.
• Legrand (Louis) – Ramiro (Erasthène). Faune Parisienne. Paris, Gustave Pellet Éditeur, 1901, in-4, binding full brown levant (Canape). First edition illustrated with 19 original etchings by Louis Legrand, including the cover. Limited to 130 copies. This one with a second state, in black of the etchings et with two original drawings enhanced with watercolors.
• [Legrand (Louis)] - Mauclair (Camille). Louis Legrand, peintre et graveur. Paris, H. Floury et G. Pellet, 1910, petit in-4. Important study with many illustrations.

Braque,The Boss

Braque, Le Patron (Braque, the boss) is a reference book on the work of the painter. Jean Paulhan, in nine parts, builds the portrait of the artist : "He is a little stooped. He works on ten drafts in the same time, some are resting on easels, others land on some sort of grils. He moves sometimes a leaf, a leg crab, a lizard skeleton, which are waiting for what on the table ? He is retouching. He is pruning. As a gardener among his plants. "

The writer also relates "The Myths of Georges Braque", a tasty compilation of anecdotes :
"Understand me, said Vollard, I am worried. If my Renoir burns and remains a small corner, I always know it's a Renoir. But if my Braque ... - Thanks to God, "said Braque. Who gave up that day to sign his paintings. "

Currently, the librairie Loliée offers :

• Braque (Georges) - Paulhan (Jean). Braque, le Patron. Paris, Geneva, Editions des Trois Collines, 1947, in-4, shirt and case. Edition illustrated with 64 reproductions of paintings and 2 lithographs by Georges Braque. Limited to 90 copies signed by the author and the painter. One of the first 25 copies on Arches paper, including the original color lithograph signed and numbered by Georges Braque.
• Braque (Georges) - Saint-Pol-Roux. Août. Paris, Louis Broder, 1958, in-4 oblong, sheets, under cover, case. First edition decorated with 4 original full-page etchings, including 2 in colors, by Georges Braque. Limited to 120 copies on Auvergne paper signed by Braque.

Les Amies by Verlaine illustrated by Buchet

Les Amies (girl friends), early work in which Verlaine praises sapphic love, known a rather chaotic publication. First edited to 50 copies under the pseudonym of Pablo-Maria de Herlañes, the collection is censored and all the issues are destroyed. The six sonnets are again published, in 1881, in La Revue Indépendante (The Independent Journal) and finally resumed, in 1889, in Parralèlement (text in french here). It is in this collection that are also the six poems Filles (Girls) who address the theme of brothel.

Because of their erotic and sulphurous dimension, Those poems have been illustrated many times (Bonnard, Bécat, Daragnès ...) The contribution of Gustave Buchet is from the Art Deco period. The Swiss painter has flirted with major artistic movements of his time : Dada, Futurism, Cubism then Purism that leads him to abstraction. This is the line which makes the interest of the etchings that Buchet composes for Les Amies and Filles. The harmony of sober colors invites the gaze to land on the forms. The bodies are all in accurate and fine curves. The style is simple, elegant.

Currently, the librairie Loliée offers :

• [Buchet (Gustave)] – Verlaine (Paul). Les Amies. Filles. Treize pointes sèches rehaussées de couleur et cul-de-lampe par Gustave Buchet. Paris, Le Livre, 1913, in-4, binding by Martine Roy. Edition illustrated with 13 hand color-washed etchings.

Debussy - Toulet : a lasting friendship

Paul-Jean Toulet and Claude Debussy met at the Café Weber, rue Royale in Paris. Toulet loved encouters with "my brother the whiskey and my friend the night." Debussy, who was not an easy friend to gain, quickly liked the poet. The two men planned to adapt for the opera As You Like It by Shakeaspeare. Their personal correspondence, first published in 1929, spreads over 16 years and closes up on Debussy's death. The letters testify the affinities that bind the writer and the composer : a love for arts and a taste for hyperbole. The two men speak about their Shakespeare's project that will ultimately not be done, about their social activities and artistic meetings. They are thoughtful to one another without dwelling on their respective diseases. In the last year, it is mainly wifes who discuss the health of their husbands. "Friends, charities, virtuosos, parents took all of us... I saw however a nice and intelligent doctor to make some essential injections to the Master, who is a little depressed ... " Emma Claude Debussy wrote to Madam Toulet.

Debussy died in 1918. Toulet, sick of too much alcohol and opium, succumbed two years later. With his Contrerimes, which are beginning to be published in 1910 and whose final edition will be released in 1921, Toulet is recognized as an important poet and appointed as head of the ecole fantaisiste (The Fantasy School).

Currently, the librairie Loliée offers :

• Toulet (Paul-Jean). Correspondance de Claude Debussy et P.J. Toulet. Paris, Le Divan, 1929, binding by Huser. First Edition. One of the 15 first copies on Japan paper.
  
• Toulet (Paul-Jean) . Les Contrerimes. Paris, Edition du Divan et Emile Paul, 1921, pfull binding by Huser. First edition. One of the first 20 copies on China paper.
  

Ode to New York

"All your muscles are tensed
New York victorious
centuries of smoke
and here before you
as distant lonely clouds
stand your destiny
which is like the hesitation on the edge of a precipice
like gap that separates night of morning
doubt that nothing calms
like fire raising
like silent and hope and madness "
Extract from the book of poems Odes by Philippe Soupault - photo Keystone from the same book

Currently, the librairie Loliée offers :

• Soupault (Philippe). Odes. Paris, Pierre Seghers, 1946, in-4, illustrated cover. First edition with illsutrated with various pictures. Copie on vellum paper.
  
• Soupault (Philippe). Le Grand Homme. Novel. Paris, Charlot, 1947. First edition. Frontispiece by André Masson.

Ulysses illustrated by Gaston de Latenay

Painter, engraver and watercolorist, Gaston de Latenay (1859 - 1943), born in Toulouse, studied briefly at the Academie Julian, in Paris. Mostly self-taught, he stood apart from artistic movements and schools to develop his own poetic vision of nature. He combined japanese influences with a lyricism closed from the Nabis. Nausikaa - book sixth of the Odyssey and longest stop of Ulysses - makes the transition from Symbolism to Art Nouveau, and is notable both for the organization of compositions inspired by the influence of the Pre-Raphaelites and the subtle colors used for litographs.
(source: www.artoftheprint.com)

Currently, La Library Loliée offers :

• Latenay (Gaston de) - [Homer]. Nausikaa. Translated by Leconte de Lisle. Decorative compositions by Gaston de Latenay. Paris, Piazza, 1889, in-4, illustrated cover, case. Each page is illustrated with color compositions by Latenay. Limited to 400 copies. One of 25 copies on Arches paper enriched with a suite in black on China paper.

Fortune's surprises

"During the "initiation" of a series of lithographs in color, my friend Pierre Chave, experienced lithographer, discovered by chance, the brightness due to the fortuitous compositions.

The process is simple: instead of throwing in the garbage the tests obtained by the successive and random overlays , make the effort - or take delight in - and look closely (or afar). Let freely go the games of your imagination. Rejoice with the suddenness of your mental and sensual associations, of harmonies and dissonances of color that fortune chooses and lays by for you.

Show results to your friends - and even your enemies. Observe their reactions. Continue tomorrow. You will not be disappointed. "

Max Ernst - preface to the catalog of the gallery Alphonse Chave

Currently, the Librairie Loliée offers :

• [Ernst (Max)]. Livres et publications surréalistes. Paris, José Corti, 1932, plaquette in-12. Firts edition of this catalogue of José Corti Bookshop. On the cover, an original drawing by Max Ernst.
• Ernst (Max) - Carrington (Leonora). La Dame ovale. Avec 7 collages par Marx Ernst. Paris, G.L.M., 1939, in-12. First Edition with 7 full-page illustrations by Max Ernst. Copy on vellum paper.
  
• Ernst (Max) - Peret (Benjamin). La Brebis galante. Paris, Editions Premières, 1949, in-4, illustrated cover. First edition with 3 original engravings in color by Max Ernst. Limited edition to 321 copies, this one on Arches vellum paper.
• Ernst (Max) – Breton (André) - Peret (Benjamin). Almanach Surréaliste du Demi-Siècle. La Nef, numéro spécial, 63/64, Paris Sagittaire, Mars-Avril, 1950, in-8, illustrated cover. One of the 65 copies on Lafuma vellum paper, with 2 original lithographs in color, full-page, signed by Max Ernst and by André Breton.
• [Ernst (Benjamin)] – Peret (Benjamin). Mort aux vaches et au champ d’honneur. S.l. (Paris), Arcanes, 1954, grand in-4. First edition. One of the 54 first copies on Arches vellum paper, with as a frontispiece, an original engraving in color signed by Max Ernst. Copie of the author.
• Ernst (Max). Ecritures. Avec cent vingt illustrations extraites de l’œuvre de l’auteur. Paris, N.R.F Point du Jour, 1970, fort in-8, illustrated cover. First collective edition.
  
• Ernst (Max). Catalogue de la Galerie Alphonse Chave. Vence, du 13 février au 12 mars 1971, petit in-4, en feuilles, illustrated cover. Preface by Max Ernst. Original lithograph in color on the cover and 12 illustrations in color. Limited edition to 1000 copies. One of the first 90 copies with an orignal and signed lithograph, in color, on Japan paper, by Max Ernst. Enhanced with an autograph of the artist.
  
• Ernst (Max). Lieux communs. Décervelages. S.l. [Milan], A. Iolas, 1971, brochure in-8. This booklet was print for the Max Ernst's exhibition « Lieux communs » at the gallery Alexandre Iolas in Paris. Limited edition to 1000 copies.

Degas illustrator

Towards 1878-1879, Edgar Degas initiates a series of pastels to illustrate La Maison Tellier, a short story by his contemporary Guy de Maupassant. The painter was seduced by this realistic tale, in which the author refers to the theme of prostitution. The two men met in the literary salons of the capital, including the one of Ludovic Halévy. Degas also began to sketch the characters of the Cardinal family, symbol of the petty and pedantic bourgeoisie of Paris, created by Halévy in two short stories, Monsieur et Madame Cardinal and their wishful dancers daughters Les Petites Cardinal. But Halévy, future member of the French Academy, did not like the realistic style of the painter who put back his monotypes in a drawings cardboard. It was not until 1928 that the illustrations reappeared during an art auction. In 1939, the bookseller Auguste Blaizot finally published the collection in collaboration with Maurice Potin. It is this same engraver that was chosen by the Vollard Editions to work in 1934 on the publication of La Maison Tellier. This late publication was due to Ambroise Vollard who wanted first to issue the pastels without the text. (source : wikipedia.fr)

Currently, the librairie Loliée offers :

• Degas (Edgar) - Maupassant (Guy de). La Maison Tellier. Paris, A. Vollard, 1934, in-8, full Levant binding by Lucie Weill. 19 full-page copper platings and 17 wood engravings based on the original compositions in black and in colors by Edgar Degas. Limited edition to 325 copies.
• Degas (Edgar) - Maupassant (Guy de). La Maison Tellier. Paris, A. Vollard, 1934, in-8. 19 full-page copper platings and 17 wood engravings based on the original compositions in black and in colors eby Edgar Degas. Limited edition to 325 copies.
• Degas (Edgar) - Halévy (Ludovic). La Famille Cardinal. Paris, Blaizot, 1939, in-4, full Levant binding by Maylander. 32 full-page monotypes (7 in couleurs). Limited edition to 325 copies.

Le Clézio : A Nobel recognition

J.MG. Le Clézio is only 23 years old when he is revealed and rewarded for Le Procès-verbal (The Deposition), his first book, which won the Renaudot Prize in 1963. Since, the author has published about fifty titles - novels, stories, essays. A classic style, quietly innovative, an humanistic dimension of the subjects the author chooses seduce his contemporaries. The jury of the Nobel Foundation plebiscites with the Prize in Literature this "writer of rupture, of poetic adventure and sensual ecstasy. "

Currently, the librairie Loliée offers in first editions :

• Le Procès-verbal. Paris, Gallimard, 1963, in-12. Edition reserved to the press. These copy enhanced by a dedication of the author.
• Le Déluge. Roman. Paris, Gallimard, 1966, in-8. One of the 85 copies on Lafuma-Navarre vellum paper.
• Trois Villes Saintes. Paris, N.R.F., 1980, in-8, 1980. One of the 25 first copies on Dutch paper.
• Printemps et autres saisons. Nouvelles. Paris, Gallimard, collection « Le Chemin », 1989, in-8, bounded (D.H. Mercher). One of the 45 first copies on Dutch paper . These copy enhanced by a dedication of the author.
• Pawana. Paris, N.R.F., 1992, in-8. One of the 60 first copies on Dutch paper.
• Cœur Brûle et autres romances. Paris, Gallimard, 2000, in-8. Limited to 90 copies on Lana vellum paper.
• L’Africain. Roman. Paris, Mercure de France, 2004, in-12. Limited to 110 copies on vellum paper.
  
• Ourania. Paris, N.R.F., 2006, in-8. Limited to 130 copies on vellum paper.
• Ballaciner. Paris, N.R.F., 2007, in-8. Limited to 60 copies on vellum paper.

Autumnal list

The Librairie Loliée presents a varia list of 19th and 20th centuries first editions and illustrated books.

Do not hesitate to contact us if you wish to reserve a number.

Death on the Installment Plan, in its unexpurgated version

Céline begins to write in 1932 Death on the Installment Plan, his second and autobiographical novel. But the book is not published by Denoël until 1936. The redaction is laborious. After Journey to the End of The Night, Céline cleans his style, focuses on rhythm. He describes, in a chaotic and burlesque tone, his childhood memories in a family torn apart. The violence of the book pushes Denoël to released a bowdlerized version, without the passages judged detrimental for decency. Only the edition "off trade", a total of 117 copies, provides the full text. The release of the novel is not successful and is even criticized by supporters of Journey to the End of The Night.
Yet it is with Death on the Installment Plan that borns this special and typical technique of the author, made up of short sentences, where punctuation, between exclamation and suspension, give the pace.

(source : wikipedia.fr)

Currently , The Librairie Loliée offers :

• Céline (Louis-Ferdinand). Mort à crédit (Death on the Installment Plan). Paris, Denoël et Steele, 1936, in-8, bounded in a full purple levant (Huser). One of the 22 first copies, off trade, on Japan paper. This copy contains an autograph page of the novel's manuscript, with erasures and corrections.

Alain Jacquet and fragmentation

"... the point for Jacquet is not at all the geometrical or Euclidean phenomenon, that is to say the intersection of two lines, with the limited side it can involved, but is just the possibility of all fragments, from the basic element which itself is fragmented by nature, and I think that is rather capital. "

Pierre Restany, 31 March 1971 (excerpt from an interview recorded at the Galerie Bonnier).

The work of Alain Jacquet, who died in September, is focused on the concept of fragmentation, of point and reflects the plastic and aesthetic innovations of contemporary art (serigraphs, camouflage paintings as the famous reinterpretation of Le Déjeuner sur l'Herbe de Manet) .

See the tribute to the artist written by his friend Catherine Millet.

Currently, the librairie Loliée offers:

• JACQUET (Alain). Silver Marble. Genève, Galerie Bonnier, 1971, in-folio, in leaves, silvered paper cardboard. First edition of this portfolio including 4 original serigraphs by Alain Jacquet and publsihed for the execution of "the Siver Marble : the Geneva Project", a canvas of 144 square meters installed on the facade of a building in Geneva.

Suares, an author in the shadow

Admired by his peers André Gide, Paul Valery and Paul Claudel, with whom he founded the Nouvelle Revue Française, influential model for Alain-Fournier or Stefan Zweig, Suarès remained in the shadow of his contemporaries despite a provided work. Were published not less than eighty books during his lifetime and thirty posthumous works. Collection of poems (Airs, Bouclier du Zodiaque), biographies devoted, among others, to Tolstoy, Ibsen, Baudelaire, Napoleon, travel journals including Le Voyage du Condottiere, essential reference on Italy, studies on great musicians as Bach, Wagner and Debussy, tragedies inspired by ancient authors, thoughts and aphorisms as Voici l'Homme, pamphlets with Vues d'Europe in which he denounced in 1933 the dangers of Nazism ...
Suarès is a prolific author who has dealt with disparate areas. Perhaps it is this variety which has troubled his image among the general public and impaired a visibility he deserves.
(sources : wikipedia, msn encarta).

"Suarès died destitute and forgotten, after writing on Retz, Tolstoy, Napoleon, in a incomparable way, which proves a breathing equal to that of genius".
Roger Nimier in L'élève d'Aristote (Paris, Gallimard, 1981)

Currently, the librairie Loliée offers :
- Suarès(André). Airs. V livres de poèmes. Paris, Mercure de France, 1900, in-12. First Edition.
- Suarès(André). Lais et Sônes. Paris, Bibliothèque de l’Occident, 1909, in-12.
First Edition. One of the 133 copies on Arches paper.
- Suarès(André). Xénies. Paris, Émile-Paul Frères, 1923, in-12.
First Edition. One of the 15 copies on Japan paper.
- Suarès(André). Poète tragique. Paris, Émile-Paul Frères, 1923, in-12.
First Edition. Copy on Lafuma paper with a hand-written dedication.
Essay on Shakespeare's Prospero.
- Suarès(André). Présences. Paris, Emile-Paul Frères, 1926, in-12, bounded. First Edition. One of the 100 copies on Dutch paper.

Annual closing

Dear readers,
The bookshop will be closed from July, 26 to August, 18.
See you for the reopening.

The Interpretation of Le Rêve by Carlos Schwabe

Carlos Schwabe, German naturalized Switzerland, is an autodidact who, for any artistic training, has followed the school of Industrial Arts in Geneva where he learned to draw. Installed in France in 1884 where he remained until his death in 1926, Schwabe pass through the last part of the 19th century under the influence of symbolism. He works with the Sâr Peladan, an occult writer and founder of the aesthetic Rosicrucian, a movement close to the symbolism and esotericism, whose religious and social concerns correspond to his own questions. Of great sensitivity, Schwabe is an idealist whose perfectionism makes him an appreciated illustrator. His interpretation of Le Rêve, whom the first illustrated edition is published in 1892 by Flammarion, enriches the work of Zola with Japanese art and Pre-Raphaelites influences and gives the work a visionary and mystical dimension. Schwabe, busy preparing the fair of the Rosicrucians, left the achievement of 6 compositions to Lucien Métivet, who is known for his humorous cartoons.
(source : wikipedia.org)

Currently, the librairie Loliée offers :

• Schwabe (Carlos) – Zola (Emile). Le Rêve. Paris, Flammarion, s.d. [1892], in-4, bounded with two plexiglas plates which offer the original cover to vision without damage. First illustrated with 26 full-page compositions by Carlos Schwabe and 6 compositions by Lucien Métivet. One of the 30 first copies on Japan paper, signed by the editor.

Picasso's comic book

"cries of children cries of women cries of birds cries of flowers cries of timbers and of stones cries of bricks cries of furniture of bed of chairs of curtains of pots of cats and of papers cries of odors which claw at one another cries of smoke pricking the shoulder of the cries which stew in the cauldron and of the rain of birds which inundates the sea which gnaws the bone and breaks its teeth biting the cotton wool which the sun mops up from the plate which the purse and the pocket hide in the print which the foot leaves in the rock. "

Picasso - quote from Dreams And Lies Of Franco

Currently, the librairie Loliée offers :

• PICASSO (Pablo) . Sueno y Mentira de Franco. S.l. (Paris), s.é (chez l’auteur), s.d. (1937), in-folio, in leaves, cover. Text by Picasso in French, English and Spanish reproduce in facsimile, illustrated by 18 original engravings by Picasso, in 2 boards each including 9 engravings. Stamp signed by Picasso. One of the 850 copies on Montval laid paper. Picasso made this comic book of 18 scenes to protest against General Franco's coup d’etat.

Bertini, the hybrid

Gianni Bertini, born in 1922 in Pisa, is a painter of the abstract movement he joins in the late Fourties. His early pieces "I Gridi" (screams), provide a work around stamped letters. In 1950, Bertini focuses his work on the use of stains. The following year, with the exhibition of his work called "nuclear" art at the Numero Gallery of Florence, he takes part in one of the first demonstration of "Art Informel" in Italy. The Fifties are marked by his collaboration with the group "imaginary spaces" initiated by Pierre Restany, and numerous trips in major European cities he visits for personal exhibitions. He then goes to the U.S.A. and collaborates with the Gres Gallery in Chicago. In 1961, Sweden organizes a retrospective of his work to be resumed at the Palais des Beaux-Arts in Brussels. For the occasion, the art critic, René de Solier, writes a tribute to the artist whose he describes the work made of forms, signs and things as a "new hybrid":
"'The Gianni Bertini's adventure is obvious, and without concession, based on a golden rule, or job : not to be imprisoned in a formula. Do not only depend, and independence is there, on the only post-abstract painting . "

In the early Sixties, Bertini gets close to New Realism and, in 1965, he subscribes to the first Mec'art Manifest. In 1984, a retrospective is devoted to his work at the Centre National des Arts de Paris. In 1991, he produced a cycle of works on the Gulf War : "To remember" and in 1992 a new cycle on Antonin Artaud.

Currently, the librairie Loliée offers :

• Bertini (G.) - Krea (H.). Round about Midnight. Alès, P.A.B., 1961, small in-8. First edition with an original engraving by Bertini. Limited Edition to 50 copies, justified and signed by Bertini.
• [Bertini (G.)] – Solier (René de). Bertini. Paris, s.é., 1963, in-12. Facsimile of Solier's manuscript with compositions by Bertini and published for the painter exhibition at the Palais des Beaux-Arts in Brussels in 1963.
  

Stories of O : Réage /Crepax

Story of O, written under the pseudonym of Pauline Réage, is published in 1954 thanks to the will of Jean-Jacques Pauvert who buys the rights of this sulfurous novel in which a woman, wilingly becomes a sexual slave. Pauvert entrusts the redaction of the preface to Jean Paulhan, the first recipient of the story, and restricts the release to 600 copies. The first twenty copies on Arches paper has an original engraving by Hans Bellmer, surrealist whose work on eroticism, animated and inanimated bodies resonate with the theme of this "destruction in joy" to borrow the words of Pauline Réage .

In 1975, Guido Crepax grabs this cult novel and adapts the full text in comic books. Published to 900 copies, the book includes a double preface : by Roland Barthes and Alain Robbe-Grillet who highlights the subtleties of the two versions:
"While Pauline Réage had taken care to give us her heroine with barely perceptible signs of usury or small physical faints (all these well known "humain" details that separate Greek marble of its model) here, breasts are a bit too heavy or features, already marked by light weariness that makes it more poignant, are suddenly replaced by strong black lines without the slightest mistake, the slightest tremor, lines which delineate areas of flesh with an abstract perfection, without past, without possible lassitude, forever smooth and firm. "

Currently, the librairie Loliée offers :

• Réage (Pauline). Histoire d’O. With a preface by Jean Paulhan. Paris, Sceaux, J.J. Pauvert, 1954, in-12. First edition limited to 600 copies. This one on laid paper with the engraving of Hans Bellmer, theoretically reserved to the 20 first copies on Arches paper.
• Crepax (Guido) – Réage (Pauline). L’Histoire d’O by Guido Crepax. Introduction by Roland Barthes and Alain Robbe-Grillet. Genève/Milan, Taousinc et Franco Maria Ricci, 1975, in-folio, binding in black silk with a gold O on the cover. First illustrated edition limited to 900 copies on laid paper numbered and signed by Guido Crepax.

Diderot, Rameau's nephew

"Qu’il fasse beau, qu’il fasse laid, c’est mon habitude d’aller sur les cinq heures du soir me promener au Palais-Royal. C’est moi qu’on voit, toujours seul, rêvant sur le banc d’Argenson. Je m’entretiens avec moi-même de politique, d’amour, de goût ou de philosophie. J’abandonne mon esprit à tout son libertinage. Je le laisse maître de suivre la première idée sage ou folle qui se présente, comme on voit dans l’allée de Foy nos jeunes dissolus marcher sur les pas d’une courtisane à l’air éventé, au visage riant, à l’oeil vif, au nez retroussé, quitter celle-ci pour une autre, les attaquant toutes et ne s’attachant à aucune. Mes pensées, ce sont mes catins."

On this paragraph opens Le Neveau Rameau (Rameau's Nephew - text in french here) in which Diderot maintains a philosophical conversation between two allegorical figures of himself: He - this nephew who has a materialistic vision of life, and I - Diderot, the philosopher who wants to help humanity. The unconventional construction, the satirical dimension - Diderot scratches some famous names - explain that the manuscript does not appear in France. It is Goethe who published the book in 1805 in Germany. The first french edition dates from 1821 and appeares in a set of 22 volumes described as the first collective edition - in addition to Le Neveau Rameau, it also presents the Voyage de Hollande (Travel to Holland) in a first edition. In 1891, Georges Monval, Librairian at the Comédie-Française, finds the autograph manuscript of Diderot among other papers of the family of Angelique de Vandeul, the daughter of the philosopher. The text of this manuscript is most of the time chosen for recent editions, like the one of 1924, illustrated by Naudin (drawing reproduced above).
(Source: wikipedia.fr)

Currently, the Librairie Loliée offers:

• Diderot (Denis). Œuvres. Paris, Chez J.L. Brière, 1821, 22 volumes in-8, bounded at that time (P. Gaudreau). Ex-Libris from 'Henry William Shaw. First collective edition.
  
• Naudin (Bernard) – Diderot (Denis). Le Neveu de Rameau. based on the original manuscript published by Georges Monval. Preface by M. Louis Barthou. Illustrations by Bernard Naudin. Paris, Auguste Blaizot, 1924, fort in-4, en feuilles, broché. Exemplaire sur vélin de Rives.

The dazzling town planning of Le Corbusier

Monograph of the New Time Pavilion designed by Le Corbusier for the International exhibition "Art and Technique" of 1937, Des Canons, de s munitions ? Merci ! Des logis … S.V.P (guns, ammunition? No, thanks ! Some sojourn please...) declines the architect's theories which combine social, architectural thoughts and practical realization. Le Corbusier poses a very visionary view on the situation of Paris, he also considers a model for a cooperative village. He identifies the four functions of town planning (live - recreate - work - move) and underlines that modern town planning can no longer operate without the pair home and leisure.

Here is what he (already) said about the misery of Paris:
"Slums
... the lack of air and sunshine, agent of degeneration.
... wells for tuberculosis.
... Proof.
Luxury Slums :
... Where we also grow sickly ... the same courtyards, the same vis-à-vis, but people can recover by a long vacation.
... 33 km of H. B.M. [social housing blocks] have only perpetuate the old formulas.
... In the chaos, noise, foul air, fever, five million beings wear themselves out. "

Currently, the Librairie Loliée offers :

• Le Corbusier. Des Canons, des munitions ? Merci ! Des logis … S.V.P. Boulogne sur Seine, Éditions de l’Architecture d’Aujourd’hui, 1938, in-4 oblong. First Edition.
  
• Le Corbusier. Le poème électronique. Paris, Editions de Minuit, "les Cahiers Forces Vives", 1958, First edition.

The Twenties by Geo A. Drains

Geo Drains, Belgian painter and illustrator, is best known by bibliophiles for his work published at Le Sagittaire - Simon Kra : Les Complaintes by Jules Laforgue, Le Bordel de Venise by the Marquis de Sade, decorated with scandalous and erotic illustrations that Drains signed under the pseudonym of Couperyn. Close to the young André Malraux who was working at Le Sagittaire Edition, Drains took part in creating this eccentric and bizarre universe from the very beginning 20 years, period influenced by German Expressionism which also see the birth of surrealism.

The collaboration between Alfred Jarry and Geo Drains on Gestes, published in 1920, reflects this kind of black comedy that captures the grotesque aspect of human nature. Thus, the text provocatively entitled "Beating Women" sidetracks on the use of rubber made women, "a material which unfortunately splits and "died" after three years. But there is so man "natural" women who must repair all day long! "

Currently, the librairie Loliée offers :

• Jarry (Alfred) - Drains (Géo. A.). Gestes suivis des paralipomènes d’Ubu. Paris, Éditions du Sagittaire, 1920, in-16 oblong. First edition illustrated with 7 original etchings by Geo A. Drains. Copie on Holland paper.
  

The lyrical studies of Banville

Well-acquainted with Hugo and Gautier, friend of Baudelaire who greeted his talent since the publication of his first collection, Les Cariatides, Théodore de Banville goes against realistic poetry and rejects the drift of romanticism towards an easy and weepy style. For him, the beauty of poetry comes through a ceaselessly work on language. He called, besides, his poems collections lyrical studies. Both by his themes and his obsession with the purity of verse, he became one of the leaders of Parnassianism. His impressive work - 17 collections of poetry, rhyme plays, publications in periodicals - remains a model for many french poets of the second half of the 19th century. Banville also had a decisive influence on Mallarmé, Leconte de Lisle, Verlaine, Catulle Mendès, he regularly received at home. In 1871, he even housed Rimbaud, who was initiated to poetry with the journal Le Parnasse Contemporain, and who sent him several of his poems.


The publication in 1857 of Les Odes funambulesques marked a turning point in his style, more flexible, and brought him consecration. Les Nouvelles Odes Funambulesques, published in 1869, contain the famous poem "Promenade Galante" which, for the story, was set to music by Charles Koechlin.

Currently, The librairie Loliée offers :

• Banville (Théodore de). Nouvelles Odes Funambulesques. Paris, Lemerre, 1869, in-12. First edition with a a frontispiece by Léopold Flameng. One of the 10 copies on Holland paper (with two more conditions of the frontispiece).

Les Chambres by Aragon

" Les chambres lettres déchirées
Il en reste des cris éteints le désordre d'avoir
Eté le désordre toujours d'être A partir d'un
Certain jour vivre n'est plus jamais que sur-
vivre
Plus jamais que ce désordre appelé dérisoi-
rement mémoire"

Quote from Les Chambres, poème du temps qui ne passe pas by Aragon.

Les Chambres is a late poetic collection published in 1969. Aragon goes back on one of his obsessions : time and, to quote the entire title, "le temps qui ne passe pas" (time that does not slip by). The text resounds this peculiar harmony proper to the poet who, playing with the syntax, detunes the traditional rythm of rhyme, flirts with a poised prose.
(On line reference : Aragon, la mémoire et l'excès a book by Olivier Barbarant).

Currently, the librairie Loliée offers :

• [Man Ray] - Aragon. Les Chambres. Poème du temps qui ne passe pas. Paris, Les Editeurs Français réunis, 1969, in-12, in leaves, case. One of the 80 copies signed by Aragon and including in frontispiece, an original etching by Man Ray, numbered and signed.
  

White Manifesto by Lucio Fontana

White Manifesto : spazialismo (quotes)

"we are continuing the evolution of art"

• "The discovery of new physical forces, the mastery of matter and space gradually impose on man conditions which have never existed heretofore in history. The application of these discoveries to all the forms of life produces a modification in the nature of man."
• "We are living in the era of mechanics. Already painted and the plaster figure no longer make sense."
• "We are abandoning the use of known forms of art nd we are initiating the development of an art based on the unity of time and space. "
• "Matter, color and sound in motion are the phenomena whose simultaneous development is an integral part of the new art."
• "The new art demands the functioning of all the energies of man in creation and interpretation. The Being manifests itself integrally, with the plenitude of its vitality."

In 1966, the Apollinaire gallery in Milan republishes - translated into Italian, french, English and German - the founder text of Lucio Fontana. Printed at 2000 copies, enriched with photographic reproductions by Ugo Mulas and texts relating to the work of Fontana, the book is taking place in a period where the influence of Italian painter reaches its full dimension. The Apollinaire gallery is the cradle of New Realism, whose term itself comes from a manifesto written by Pierre Restany as part of an exhibition. Yves Klein, in 1961, sets his monochromes to the same gallery. This art movement that uses garbage, torn posters, found objects, which gives media coverage to creation can be read as an neo-dada interpretation of the new art claimed by Fontana.

Currently, the librairie Loliée offers :

• Fontana (Lucio). Manifiesto Blanco. Spazialismo. Milan, Galleria Apollinaire, 1966, in-folio, broché, case. Facsimile of the original manifesto published in 1946 in Buenos Aires and translated into Italian, French, English and allemand. Limited edition to 2000 copies and enriched with photographic reproductions by Ugo Mulas and texts relating to the work of Fontana.

Catalogue 2008

For the International Antiquarian Book Fair of Paris (18, 19 and 20 April), the librairie Loliée offers you to download the catalogue 2008 :

partie 1

partie 2

Librairie Loliée - Stand E30
Salon du Livre Ancien
Grand Palais - avenue Winston Churchill
75008 Paris.

Camille Bryen's illunations inspired by Jules Laforgue

In 1974, Camille Bryen, a subversive poet close to Dadaism and a pioneer of Tachisme, grabs the collection of Jules Laforgue L'Imitation de Notre Dame La Lune ( literally : the Impersonation of Our Lady the Moon), works on the page setting and "illune" (a made-up verb translatable by "to moon") the book with six original engravings. This special edition is dedicated to :

" Marcel Duchamp
dépassant considérable
je dédie ces illunations".

The matching between Bryen, a fan of automatic writing, and the decadent Jules Laforgue, is summarised in the introduction written by the art critic Jean-Dominique Rey :
"Between the poetry of Laforgue and his [Bryen] passes the same thread of black humour that causes the words to face new arpeggios. But one day words were not enough for Bryen. The style, relieved of the weight of language, became a furious chisel beating rock and air and plotting unusual runes for a language beyond forms. "

Currently, the librairie Loliée offers :

• Bryen (Camille) – Laforgue (Jules). L'Imitation de Notre Dame La Lune. Selon Jules Laforgue. Illunée de gravures de Camille Bryen. Paris, Jean-Pierre Ollivier, 1974, in-4, in leaves under cover, casing. Edition illustrated by 6 original engravings each signed by Camille Bryen. Limited to 172 numbered copies, this one on velum paper.

Octave Uzanne : the friend of books

Octave Uzanne (1851-1931) leaves the city of Auxerre, after classical studies, to live his passion for literature in Paris. He writes for book lovers publications then builds his own reviews (Miscellanées bibliographiques, Le Livre, Le Livre moderne, L'Art et l'Idée). He publishes new pieces, of Sade and Baudelaire among others, accompanied by bio-bibliographical references to assist in the understanding of the authors.
In 1889, he takes part in the creation of a publishing company, the "League of Contemporaries bibliophiles". He frequents the circles of Art Nouveau and Symbolism and binds especially with Jean Lorrain, Barbey d'Aurevilly, Remy de Gourmont.

He also publishes personal works : novels, fantasy books, bibliographical studies. These are illustrated editions, with a limited publication, produced in collaboration with artists such as Eugène Courboin or Félicien Rops. He also contributes to various newspapers : La Dépêche de Toulouse, Le Figaro, Le Mercure de France.
In 1886, Uzanne publishes Nos Amis Les Livres, subtitled "Causeries sur la littérature et la librairie ("Talks on literature and bookshop)." This collection, made of literary and scholar "zigzags" about books, remains a benchmark for book lovers.

(source : Wikipedia.fr)

Currently, the librairie Loliée offers :

• UZANNE (Octave). Nos Amis les livres. Causeries sur la littérature et la librairie. Paris, Charpentier, 1886, in-12, binding (Bretault). A frontispiece by H. Manesse. One of the 5 copies on Chine paper , with five conditions of the frontispiece, plus two different conditions of the cover. Personal copie of the author, with his ex-libris.
• UZANNE (Octave). Contes de la vingtième année. Bric à Brac de L'amour - Calendrier de Vénus - Surprises du coeur. Paris, Floury, 1896, in-8. Frontispiece by Daniel Vierge and drawings in camaïeu by E. Courbouin. Limited edition to 700 copies, this one on vellum paper.