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.

Les Diaboliques (The She-Devils) according to Féliciens Rops

Les Diaboliques (The She-Devils), collection of short-stories, was published for the first time in 1874. The stories full of sulfurous eroticism caused controversy. Barbey d'Aurevilly was prosecuted for "insulting public decency and morality, and complicity." He withdrew the book from sale and prosecutors seized the remaining copies. To avoid trial, Barbey d'Aurevilly asked the help of his political acquaintances. He obtained a dismissal but the seized copies have already been destroyed. It was not until 1882 that Barbey d'Aurevilly republished Les Diaboliques, at Alphonse Lemerre's edition, with a portrait by Paul Adolphe Rajon and nine compositions by Félicien Rops (Le Rideau cramoisi - Le Plus Bel Amour de Don Juan - Le Bonheur dans le crime - Le Dessous de cartes d'une partie de whist - A Un Dîner d'athées - La Vengeance d'une femme ; two etchings for the postface and an etching untitled representing a woman hugging a sphinx). The Belgian artist boldly captures the decadent dimension of Barbey d'Aurevilly's style.

This collaboration is one of the greatest testament to the Symbolist aesthetic of that time.
(to consult - in french : Myriam Watthee-Delmotte's study ).

Currently, la librairie Loliée offers:

• ROPS (Félicien). Dix eaux-fortes pour illustrer les Diaboliques de J. Barbey d’Aurevilly. Paris, Alphonse Lemerre, s.d. [vers 1900], small portfolio of ten etchings, in leaves (193x137 mm), publisher's folder.

Georges Hugnet, a released surrealist

Georges Hugnet (1906-1974) grew up in Buenos Aires where his father opened a branch of the family firm specialized in wood furniture. He moved to Paris in 1913. Man with many talents, Hugnet composed poems, wrote articles, made photo-montages, was also a publisher. In 1920, he became friend with Marcel Jouhandeau, his neighbour, who introduced him to Max Jacob. With financial support from his father, he founded the Editions de la Montagne, whose goal was to publish his own work and those of friends as Tristan Tzara, Gertrude Stein. He joined the Surrealist group in 1932 through Tzara who introduced him to André Breton. Hugnet left the movement in 1939. Breton reproached Hugnet for maintaining friendship with Paul Eluard, who distance himself with the leader of Surrealism because of their political disagreement during the Spanish Civil War. However, in occupied France, Georges Hugnet joined La Main à la plume, a group that maintained the surrealist publications while Breton went into exile in 1941. While officially out of the movement, Georges Hugnet never ceased to be a part of it.

Currently, the librairie Loliée offers :

• Le Droit de Varech. Illustrés de 5 lithographies par Eugène Berman. Précédé par le Muet ou les Secrets de la vie. Paris, Editions de la Montagne, 1930, in-4, bound in full green calf by A. Lobstein. First edition. Limited to 502 copies. One of the first 10 copies on Japan paper, signed by the author and the illustrator, and with 5 original full-page lithographs by Eugène Berman. (only the 100 first copies include those lithographs).
• Le Droit de Varech. Illustrés de 5 lithographies par Eugène Berman. Précédé par le Muet ou les Secrets de la vie. Paris, Éditions de la Montagne, 1930, in-4. First edition. Limited to 502 copies. One of the first 25 copies on Holland paper, signed by the author and the illustrator, and with 5 original full-page lithographs by Eugène Berman. (only the 100 first copies include those lithographs).
• La Belle en dormant. Paris, Editions des Cahiers Libres, 1933, in-12. First edition. One of the 500 copies on vellum paper.
• L'Apocalypse. Paris, G.L.M., collection "Habitude de la Poésie", 1937, in-16. First edition. One of the few copies on two-coloured glossy paper.
• La Femme facile. Illustrations de Christine Boumeester et Henri Goetz. Paris, Jeanne Bucher, 1942, in-12 oblong, in leaves, illustrated cover. First edition with a frontispiece and 14 lithographs by Christine Boumeester and Henri Goetz and with the text reproduced in facsimile. Limited to 115 copies. One of the 5 copies reserved to the author, on "mûrier de Tonkin" paper, enhanced with a plate lithograph of Ch. Boumeester.
• La Nappe du Catalan. 64 poèmes et 16 lithographies en couleurs. Paris, s.n.é., 1952, in-4, illustrated cover, folder and case. First edition of poems by Hugnet and Cocteau composed simultaneously on restaurant tablecloths. Illustrated with 16 lithographs by Cocteau, coloured by Hugnet. Limited to 113 copies, this one on Rives paper enhanced with an ink and wash drawing, and a dedication by Georges Hugnet to Valentine Hugo.
  
• 1961. Illustré de quatre photo-montages. Paris, chez l’Auteur, 1961, in-8, in leaves, illustrated cover. First edition with 4 photo-montages by Georges Hugnet. Copie on vellum paper.