The flambloyant Walasse Ting

Walasse Ting, a Chinese-American artist, was born in Shanghai in 1929. In 1946, he left China for Hong Kong and then moved to Paris in 1952. He got close to the avant-garde movement CoBrA. In 1957, he moved to New York and was influenced by Pop Art. He participated in the publication of One Cent Life, a major illustrated book of Modern Art. Walasse Ting, master of acrylic, has a characteristic style : colourful palette, intense light. In 1958, Ting wrote a series of poems My Shit and My Love, which was be published for the first time in 1961 by the Smith Gallery in Brussels.

JUST LOVE

I live white skeleton
Meet love
Blood jump
Rain flood night
We drink three thousand wine cup
Make one million love
Ten Thousand paintings
Sex cyclone
Conquers fire :
Six suns crash
Nine volcanoes spit
Seven oceans leap
Ninety nine dragons roar
Eight thousand thunders open in one second
Life great happy
Death not sad
Why I tremble?

Walasse Ting - in My Shit and My Love - 1961

Currently, the librairie Loliée offers :

• TING (Wallasse). My Shit And My Love. 10 poems. Bruxelles, Galerie Smith, novembre 1961, in-4, stapled, illustrated cover. First Wallasse Ting 's publication with 2 original lithographs in colour. Limited to 1099 copies.

Dorothea Tanning : a surrealism woman

Born in 1910, Dorothea Tanning left his family in 1930 to follow the course of the Academy of Arts in Chicago. She then moved to New York and lived from advertising works. She is strongly impressed by the 1936 exhibition "Fantastic Art, Dada, Surrealism" and, in 1942, she joined the New York surrealism's group led by André Breton in exile. She met Max Ernst, who is then married to Peggy Guggenheim. She became, in 1946, the fourth wife of the German artist, during a double ceremony which also united Man Ray to the dancer Juliet Browner. In 1953, Ernst and Tanning settled in France. Two years after the death of Max Ernst in 1976, Dorothea Tanning returned in New York.
Her work is anchored in Surrealism but focuses more specifically, in the 50s, on the figure of the woman, of the muse. In 1974 a retrospective is done in Paris, at the Center Pompidou, by Pontus Hulten.

At nearly 100 years, Dorothea Tanning is one of the last living members of the surrealist movement.

(source: dorotheatanning.org)

Currently, the librairie Loliée offers :

• Tanning (Dorothea) - Sartoris (Ramon). Three Plays. S.l [Washington], The Black Sun Press, 1944, in-4, hardcover. First edition with 3 original drawings by Dorothea Tanning. This copy is dedicated by Tanning to Paul Eluard.

Pleasant illustrations by Mister Boucher

Born in Chartres, Lucien Boucher (1889-1971) studies at the School of Ceramics in Sèvres and makes his debut as a cartoonist for the magazine Le Rire. He also works for the magazine Fantasio. After the First World War, he participates in the revival of the illustrated book by working for the publisher Marcel Seheur. Thus appears La Batrachomyomachie (1920) or Boutiques de la Foire (1926) by Pierre Mac Orlan, author for whom he illustrates many first editions. He pursues a parallel career as a poster for the film and fashion industry. He is known for his long collaboration with Air France, a company for which he produces posters and world maps.
Thick lines, simplified shapes, contrasting colours : the style of Lucien Boucher is typical of that of the interwar.

Currently, the librairie Loliée offers :

• [Boucher (Lucien)] - Homère. La Batrachomyomachie. Poème attribué à Homère. Translaté du grec en français par Mario Meunier, orné de bois gravés par Lucien Boucher. Paris, Chez Marcel Seheur, 1920, in-8, covers. Limited to 525 copies. One of the 100 coloured up copies , with originals wood engravings by Lucien Boucher with a suite in black on Holland paper.
• [Boucher (Lucien)] - Mac Orlan (Pierre). Boutiques de la Foire. Paris, Marcel Seheur, 1926, small in-4, , covers. First edition with 37 original lithographs in colours by Lucien Boucher. Limited to 516 copies. One of the 500 copies on Arches paper.

The outrageous Roger Peyrefitte

Formed by the Jesuits, Roger Peyrefitte (1907-2000) integrates the free school of political sciences. In 1930, he is appointed secretary to the ambassador in Athens before being recalled to Paris in 1938, following an incident with the young protégé of a Greek admiral. He resigns in 1940 but resumes his duties in Paris in 1943. The publication in 1944 of his first novel, Les Amitiés particulières, gives him immediate fame, crowned by the Prix Renaudot. The story chronicles the journey of George, a young boy who joined a Jesuit school in Languedoc, where he lives a love story with a comrade. The sulphurous reputation gained with this book marks the end of Roger Peyrefitte's diplomatic career. He becomes then a full-time writer and publishes an important work, including an important biography of Alexander the Great. With André Gide, he is one of the few authors to talk about homosexuality, denouncing with irony and sophistication, the hypocrisies of the society in which he evolved.
(source : wikipédia)

Currently, the librairie Loliée offers :

• Les Amitiés particulières. Marseille, Vigneau, 1943, in-4. First edition. One of the 200 copies on Johannot vellum paper with a dedication from the author to Madame Marthe Peyrony.
• La Mort d’une mère. Paris, Flammarion, 1950, in-8, full levant binding by Bellavée . First edition. One of the 30 first copies on Lana paper with a long dedication from the author to his "dear Marie-Françoise".
• Chevaliers de Malte. Paris, Flammarion, 1957, in-12. First edition. Oneof the 100 first copies sur on Marais paper.
• L’Enfant Amour. Paris, Flammarion, 1969, in-8. First edition. A copy on Madagascar vellum paper..

Picabia dada

ALAS!
Women Men
Business
A country ambitious
Of sovereignty
I like that one bends eyes
of troubles
Especially in the sea chest
But I tell disinterested lies
It's almost the same thing
The truth of the soul
Is the great cowardice of academic pride
My eyes in your eyes
I'm happy
In my isolated loneliness

Picabia (1879-1953) - Poem and reproduction quote from Poèmes et dessins de la fille née sans mère.

Currently the librairie Loliée offers :

• Jésus-Christ Rastaquouère. Dessins par Ribemont-Dessaignes. S.l. (Paris), Collection Dada, s.d., in-8. First edition. This copy contains a dedication from the author to Pierre Birot, director of the artistic revue SIC.
• Poèmes et dessins de la fille née sans mère. 18 dessins - 51 poèmes. Lausanne, Imprimeries Réunies S.A., 1918, in-8. Rare first edition.
• Laissez déborder le hasard. Gravure de Gianni Bertini. S.l., P.A.B., s.d., in-4, in leaves. First edition of this poem illstrated with an original engraving by Gianni Bertini. Limited to 29 copies, this one signed by the publisher P.A.B. and designed to Michel Perrin.
  
• Oui Non. S.l., P.A.B.,1953, in-16, brochée. First edition. Limited to 111 copies numbered and signed by the publisher P.A.B.
• [PICABIA (Francis)]. Francis Picabia 1879-1954. S.l., Orbes, 1955, in-8, in leaves. Not for sale booklet published in tribute to Picabia. Limited to 191 copies on Auvergne paper. Texts and reproduced drawings by Jean Arp, P.-A. Benoît, Camille Bryen, Marcel Duchamp, Bernard Fricker, Jean Van Heeckeren, George Isarlo, Jacques-Henri Lésveque, Man Ray, Pierre de Massot, Michel Perrin, H. Saint-Maurice.

La Varende and the nostalgia of nobility

Jean-Balthazar Mallard Viscount de La Varende (1887-1959), descendant of an old Norman family, was born in the ancestral castle of Chamblac in the Pays d'Ouches. The year of his birth, his father died and his mother, Brittany, returned living in Rennes. La Varende was raised by his grandfather, the navy Admiral Langle. Unable to be a sailor because of a weak heart, he entered the Beaux-Arts in Paris. Returning from the war of 1914-1918 when he was mobilized as a medic and hospital porter, he moved to the castle of Chamblac. He built a collection of ship models, maintained his property, married and began writing short stories and novels. If he produced a lot, he had difficulties getting published. His first success came in 1937 with the reissue by Plon of Nez-de-cuir, gentilhomme d'amour (Nose-of-leather, a gentleman of love) published the previous year by Maugard in Rouen. La Varende portrayed a Count having a facial injury received during the war of 1814, who became a local Don Juan and fell in love with the only woman who resisted him. With Le Centaure de Dieu (God's Centaur), he won the Grand Prix du Roman of the French Academy in 1938. La Varende built a regionalist but also epic work, full of great heroic figures. He also wrote many historical books. In 1939, while the second war broke out, La Varende lost his wife. He leaved then retired in his castle, publishing short stories in newspapers mostly collaborationists. In 1941, he entered the Academie Goncourt but resigned two years later, avoiding a probable exclusion. La Varende is accused to have sympathy for Nazi Germany. Adamant man, he always maintained his royalist convictions, without compromising himself with the Vichy government. Nostalgic of a bygone era, he wrote about his passions: Normandy, seas and nobility.

Actuellement la librairie Loliée propose les éditions originales suivantes :

• Nez-de-Cuir, gentilhomme d'amour. Rouen, Maugard, 1936, in-4, demi-maroquin havane à coins, dos à nerfs orné de croisillons dorés, tête dorée, couverture et dos conservés (Huser). Exemplaire sur vergé teinté.
• Le Centaure de Dieu. Roman. Paris, Grasset, 1938, in-12, broché. Un des 75 exemplaire sur pur fil, celui-ci nominatif.
• Le Roi d'Ecosse (Provinciale). Paris, grasset, 1941, broché. Un des 13 premiers exemplaires sur Japon impérial.
• L'Homme aux gants de toile. Paris, Grasset, 1943, in-12, broché. Un des 30 exemplaires sur vélin pur chiffon. Frontispice en camaïeu de Louis-Joseph Soulas.
• Indulgence plénière. Paris, Grasset, in-12, broché. Un des 52 exemplaire sur Montval.
• La Dernière fête. Paris, Flammarion, 1953, fort in-12, broché. Un des 145 premiers exemplaires sur pur fil d'Arches, celui-ci tiré pour la société des bibliophiles "Les Amis des Beaux-Livres".

Militant atheism of The Marquis de Sade

Dialogue Between a Priest and a Dying Man, dated 1782, is the oldest manuscript known of the Marquis de Sade (1740-1814). The "divine" Marquis makes a philosophical dialogue between a clergyman and a libertine. He strives to prove the nonexistence of God and exposes his militant atheism. The reason is ultimately the only guarantor of human morality :

"Reason, sir - yes, our reason alone should warn us that harm done our fellows can never bring happiness to us; and our heart, that contributing to their felicity is the greatest joy Nature has accorded us on earth; the entirety of human morals is contained in this one phrase: Render others as happy as one desires oneself to be, and never inflict more pain upon them than one would like to receive at their hands.

There you are, my friend, those are the only principles we should observe, and you need neither god nor religion to appreciate and subscribe to them, you need only have a good heart. But I feel my strength ebbing away; preacher, put away your prejudices, unbend, be a man, be human, without fear and without hope forget your gods and your religions too: they are none of them good for anything but to set man at odds with man, and the mere name of these horrors has caused greater loss of life on earth than all other wars and all other plagues combined. Renounce the idea of another world; there is none, but do not renounce the pleasure of being happy and of making for happiness in this. Nature offers you no other way of doubling your existence, of extending it. - My friend, lewd pleasures were ever dearer to me than anything else, I have idolized them all my life and my wish has been to end it in their bosom; my end draws near, six women lovelier than the light of day are waiting in the chamber adjoining, I have reserved them for this moment, partake of the feast with me, following my example embrace them instead of the vain sophistries of superstition, under their caresses strive for a little while to forget your hypocritical beliefs.

NOTE : The dying man rang, the women entered; and after he had been a little while in their arms the preacher became one whom Nature had corrupted, all because he had not succeeded in explaining what a corrupt nature is."

Currently, the librairie Loliée Offers :

• Sade (Donatien Alphonse François, dit le Marquis de). Dialogue entre un prêtre et un moribond. Publié pour la première fois sur le manuscrit autographe inédit avec un avant-propos et des notes de Maurice Heine. Paris, Stendhal et Compagnie, 1926, small in-4, cover. First edition. One of the 20 first copies on Imperial Japan paper.
• Sauvage (Sylvain) - Sade (Donatien Alphonse François, dit le Marquis de). Ernestine. Paris, J. Fort, 1926, in-8, binding . 9 etchings and a frontispiece in colors by Sylvain Sauvage. Limited to 576 copies. One of the 12 copies on Imperial Japan paper especially published for Edouard Champion - copy without the watercolour. A suite of etchings plus a refused etching, a final suite in black of the etchings, and a refused etching printed in colours.
• [Sade] Paulhan (Jean). Le Marquis de Sade et sa complice ou les revanches de la pudeur. Paris, Lilac, 1951, in-12. First edition. Copy on Johannot paper.

Visual language of Jean Dubuffet

Jean Dubuffet (1901-1985) is famous for his paintings and installations that made him one of the first figures of Art Brut. He is also an author who enjoyed playing with syntactic forms of language. His first book, Ler dla canpane issued in 1948. Through his publications, Dubuffet mixed poetry, portmanteau words and puns to study how language works in conjunction with typography and layout. Between 1962 and 1974, he worked on the serie of l'Hourloupe, a project involving paintings, sculptures, installations and texts. These creations are distinguished by flat areas of red, blue, white and black like the illustrations made for La Botte à Nique, published in 1973. Near the Surrealists in the 40s, then a member of the College of Pataphysics in the 60s, Jean Dubuffet always reflected on language's concepts. He invented a poetic and visual slang still unique.

Currently, the librairie loliée offers :

• [Dubuffet (Jean)] - (Paulhan (Jean). Lettre à Jean Dubuffet. Paris, Galerie René Drouin, 1944, booklet in-8. Catalogue of the exhibition of paintings and drawings by Jean Dubuffet at the galerie Drouin from october to novembrer 1944. First edition of the preface by Jean Paulhan.
• [Dubuffet (Jean)] - Guillevic. Elégies. Avec une lithographie de Jean Dubuffet. Paris, Le Calligraphe, 1946, in-8. First edition with an original lithograph in colors by Dubuffet. Limited to 306 copies on Rives paper. Copy with a dedication from the author to the writer Alain Bosquet.
• Dubuffet (Jean). Ler dla canpane. Paris, l’Art Brut, 1948, in-12. Firt edition of the first book written by Dubuffet . 6 engravings in black.
• Dubuffet (Jean) - Paulhan (Jean). La Métromanie ou les dessous de la Capitale. Par J. Paulhan, calligraphié et orné de dessins par son ami J. Dubuffet. Paris, s.é., 1949, in-12 , publisher's binding. First edition limited to 150 copies, entirely lithographed.
  
• Dubuffet (Jean). Paintings by Jean Dubuffet. New York, Pierre Matisse Gallery, 1950, booklet in-8 , illustrated cover. Catalogue with 4 original lithographs by Dubuffet.
• [Dubuffet (Jean)] – Limbour (Georges). L’Art Brut de Jean Dubuffet. Tableau bon levain à vous de cuire la pâte. Paris, Drouin, 1953, in-4, cover and case. First edition. Many reproductions in black and colors.
  
• Dubuffet (Jean) – Volboudt (Pierre). Les Assemblages de Jean Dubuffet, signes Sols Sorts par Pierre Volboudt. Paris, F. Hazan, 1958, in-4, in leaves, publisher's case. Edition with 17 plates in black and colors. Limited to 770 copies, this one on white velum paper.
  
• Dubuffet (Jean). La Fleur de Barbe. S.l., s.n.é., 1960, in-folio, in leaves, folder. 4 compositions by Jean Dubuffet. Limited to 500 copies on Arches paper, this one with a dedication to the writer and member of the college of pataphysics Maurice Saillet.
• Dubuffet (Jean). L’Hourloupe. Gouaches. Paris, Galerie Claude Bernard, 1964, small in-4, publisher's binding. Catalogue publisehd for the exhibition of gouaches by Dubuffet at the Gallery Claude Bernard in december 1964. Text by Hubert Damisch.
• Dubuffet (Jean). Parade Funèbre pour Charles Estienne. Paris, Jeanne Bucher, 1967, in-4, illustrated cover. Édition with black and white illustrations by Dubuffet. Limited to 450 copies.
• Dubuffet (Jean). La Botte à Nique. Genève, Albert Skira, Les Sentiers de la Création, 1973, in-8, in leaves, illustrated cover, publisher's folder and case . First edition originale with numerous illustrations in colors by Dubuffet. One of the 165 copies on "Arches à la cuve" paper, mumbered and signed by the artist, including a serigraph in colors separately presented.
  

Comte de Gobineau : wachful eye of his time

Remarkable man by his abundant literary production, Joseph Arthur de Gobineau (1816-1882) entered in politics with the support of Alexis de Tocqueville who made him Chief of Staff to the Foreign Ministry. He eventually led a diplomatic career posted to Persia, Greece, Brazil and Sweden. Gobineau wrote many poems, articles, novels, short stories. He attracted the admiration of some contemporaries, notably Richard Wagner. But public recognition did not come. it's his Essay on the Inequality of Human Races which brought him posthumous fame. European Racist movements from the late nineteenth century seized the book and borrow away a large part of Gobineau's ideology who is marked, de facto, as one of the founding fathers of racial thinking. That tarnishes the reputation of his work which is, however, rather diversified. More than a historian, Gobineau has emerged as a lyric writer and a romantic, close to Stendhal or Mérimée.

Currently, la librairie Loliée offers :

• Gobineau (Comte de). Céphanolie, Naxie et Terre-neuve. Souvenirs de voyage. Le Mouchoir rouge - Akrivie Phrangopoulo - La Chasse au caribou. Paris, Plon, 1897, in-12, original covers and back, binding (Vermorel). First edition.
• Gobineau (Comte de). Essai sur l’Inégalité des races humaines. Paris, Firmin-Didot et Cie, 1884, 2 volumes in-12, binding. Second edition.
• [Gobineau (Comte de)] - Dreyfus (Robert). La Vie et les Prophéties du Comte de Gobineau. Paris, Cahier de la Quinzaine, Seizième cahier de la sixième série, 1905, in-12, bradel bradel. Copy with a dedicace from the author to Marcel Bontemps.
• Gobineau (Comte de). La Fleur d’or. Paris, Grasset, « Les Cahiers Verts », 1923, in-12. Copy on vergé bouffant paper.

Olvier Debré signs

Figure of abstract painting, Olivier Debré (1920-1999) studied at the Ecole des Beaux-Arts in Paris.He joined the architectural studio ran by his uncle and attended the one of Le Corbusier. He made his first paintings around 1943, influenced by Picasso. After the war, he met with the avant-garde : Serge Poliakoff, Nicolas de Staël, Pierre Soulages. His work, still then figurative, slided towards abstract art, based on the construction of tint colored areas. Strongly inspired by nature (storms, typhoons), the artist's approach is to materialize, eliminating any realistic depiction, the feelings of these violent events: "I refrains from being called a landscaper. I translate the emotion which is in me in front of a landscape ... It is not my will acting but the emotion that dominates me. I am only sincere in the shock, the momentum." Besides painting, Olivier Debré is passionate for architecture. He create, among others, the stage curtains of the Comédie Française, the Hong Kong Opera and the Shanghai Opera. He collaborated with choreographer Carolyn Carlson for whom he designed the sets and costumes for the ballet "Signs" whose theme is inspired by his painting.
(sources : Evene, Wikipedia)

Currently, the librairie Loliée offers :

• Debré (Olivier) - Jamme (Franck André). Pour les Simples. Illustrations by Olivier Debré. Montpellier, Fata Morgana, 1987, in-8, in leaves, cover. First edition. One of the 50 first copies on Arches paper with two original engravings signed by Olivier Debré.
• Debré (Olivier) - Marester (Guy). Une Nuit qui n’aura pas de fin. Encres de Olivier Debré. Paris, Bernard Dumerchez, 2005, in-8 carré, ein leaves, cover. First edition with 7 inks by Olivier Debré. One of the first 75 copies on Arches paper.

Zürn / Bellmer : Dark Spring

Compagnion of Hans Bellmer, Unica Zürn, born in Berlin in 1916, had with the surrealist artist met in 1959, a stormy relationship marked with various interments in psychiatric clinics. It's from Bellmer's flat that Unica jumped out of the window in 1970. Fragile, Unica Zürn described her childhood as wonderful. This period was nevertheless marked by the divorce of her parents, and the loss of the family home, where his father, writer, used to collect objects brought back from his travels. "Dark Spring is the story of her childhood's impressions pushed up to their tragic consequences. Between a father beloved but distant and a hated mother, the little girl will learn about the adult world, and will discover an horrifying and fascinating sexuality, a crazy love which will lead her to suicide "(biography from Belfond publisher -1971).

Currently, the librairie Loliée offers :

• [Bellmer (Hans)] - Zürn (Unica). Sombre Printemps. Traduit de l’allemand par Ruth Henry et Robert Valançay. Burin original de Hans Bellmer. Paris, Pierre Belfond, collection des « Cahiers du regard », 1970, in-folio, in leaves, publisher's case. First french edition with, on frontispiece, an original engraving by Bellmer, numbered and signed. Limited 170 copies on Arches paper, this one compelted with a suite of the engraving on Japan paer, numbered and signed.
  
• [Bellmer (Hans)] - Zürn (Unica). Sombre Printemps. Traduit de l’allemand par Ruth Henry et Robert Valançay. Paris, Belfont, « Cahiers du Regard », 1971, thin in-8. First french edition with, on frontispiece, a reproduction of Bellmer's engraving.
  

Mucha's arabesques

Slavic, Alfons Mucha (1860-1939) was formed in Vienna and Munich before settling in Paris where he made his name by making illustrations in magazines, newspapers and books. Sarah Bernhardt, seduced by his style, ensured the reputation of the artist from 1894 to 1900 : Mucha became the sole creator of her posters. With an important production (drawings, pastels, sculptures, objects, jewelry), Mucha established himself as one the masters of Art Nouveau. In 1900, he created a spectacular setting for the Universal Exhibition. He decorated the Bosnia and Herzegovina pavilion and got the silver medal. He went on with his illustrator activities and signed the poster advertisements for brands such as Moët et Chandon or Nestlé. Between 1912 and 1926, Mucha put his skills to serve a monumental project to the glory of the Slavic people. Believer and humanist, Mucha thought that art can participate in the uplifting of the soul. He raised money from wealthy American industrialists and got a particular support from Charles R. Crane who invested in The Slav Epic, composed of 20 scenes covering nearly 1,000 square feet of painted canvas. This gigantic work provides an important evidence about the rise of Nationalism in Europe. Settled in Czechoslovakia in 1910, Mucha took part in the birth of the Czechoslovak Republic in 1918. He drew the weapon of the new nation, stamps, banknotes. In 1939, the country is occupied by Germany and the Republic ends. Mucha, a Freemason, is interrogated by the Gestapo. He died shortly thereafter in July of that year. After the war, forgotten by the communists who do not appreciate this "bourgeois art" , Mucha's work is finally rediscovered in the 60s.

Published in 1900, Clôches de Noël et de Pâques (Bells of Christmas and Easter), collection of three tales by Emile Gebhart, is representative of the art of arabesque of Mucha who frames the text of many floral ornaments.
(sources : Wikipedia, Mucha museum)

Currently, the librairie Loliée offers :

• Mucha (Alphonse) - Gebhart (Émile). Cloches de Noël et de Pâques. Illustrations et décoration par A. Mucha. Paris, Champenois, Piazza, 1900, in-4, publisher's green case . Edition illustrated with 80 colored plates by Mucha. Limited to 252 copies. One of the 35 copies on Japan paper, with a suite in black on China paper of the 80 plates.

The Monk by Lewis : a major literary influence of Surrealism

Classic from Gothic literature, The Monk is an early work, written by Matthew Gregory Lewis (1775 - 1818) originally to entertain his mother. It was published for the first time in 1796. The book, subversive by its themes (incest, kidnapping, torture, pacts with the devil, necrophilia, exorcism...) but also conventional by its morality, is very well received by the public to the point that the author earned the nickname "Monk Lewis." But, the criticism was outraged by the story and launched censure. So much so that Lewis published a second expurgated edition in which he withdrew the most scandalous part - when Antonia's mother offers her daughter a truncated version of the Bible to protect her from verses she considered unhealthy.
In the nineteenth century, The Monk influenced French writers including the young guard of Romanticism. In the twentieth century, in his Surrealist Manifesto, André Breton, makes of The Monk a literary model, with Les Chants de Maldoror, of the movement. In 1931, Antonin Artaud proposes a new approach, The Monk by Lewis told by Antonin Artaud published by Denoël & Steele. In the preface, he writes :
"That, therefore, all those whose spirit of new data flows back to the closed and purely organic senses as to their droppings, those who feed on the common residue and the usual excrement of the mind called reality, I continue to hold as an essential work The Monk, which shakes this reality at full arms, drags in front of me witches, apparitions and larvae, with the most perfect natural, and which finally makes supernatural a simple reality.(Photo: Matthew Gregory Lewis by Henry William Pickersgill - National Portrait Gallery, London - source: wikipedia).

Currently, the librairie Loliée offers the rare first French edition :

• Lewis (M.G.). Le Moine. Paris, Maradan, an V (1797), 3 volumes in-12, green binding from the period. First French edition before the one published by Maradan the same year in 4 volumes.
  

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.