Suzanne Roger : a neglected figure of contemporary art

Married to André Beaudin, Suzanne Roger (1896-1986) remains still today in the shadow of her contemporaries.Yet, her career deserves that one stops on her work. Trained at the Academie Ranson, by Maurice Denis and Paul Serusier, she made her first exhibition at the Kahnweiler gallery. She met the German collector and dealer via Juan Gris and Max Jacob and became, with her husband, a regular member of les Dimanches de Boulogne, where she met painters and poets Henry Kahnweiler supported. The brotherhood and literary  atmosphere of those meetings reflects in the painter's work whose pictorial quest is linked to the literary movement of the time. Her style is based on clean lines that are filled and deconstructed by flat areas of color. In 1961, is published byt the Galerie Louise Leiris (formerly, the one  of her stepfather Kahnweiler), the poems collection S.O.S. of the Haitian painter Roland Dorcely. The 5 engravings on copper by Suzanne Roger that illustrate the book provide a glimpse of her talent.

Currently, the librairie Loliée offers :

• [Roger (Suzanne)] - Dorcely (Roland). S.O.S. Paris, Galerie Louise Leiris, 1961, in-4, in leaves, illustrated cover, publisher's case. First edition with 5 original engravings, 2 in colors, by Suzanne Roger. Limited to 112 coppies. One of the 90 copies on Rives paper signed by the author and the artist.

Salammbô illustrated by Rochegrosse

Georges-Antoine Rochegrosse (1859-1938) grew up surrounded by artists and man of letters. His widowed mother remarried the poet Théodore de Banville, then in the top of his celebrity.
In the family apartment, the young Rochegrosse met with the intellectual elite of the time: Théophile Gautier, Charles Baudelaire and the Parnassians whom Banville is one of the leaders. From childhood, he liked to draw and his sketches are subjected to passing friends. Gustave Flaubert, charmed by a set of views of Carthage, said incidentally :
- Once you have the talent, I'll order you the illustrations of Salammbô.

This remark as a joke come true though 25 years later when the publisher Ferroud inquired Rochegrosse, now established and recognized, to illustrate Salammbô. It was in Barbizon, village of the pre-impressionists, that the illustrator achieved his work, supported by his friends, including the actress Berthe Bady who helped to make a relief map of Carthage inspired by Flaubert's description in the novel's opening. To give life to Salammbô, Rochegrosse is inspired by the bust of the Lady of Elche, discovered in 1897. In the Orientalist's style, Rochegrosse worked with retail the charm of local colours and highlighted what the novel contains of non-European exoticism.

(Source : Georges Rochegrosse, sa vie, son œuvre par J. Valmy-Baysse - Paris, F. Juven, 1910)

Currently, the librairie Loliée offers :

• Rochegrosse (Georges) - Flaubert (Gustave). Salammbô. Compositions de Georges Rochegrosse, gravées à l’eau-forte par Champollion. Préface de Léon Hennique. Paris, Ferroud, 1900, 2 volumes, large in-8, full Levant binding by Gruel. First impression. 52 compositions in black. Exemplaire H.C. on vvellum paper with two more states of the engravings.

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.

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.
  

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.

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.

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).

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.

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.

Canada seen by Clarence Gagnon

In the early thirties, Clarence Gagnon (1881-1942), who grew up in rural Quebec, undertook an ambitious project: an illustration of the novel by Louis Hemon, Maria Chapdelaine, the flagship title of Franco-Canadian literature. It took more than five years to complete this command which contains 54 gouaches. The criticism is unanimously dithyrambic and Gagnon is recognized as a major Canadian painters. Trained at the Académie Julian, the painter who lived many years in Paris, explained in 1931: "It was not the over-sensitivity of the misunderstood that made me move to Paris....Over there, I paint only Canadian subjects, I dream only of Canada. The motif remains fixed in my mind, and I don't allow myself to be captivated by the charms of a new landscape. In Switzerland, Scandinavia-everywhere, I recall my French Canada."

Currently, the librairie Loliée offers :

• Gagnon (Clarence) - Hémon (Louis). Maria Chapdelaine. Illustrations de Clarence Gagnon. Paris, Editions Mornay, 1933, in-4, illustrated cover. Edition with 54 illustrations, in colours, by Clarence Gagnon. Copy on Rives paper.

Le Yaouanc 's equilibrium of frame forms

"Not only in the present context, but in his collages for example, Le Yaouanc sometimes contrives things so that the centring of the image, the margins imposed, the placing of the thing painted or engraved or pasted, assume a predominant importance in relation to the given motif which is not allotted all the workable space of the canvas, the collage, the engraving. The painter assumes the role of framer, here, by situating the motif (the statement) in, for example, a rectangle or an oval described on what might be considered the essential element of the work, so adding to the equilibrium of the composition or drawing a sort of suspension - sometimes in the middle, sometimes not - comprising tinted margins that seem to represent a positive accumulation of frames around the still-life that is indeed far from being "still" : a better description of this effect would be the equilibrium of framed forms ."

Louis Aragon - "Pierre sur Pierre" in Le Yaouanc Lithographies - La Pierre d'Angle - 1975

Currently, the librairie loliée offers :

• Le Yaouanc (Alain) – Aragon (Louis). Le Yaouanc Lithographies. Paris, La Pierre d’Angle, 1975, in-folio, in leaves, black publisher's folder. First edition of « Pierre sur Pierre », a text by Aragon who interprets this album composed of 63 color lithographs by Alain Le Yaouanc. One of the 150 copies on Arches paper numbered and signed by Louis Aragon and Alain Le Yaouanc, and including an original lithograph numbered and signed by the artist.
• Derrière le Miroir. Le Yaouanc. Paris, Maeght, n°176 – 1970, in-4, in leaves, illustrated cover, publisher's case. Issue released for LE Yaouanc's exhibition at the Gallery Maeght. One of the 150 copies on Lana paper numbered and signed by the artist, including 8 original lithographs in color.

Primitive Art according to Wifredo Lam

Cuban painter, born of a Chinese father and a mulatto mother, Wifredo Lam went to Fine Arts School in Havana and then moved to Barcelona to continue his studies. Running away from the Spanish Civil War, he sought refuge in Paris in 1937. Picasso took him under his wing and had him meet with the Surrealists. Lam joined the movement and André Breton offered him to illustrate his poetic collection Fata Morgana. In 1940, Lam went to Marseille where he obtained a visa to leave for Cuba. He took the plane with a few friends, including Breton and Ernst, and eventually landed in his native land. In 1942, the Matisse Gallery in New York organized the first exhibition of his works. Where Picasso and his contemporaries promote African Art as a new approach to European pictorial tradition, Wifredo Lam, in the other way, influenced by great masters - including Bosch and Goya, uses his mixed race heritage to create a primitive word more universal.

Currently, the librairie Loliée offers :

• Lam (Wifredo) - Jouffroy (Alain). L’Antichambre de la nature. Eaux-fortes originales de Wifredo Lam. Paris, Collection Paroles Peintes, Odette Lazar-Vernet, 1966, folio, loose as issued in the original wrappers. First edition with 9 original etchings by Wifredo Lam. Limited to 85 copies. One of the 50 copies on B.F.K Rives paper, signed by the author and the artist.

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.

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.
  

Bengt Lindström

Bengt Lindström, born in 1925 in northern Sweden, lived in Paris for many years. He died late January in his country. Painter of modernity, close to the CoBrA movement yet independent, he leaves an intense work. His thick colored canvases evoke the roughness of nature, of human soul. "His painting, rhythmical as an immemorial ritual, bewitches with its twisted faces, his grimaces, his uneasiness. A grotesque and grin world (...) In the eighties, to deepen emotional states up to panic , framing tightens on faces. It is hard to see more than the eyes and a mouth that screams or whispers. " (In La Gazette de l'Hotel Drouot, February 2008).

Currently, the librairie Loliée offers:

• Nimier (Roger) - Lindström (Bengt). Paméla eut le tort de répéter sa phrase. Nouvelle ornée par Bengt Lindström. S.l., Association des Cahiers Roger Nimier, 1986, large in-4, blue fabric casing. First edition decorated with an original lithograph by Bengt Lindström numbered and signed. Limited edition of 165 copies on Arches paper.

Paris capitale

Paris Capitale is a tribute book in which each chapter refers to a typical place of the city. The text by André Maurois, known for his skill as storyteller, presents for each location a short scene between two characters. "Under the Arc de Triomphe" brings together a mother and her child, "Au Lapin Agile," an old writer and a bartender. For "The Eiffel Tower", Maurois improvise a friendly dialogue between an artist and an engineer. They are satisfied that the structure, yet qualified for its construction of "a carcass that dishonours Paris," remains in place.
The book includes ten full page lithographs by Maurice Utrillo, born in the Montmartre area, who gives a refreshing vision of Paris. It is Lucie Valore, his wife, who made the ornaments.

Currently, the librairie Loliée offers :

• Utrillo (Maurice) - Maurois (André). Paris Capitale. Ornements de Lucie Valore. Paris, Joseph Foret, 1955, in-4, beautiful contemporary binding representing Paris (Manuel Gérard) . 10 full-page original lithographs in colors by Maurice Utrillo and ornaments by Lucie Valore. Limited edition to 207 copies numbered and signed by the publisher. One of the 122 copies on Johannot paper.
  

Claude Weisbuch : the art of movement

Claude Weisbuch, born in Thionville in 1927, studies at the National School of Fine Arts in Nancy. He then is appointed as engraving's teacher at the School of Fine Arts in Saint Etienne. He begins to make a name in the late fifties by imposing a recognizable style built on the movement. In 1961, four years after his first exhibition in Paris, he receives the Annual Art Review award. He encounters an international success, notably in Japan.
The painter who likes especially the theme of the opera, theatre and equestrian universe illustrates in 1982 for The Cent-Une edition (Society of Bibliophiles Women), a text by Tolstoy, Le Cheval. The book is decorated with six original engravings characteristics of the blow and vivacity that the artist brings to his subjects.

Currently, the librairie Loliée offers :

• Weisbuch (Claude) - Tolstoï (Léon). Le Cheval. Paris, Les Cent Une, 1982. In-4, in leaves, publisher box. Édition decorated with 6 original plate engravings by Weisbuch. Limited edition to 131 copies Moulin de Larroque paper signed by the artist.
  

Parler seul (Speaking alone) : A dialog between Tzara and Miro

Periodically felt out with André Breton about the role of art and literature in society, Tristan Tzara preaches, since the beginning of the Spanish Civil War, a poetry increasingly militant. He takes position, with Aragon, against fascism and, in 1937, he joins the Committee for the Defence of the Spanish culture. Under the Occupation, Tzara helps the activities of Resistance and, in 1947, he joined the Communist Party.

Established post-war in south of France, Tzara contributes to the revival of Occitan studies. Parler seul, published in 1950, reflects this period and the willingness of the author to make a "poetry in action." Rather than define a preliminary iconographic corpus, Tzara prefers to give carte blanche to the artist. The book, illustrated with 72 black & white and coloured lithographs by Joan Miro, reflects this freedom of dialogue between poetic text and icon. (sources : http://fr.encarta.msn.com - http://theses.enc.sorbonne.fr/document37.html)

Currently, the librairie Loliée offers :

• MIRO (Joan) - Tzara (Tristan). Parler seul. Paris, Maeght, 1948, in leaves, illustrated covers, editor wrappers. First edition illustrated with 72 black and coloured lithographs by Joan Miro. Limited edition to 253 copies signed by both Miro and Tzara.

Motherhood by M. Arland, illustrated by M. Chagall

"One of the first days of this year, we discovered in a village in East, Chenevière, the body of a newborn baby, of whom we could not knew if death, which took place two years ago, had been naturally. A young woman was immediately charged (...) Since I learned of the fault she was taxed with, her image did not leave me. I try to tell her story. "
This mystery opens Motherhood, a little-known text by Marcel Arland but estimated by book lovers in its edition of 1926. The volume includes 5 original engravings by Marc Chagall, entitled "Shame", "Birth", "Brawl", "Couple in bed", "Visit by the window." There are quite representative of the delicate grace of the painter, especially in the drawing of this couple of lovers seized under the duvet.


Currently, the librairie Loliée can offer :

• Chagall- Arland (Marcel). Maternité. Paris, Au Sans Pareil, 1926, in-8 . Edition illustrated with five original engravings by Marc Chagall. Copy on Lafuma paper.