Vrille : Taking a surrealistic pulse after the Second World War

Surrealist magazine published at the end of World War II, Vrille is a only one number revue. As explained in the introduction "alibi", the purpose of this magazine, directed by Evrard de Rouvre (heir to a vast fortune built on the sugar industry, who became a film producer before being assassinated in 1979 by his valet), is to collect "texts, illustrations little-known from a public asleep by the grayish fog of a propaganda that clung to dimonstrate the emptiness of efforts of humans who, during the inter-two wars, tried to open art to wonderful horizons. But Vrille was especially attached to revive a tradition, over these four years of darkness, presenting texts as young witnesses of an overwhelming era, witnesses of the hope of whom who found in Surrealism the strength to contribute to the reconstruction of modern thought. "

One can find in the magazine, illustrated with many reproductions, the work of great figures of Surrealism including Oscar Dominguez who signed the illustrated cover. Among the texts, there is beautiful collection of Robert Desnos "Notes Calixto," in which the author discusses the literary influences in Surrealism, the importance of Mallarmé's work, gives us his thoughts on poetry :

Poetry gets landed with words and can not do otherwise. It also adopts sometimes (not poetry, fake poets of course) a cowardly attitude before the biggest questions : happiness, men future, the nature of being. Poetry is more often conciliation than resolution. Is it not possible to renew the links between poetry and science? 

Currently, the librairie offers  : 

• [REVUE]. Vrille. La Peinture et la littérature libres. Mantes, s.é., 1945, in-4, illustrated cover by O. Dominguez.  First edition. Texts de G. Bataille, E. de Rouvre, R. Desnos, G. Hugnet, H. Michaux etc. Illustrations by O. Dominguez,  M. Ernst, P. Picasso, Dali...

Le surréalisme, même : a major surrealist magazine of the postwar period

Published by the book-dealer Jean-Jacques Pauvert from October 1956 to spring 1959, Le Surréalisme, même constitutes a major surrealist magazine of the postwar period. André Breton seeks to give new impulsion to Surrealism and brings together different generations of surrealists or works with artists close to the movement (and Pierre Molinier, known for his photo-montage, makes the cover of the second issue).
The title of the revue, stopped after 5 issues - which makes  its rarity, is an allusion to the painting project of Marcel Duchamp, "La Mariée mise à nu par ses célibataires, même" (read a project description, in french, here). Note that the first issue, contains an extra: Les Détraqués by P.-L. Palau, a piece that fascinated Breton and to which he devotes several pages in Nadja (one can understand why the story seduced the founder of the Surrealism : a morphine addict teacher, prone to  homicidal madness crisis and sexual  perversion, runs wild in a college, among  girls decents in every ways.)

Actuellement, la librairie Loliée propose :

• [REVUE]. Le Surréalisme, même. n° 1 (octobre 1956) à n° 5 (Printemps 1959). Paris, Librairie Jean-Jacques Pauvert,  5 volumes in-8 carré, brochés, couvertures illustrées. Collection complète de cette revue surréaliste majeure de l'après-guerre dirigée par André Breton.

Raffaëlli and Mallarmé "Guys"

French painter of Italian origin, Jean Francois Raffaelli (1850-1924) who studied with Jean-Léon Gerôme at the School of Fine Arts, began his career at the Salon in 1870. In 1884, he got his own exhibition on the theme of scavengers and petit bourgeois. He used to visit the "grenier" of Auteuil, a town house where Edmond de Goncourt continued to receive authors and artists after the decease of his brother. In 1888, Raffaëlli offered to Stéphane Mallarmé to collaborate on Les Types de Paris (Guys of Paris), a collection he illustrated. He sent his work to Mallarmé who wrote then in regard of the drawings. The poems were published for the first time in the issue n°7 under the title "Types de la rue" (Street guys). A total of 22 authors among whom Daudet, Zola, Maupassant, Huysmans, Mirbeau, participated in this project realased by Les Editions du Figaro.

Currently, the librairie Loliée offers:

• [Raffaëlli (J.-F.)] - Collectif. Les Types de Paris. Paris, Plon, Nourrit et Cie, 1889, in-4, 10 booklets in-4, case. First edition. Many in text drawings, some in colors, by Raffaëlli. Delivery issues in perfect condition.
  

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.
  

Under the eye of BIEF

The return to power in 1958 by General de Gaulle, following the Algerian crisis, is seen as a fascist coup d'état by the surrealist movement. Under the guidance of André Breton, his faithful collaborator, Gérard Legrand mobilizes the new guard - including Jose Pierre, Jean Robert Benayoun and Schuster, to create the journal BIEF, a surreal junction destined to express the positions of the movement. "In the locks of Surrealism, that is to be understood once and for all that water that goes down and up stays the same, yet always renews itself: BIEF attempts to identify each month, a reflection of that water." (issue No. 1 - November 15, 1958).
On can discover, over the pages, some political articles, as the text by José Pierre published in the issue No. 5 - March 15, 1959 and entitled " A People falling apart." The author is concerned about the "passive disgust" of the youth, a part of which just comes back from Algeria and protests: "We must stop to continually blow up out of proportion Joan of Arc, campaigns of Louis XIV or Napoleon! That the few persons who are not rotten provide youth a true intellectual and revolutionary education. All is not yet lost. "
BIEF also offers literary and artistic criticism as well as a section maintained by Joyce Mansour who uses a nicely and provocative tone. Note that the cover of issue No. 9, published on December, 1th 1959, is devoted to Benjamin Péret, deceased a few months earlier, and who contributed to the journal.

Currently, the librairie Loliée offers :

• [REVUE] BIEF. Jonction surréaliste. N°1 à N°12, november 1958 - april 1960. Paris, Le Terrain Vague, 11 stapled booklets, in-4, case. Complete collection, in deluxe edition, of this surrealist journal with illustrations by Benjamin Péret, Hans Bellmer, Jean-Jacques Lebel, Robert Lagarde, Arshile Gorky, Toyen, Mimi Parent, Wolfgang Paalen, etc. Texts by Legrand, Breton, Arp, Mansour, Legrand, Schuster, Péret, etc.
  

Art. Goût. Beauté

The First World War has a great influence on the evolution of fashion : the absence of men modifies the place of women in the society. Confronted with new responsibilities, women wish to reach a new life style. Corsets are over ! Dresses are shortened, low-cut in the back, the waistline is not marked anymore. Great creators, as Jean Patou, Jeanne Lanvin, or the English Molyneux, set the style of a profile “à la garçonne”. The hats heavily decorated disappear for bell-hats. The new practice of sports imposes the creation of special suits for tennis, golf or mountain. Accessories come to highlight suits.

In 1925, the great exhibition of decorative arts brings innovation in the post-war fashion. Raoul Dufy draws printed fabrics for Bianchini Ferrier. Sonia Delaunay gives Jacques Heim embroidery patterns, Jean Dunand realizes, for the modeler Agnès, hats made of egg shells arranged like mosaics.
(Source: Encarta)

Published in the Twenties and Thirties, the review A.G.B. (Art, Taste and Beauty) reflects the Art deco period which celebrates the woman emancipation. These “layers of the feminine elegance” incorporate many "pochoir" illustrations, present various columns and a historical chronicle on the feminine fashion through the ages. Articles, written in a distinguished and sometimes obsolete and light style, invite to smile: “Nothing is more exquisite, nothing is more delicious than the fine silhouettes of Parisian women, fitted in light clothes, moving on emerald lawns or under the green foliations of the trees.”

Currently, the Librairie Loliée offers a choice of issues.

L'Image

As it is written in the frontispiece from the specimen issue, the revue L’Image "created in 1896, is published by the French Corparate Society of Wood Engravers, for the preservation of an art of which devices intend to disappear. ”

Released from december 1896 to december 1897, this revue reflects a pivotal period, the end of the century, marked by an artistic and decorative renewal. Each text or poem is framed by vegetal elements or figurative scenes. Artists as Mucha, Georges de Feure, Pissaro and many others took part in this project. The quaint approach consists in the will to make of a commun revue a work of art, to break the limits between writers, poets, and decorative artists. Each issue offers various illustrations in black and white or in colors, an extraordinary variety of arabesques, frames, lettrines and finials.
L’Image constitutes a new step in the decorative renascence typical of the nineteen century. (source : http://mapage.noos.fr/bellerydesfontaines/l_image.htm)

Currently, the librairie Loliée can offer :

• L'Image. Literary and artistic revue decorated with wood engravings. Paris, Floury, 1896, december 1896 to december 1897, 12 issues plus a specimen issue, bound in one volume in-4, illustrated cover. Each issue is complete of the delivery covers.

Cahiers G.L.M

It's in May 1936 that Guy Lévis-Mano (1904-1980) poet, translator and book publisher began the release of notebooks in which collaborated numerous artists bound with the Surrealist pathos. This major revue is a compilation of 9 numbers (from 1936 to 1939) the seventh, dedicated to Dream, was arranged by André Breton. Each number offers original editions of poems from, among others, René Char, Paul Eluard, Henri Michaux but also translations of Frank Kafka or Lewis Carroll. Among plate illustrations, are drawings of Bellmer, Masson, Dali, Chirico and also pictures of Man Ray.

There is a second and late serie (1955), containing 6 numbers.

Currently at the librairie Loliée, the complete and rare collection of the first serie (9 vol. in-12, paper-bound, casing).

- first cahier may 1936 :
Henri Michaux, Gisèle Prassinos, Valentine Penrose, Hans Bellmer, Pierre Robin, Carrouges.
- second cahier july 1936 :
Pierre Jean Jouve, Tristan Tzara, Deux Enfants, Franz Kafka, Guy Lévis-Mano, René-Jean Clos, A. Rolland de Renéville, André Masson, René Laporte, Jean Le Louet, Pierre Courthion.
- third cahier november 1936 :
Paul Eluard, René Char, Jean Scutenaire, Man Ray, Pierre Mabille, Maurice Blanchard, Herman Grégoire, Louis Parrot, Federico Garcia-Lorca.
- fourht cahier march 1937 :
Federico Garcia Lorca, Pierre Jean Jouve, David Gascoyne, Fernad Marc, Léon Damas, Henri El Kayem, Henri Michaux, Philippe Soupault, Caresse Crosby, Thérèse Aubray, Roger Lannes, Adrien Copperie, Halina Izdebska, Serge Essenine, René Roux, Jacques Baron, Carrouges, Jean Mario Prassinos.
- fifth cahier april 1937 :
René Crevel, Gisèle Prassinos, Pablo Neruda, Alfredo Gangotena, Kurt Seligmann, Franz Kafka, Lise Deharme, Basile Sainte-Croix, Monny de Boully, Claude Sernet, Jean Le Louet.
- sixth cahier november 1937 :
Franz Kafka, Paul Eluard, Maurice Blanchard, Jacques Prévert, André Ray, Lucien Coutaud, Guy Lévis-Mano, René Char, Achille Chavée, Armel Guerne, Pierre Mabille.
- seventh cahier march 1938 :
Albert Beguin, Paracelse, Georg Christoph Lichtenberg, Carl-Philipp Moritz, Albrecht Dürer, Jérôme Cardan, Pouchkine, Xavier Forneret, Lucas, André Breton, Marcel Lecomte, Michel Leiris, Ferdinand Alquie, Benjamin Peret, Pierre Mabille, Paul Eluard, Guy Lévis-Mano, Gui Rosey, Maurice Blanchard, Georges Hugnet, Gisèle Prassinos, Georges Mouton, Armel Guerne, Henri Pastoureau, J.M. Belleval, Alexei Remizov.
- eighth cahier october 1938 :
Georges Roux, Georges Schéhadé, Alexei Remizov, Fernand Marc, Leonora Carrington, Jacqueline Allan, René Char, Max Bucaille.
- ninth cahier march 1939 :
Lewis Caroll, Maurice Blanchard, Joe Bousquet, Raymond Roussel, Michel Leiris, Varbanesco.