April 25, 2007

catalogue 2007

For the 19th International Antiquarian Book Fair of Paris (27, 28 and 29 April), the librairie Loliée offers you to download the new catalogue :

first part

second part


You will find original editions from the 19th and 20th centuries, illustrated, romantic and Art Deco books, and also Surrealist revues and prints.

Informations :
International Antiquarian Book FAir
Librairie Loliée - Stand A83
Grand Palais - avenue Winston Churchill
75008 Paris.

April 10, 2007

The Drawing dedications of Cocteau



Jean Cocteau customized his dedications with drawings. He used to repeat the outline of a man, traced in one movement ; the line ending on the single first name Jean. Cocteau always signed with his trademark, a star.
The many variations of those dedications could, by their specifities, be worthy of a book.

Currently, the Librairie Loliée offers various original editions with drawings by Cocteau :
  • Le Potomak, Paris, Stock, 1924, on Vergé paper
  • Les Enfants Terribles, Paris, Grasset, 1929, on Alfa paper
  • Morceaux Choisis, Paris, Gallimard, 1932, edition on common paper (in the dedication, Cocteau apologizes for sending a common and not deluxe edition)
  • Les Chevaliers de la Table Ronde, Paris, Gallimard, 1937, on Alfa paper
  • Les Monstres Sacrés, Paris, Gallimard, 1940, on Madagascar paper, H.C.
  • La fin du Potomak, Paris, Gallimard, 1940, on Madagascar paper

March 27, 2007

The inexhaustible Bertall

Albert d'Arnoux alias Bertall (1820-1883) was a caricaturist, an illustrator, a writer, a photographer and a prolific artist. Disciple of the atelier of Drolling, Bertall begins his career illustrating popular novels known as novels « à 4 sous ». In 1843, Bertall, lover of Balzac work from which he picked his pen name, offers his services to Furne who publishes La Comédie Humaine. Balzac, who likes the style and talent of Bertall, asks his editor to give him more work. After that, Bertall cooperates with Gavarni at the illustration of Le Diable à Paris (1844-1845). He also illustrates Les Petites misères de la vie conjugale in 1845-1846 with the advices of Balzac. In the years 1860-1870, Bertall publishes his own texts with the Hachette editor. Interested in photography, he works with Hyppolite Bayard. He becomes a famous portraitist. One if his well known cliché is the portrait of Victor Hugo.

Currently, la librairie Loliée can show you :
  • Balzac - Bertall - Petites Misères de la Vie Conjugale. Paris, chez Chendowski, s.d. (1845), in-8, bound by Mercier. Firts illustrated edition with 50 plate engravings and 310 drawings in the text.
Illustrations : a chopped initial composed for the sell flier of Petites Misères de la Vie Conjugale, an engraving selected from this same book.
(Sources : http://fr.wikipedia.org/wiki/Bertall - http://www.paris-france.org/MUSEES/balzac/collections/dessins_furne/bertall.htm)

March 15, 2007

Danse macabre by Hermann-Paul




In this book published in 1919, Hermann-Paul, french illustrator, makes his danse macabre. He points the blackness, weakness and haughtiness of human nature in ten wood engravings. "The Courtesan", "The Game", "Alcohol", "The Doctrine"... Each sketch reveals how the post WWI society has difficulties to get about his scars and deceases, tries to have fun with an hard-pushed smile.

Currently, the Librairie Loliée can show you :
  • HERMANN-PAUL - La Danse Macabre. Paris, Léon Pichon, 1919, in-8.

March 09, 2007

Graphismes according to Laboureur

Jean-Emile Laboureur, with no doubt, was one of the most prolific illustrator of his generation. He left his mark on the period between WWI and WWII, with a style which combines the simpleness of the line to a delicate and a bright expression.

Graphismes, made up of 10 engravings, is a book meant for the pleasure of the eye. Each engraving, titled, is preceded by a comment selected from a well or unwell-known text. This work, humourous, reflects the refreshing lightness of the thirties.




Currently, the Librairie Loliée can show you :
  • Laboureur- Graphisme, Paris, Aux dépend de l'Auteur, 1931, in-4.

March 01, 2007

A Los Toros with Picasso

In this book, published in 1961, Sabartès, a spanish poet who was for a long time the secretary of Picasso, returns a homage to the painter and to his love of bullfighting. The text is intersected with various reproductions which allow the reader to better understand background and technique of the Master.


Picasso realized especially for this work four lithographies, with one, splendid, in 24 colors.

Currently, you can find at the Librairie Loliée :
  • Picasso - Sabartès A Los Toros, Monte-Carlos, André Sautet, 1961, in-4 oblong, cover and assembly illustrated, binding of the editor.

February 19, 2007

Pascin's grave

"Il était toujours coiffé d'un chapeau de feutre rond et rigide dont la coiffe portait le timbre d'un grand spécialiste des "caps". Ce chapeau est inséparable de la silhouette de Pascin, tel que je le revois encore, entre les arbres du clos déjà doré par l'automne. Il venait quelquefois me rendre visite dans le petit village du Multien où j'habite depuis 30 ans. "
With this words begins the text hommage of Mac Orlan to his friend Pascin, one of the major painters of the the legendary artistic circles of Montparnasse.
Julius Mordecai Pincas, also known as Pascin, born in Bulgaria in March 1885. He suffers the tough education of his father, a rich merchant. He soon breaks away of his family and takes a new name, not wanting to hurt his father's huffiness. After studying in the art schools of Budapest and Vienna, Pascin, who is twenty years old, decides to leave in Paris. His skills in satirical drawings - he uses to work for the german review Simplicissimus - force respect and admiration. Inspired by the grotesque touch of Daumier and Toulouse-Lautrec, Pascin outlines the parisian nights, frames his drawings with conceited and lewd bourgeois, with androgynous or young prostitutes, with madams and pimps.
As a travel lover (to United-States where he goes during War Word I, to Cuba and to Tunisia), Pascin outlines also sceneries of the everyday life, shows the poverty of the little people.
His all life, he loved two women Hermine, his wife, and Lucy, one of his models. Always seeking for compagny, Pascin gives parties which make the hapiness of his friends, goes out a lot, drinks a lot. He breaks with Hermine, can't forget Lucy, who got married after their story. Years passing by, Pascin locks himself in the part of the unrepentant rounder. The day before a new exhibition of his work, he gives a party and then locks himself in his atelier. He writes a last letter to Lucy, and commits suicide, the 2d of june 1930.

"Que les jeunes filles qui iront déposer une gerbe de lilas sur la tombe de Pascin se gardent bien de pleurer en esquissant la suprême génuflexion. Que la lumière de leur sourire se pose légèrement sur le tertre fleuri par d'autres mains. Que l'éternité de leur grâce adolescente se mêle à l'adieu quotidien de notre amitié." Thus closes out Mac Orlan's Tombeau de Pascin.

Currently, at the Librairie Loliée, you can find :
  • Pascin - Mac Orlan - Tombeau de Pascin, Textes et Prétextes, 1944, in-8. Edition with 8 original engravings of Pascin.

February 06, 2007

Maurice Sachs, the sum of the opposites

Talking about Maurice Sachs life is describing the journey of a man who kept himself in a tenuous stability, wriggling between two fires. He was both a priest and an atheist, a hustler and an idealist, a jewish and a Gestapo collaborator, a homosexual and a married man. Born in a jewish family of parisian jewelers, Maurice Sachs deserts soon this cocoon bourgeois for the real life. Loose ends, he is picked by a catholic and married couple. Sachs becomes catholic and go to the seminary. His sexual preferences prevent him to become a priest. He leaves France for the United Sates where he marries the daughter of a parish priest. He becomes then protestant and, soon, father of a newborn son. This parenthesis of social stability lasts six months. Sachs abandons woman and son and comes back in Paris with one of his lovers.

Thanks to his contacts, he is hired as a secretary by Cocteau. During this period, he meets Max Jacob, Reverdy, Gide. He publishes his first novels and encounters a little success. During the Second World War, he goes to Germany as a voluntary worker and offers his services to the Gestapo. He lives of games, collaborates without complex. «On ne trahit bien que ceux qu’on aime» he wrotes. Sachs, who saves a friend of his from an imminent arrestation, is eventually betrayed by another spy. Under arrest, he is incarcerated in a german jail. There, forced to emprisonment, Sachs writes his master work, Le Sabbat. At the end of the war, he is taken with other prisoners to Hambourg. Exhausted by three walking days, he refuses to go further and is shot down by a bullet in the scruff.


Le Sabbat
, autobiographical narration, recounts the dantesque itinary of a man who was both adulate and hated, unveils a open-hearted and talented writer who leads a tumultuous and miserable existence. Rare is a work so indivisible of his author.
Sources : http://www.seineetdanube.com - http://fr.wikipedia.org

Currently, at the Librairie Loliée you can find :

  • Sachs (Maurice) - Le Sabbat. Paris, Editions Corrêa, 1956.


January 22, 2007

Rip Van Winkle illustrated by Arthur Rackham

Rip van Winkle by Washington Irving, published in1819, was part of a collection intitled The Sketch Book of Geoffrey Crayon and usually assigned as the birth of fantastic literature. Irving is inspired by european fairy tales patterns (the brother Grimm notably) and built fictions which mix fantastic, mythology and U.S. politics.

Rip Van Winkle tells how the protagonist, a dutch settler, gets drunk and fells asleep, a stormy night, in the Castkill Mountains. When he wakes up, he finds, incredulous, that his night of drinking with the spirits of Henry Hudson and his crew from the shift "Half-moon", counts for twenty years to the rest of the world. In one night, the subject of his Majesty George the Third, is now a free citizen of the United States! During his long sleep, the revolutionnary war issues on the creation of the USA. Welcomed as a ghost, our hero is frightened by this new nation. The "american dream", for him, begins as a nightmare (see the entire story).

Irving's stories became legends and take part nowadays of the american unconscious mind.

The illustrations by Arthur Rackham, feed the fanstastic dimension of Rip Van Winkle and underscore the irony and the blackness of this unpleasant aftertaste of this unwilling American.

Currently, you can find at the librairie Loliée :
  • [Rackham (Arthur)] - Irving (Washington) - Rip Van Winckle. Paris, Hachette, 1906, in-4, "bradel" binding in wove paper.
  • [Rackham (Arthur)] - Fort(Paul) - Le Livre des Ballades. Paris, Piazza, 1921, in-4.


January 12, 2007

Par les champs et par les grèves

Par les champs et par les grèves, posthumous work, relates travels Flaubert made in Britain with Maxime Du Camp. Du Camp specified in his Souvenirs littéraires that the choice actually came to Britain because it was a rather far distant country, still out of civilization by his language and by his way of life. The book contains a distant irony which is typical of Flaubert who loves to mix different levels, writing about the visit of a monument and in the same time quoting his readings of travel.

This book is a learning tale, of sensations, of the wild and primal beauty of nature, and also a learning of britain people who has such peculiar standards. With this book, Flaubert experiments with the descriptive narration and adjusts his technique (portaits, urban and outsides lanscapes). Par les champs et par les grèves is also a quest tale, the one of a writer "in the making", who runs in the step of one his stylistic masters, Chateaubriand. There is something really touching when Flaubert visits the grave still empty of Chateaubriand at the Grand Bé island, or when he pays a nervous visit to Combourg where the great author grew up.

The book already indicates the Flaubert's touch and his predilection for all-embracing themes and motives, any material suitable for future novels. Nothing strange so that Proust was inspired by Par les champs et les grèves, his reading coincides with the redaction of Jean Santeuil and the sequence dedicated to Beg-Meil.
Source : http://www.crlv.org/outils/encyclopedie/afficher.php?encyclopedie_id=562

Currently at the librairie Loliee:

  • Par les Champs et les grèves, Paris, Charpentier, 1886, in-8, binding by Yseult. Original Edition.
  • Par les Champs et les grèves, Paris, Carteret, 1924, binding by Noulhac. Edition illustrated by 53 etchings of Henri Jourdain.

January 05, 2007

Galanis, a greek master

Considered as one of the master of contemporary engraving, Dimitrios Emmanuel Galanis, native to Greece, was born in Athens in 1879 (or 1882) and died in Paris in 1966.

Naturalized french citizen, he used to leave in Paris where he associated with intellectual circles. He frequented Derain, Matisse and Maillol. His aesthetic was closer from Maillol than Matisse. He was the first greek artist to be a well-known member of the artistical european avant-garde. In 1920, he took part to an exhibition with Matisse, Vlaminck and Georges Braque. In 1921, he was exhibiting with Juan Gris, Raoul Dufy, Marc Chagall and Pablo Picasso. Famous in France, he exhibited also in Brussels Bruxelles, London and New York.

His first one-man exhibition occured in 1922. He received a rousing and welcomed review. André Malraux told of Galanis that he had a same power of evocation as Giotto's.
Galanis was also a professor at the Beaux-Arts de Paris and member of the Institut.

Galanis illustrated various books. His mastery shows through the beautiful etchings he composed in 1930 for Les Nourritures Terrestres by Gide.

Currently at the Librairie Loliee :
  • [Galanis] - Gide - Les Nourritures Terrestres. Paris, Gallimard, 1930, in-4, binding by Martin.
  • [Galanis] - Gabory - Coeurs à Prendre. Paris, Editions du Sagittaire, 1920, in-4.

(source : http://fr.wikipedia.org)

December 27, 2006

Le Bal du Comte d'Orgel

The brief work of Raymond Radiguet compils a poetry collection named Les Joues en Feu, published in 1920, and two novels : Le Diable au corps and Le Bal du comte d'Orgel from which, dying of tiphoid in december 1923, he never saw the publication. Radiguet, who leaves school to begin a carrier as a reporter, assiociates with artistic circles. It's his encounter with Cocteau, in1918, which reveals the birth of this prodigal author. Avant gardist, close to the the Surrealists, Radiguet acquires however a classical style, notably in Le Diable au Corps.

Le Bal du comte d’Orgel is novel often connected with La Princesse de Clèves de Mme de La Fayette because of the deep psychological analysis. The novel mixed the sharp classicism of Radiguet, chastened with the easy going experience of Cocteau who, after the death of the young man, collaborated to the print corrections.
Speaking about Raymond Radiguet, Cocteau wrote in a article intitled This pupil who became my master (Les Nouvelles littéraires, artistiques et scientifiques - 5 juin 1952) : "Il est une plante qui parle, en quelque sorte. Dans Le Diable au corps, cette plante raconte le mystère de ses racines. Dans Le Bal du comte d’Orgel, cette plante donne sa fleur, et son parfum est parole."
http://www.alalettre.com/radiguet-intro.htm - Analyse du Diable au Corps par Clémence Camon

Currently at the Librairie Loliee :
- Le Bal du comte d'Orgel, Paris, 1924, in-12, broché , chemise et étui. One of the ten first copies.

December 13, 2006

Mac Orlan, the many skills writer

Pierre Dumarchey, alias Mac Orlan, is born in 1882 in Péronne. He has a only brother who will be a legionnaire. Their mother dies when they are still young and Mac Orlan is educated by his mother's family in Orléans. Teenager, he goes to the "Ecole Normale Supérieure" of Le Havre to become a master. But, not interested in teaching, he runs to Montmartre, the famous area of Paris, to take his chance as a painter. Montmartre will remain his harbord between severals trips to London, Belgium, Italy. The cabaret named «Le Lapin Agile» welcomes Mac Orlan and at the same time Max Jacob, Apollinaire, Carco, Dorgelès, Picasso, Vlaminck. In 1910, Mac Orlan tries to sell some comic drawings for the review «Le Rire». Gus Bofa, the editor, prefers the commentaries of the drawings than the drawings in themselves. He spurs Mac Orlan on writing stories which become successfull and allow him to release, en 1912, La Maison du retour écoeurant, his first novel with strange and humorous adventures. That's the beginning of a vivid career.
Mac Orlan writes marvelous stories, loves to portray cosmopolitan and unconventional worlds as in the novel La Bandera (1931). He writes also stories that set in familiar places : Montmartre, Rouen, or Le Havre as in Quai des Brumes, notorious because of the movie adaptation by Marcel Carné. In the last part of his life, Mac Orlan becomes famous with realistic lyrics he composes (La fille de Londres, La chanson de Margaret, Rose des bois, Nelly) and which are interpreted by big names of french song. "Poet of the adventure", creator of the "marvelous and social", radio producer, song writer, member of the French Academy, Goncourt award winner, Mac Orlan never stopped working, till his end, in 1970.
Sources : www.rabac.com - www.terresdecrivains.com

Currently, at the librairie Loliee, you can find original edition ....
- Petit Manuel du parfait aventurier. Paris, La Sirène, 1920, in-8,.
- Malice. Crès et Cie, 1923, in-12.
- La Venus Internationale. Paris, N.R.F, 1923, in-8.
- Les Pirates de l'avenue du Rhum (reportage). Paris, Sagittaire, 1925, in-12.
- Rue Saint-Vincent. Images Italiennes et Françaises. Paris, Editions du Capitole, 1928, in-8.
- Rhénanie. Paris, Emile Paul Frères, 1928, in-8.
- Chroniques de la fin du monde. Paris, Emile-Paul frères, 1940, in-8.

...as well as illustrated books :
- L'Inflation sentimentale. Paris, La Renaissance du livre, 1923, in-4, original watercolors by Chas-Laborde.
- Boutiques de la Foire, Paris, Marcel Seheur, 1926, petit in-4, original lithographies by Lucien Boucher.
- Le Tombeau de Pascin, 1944, in-8, original engravings by Pascin.



December 05, 2006

La Russie en 1839, a major political piece of Marquis de Custine

Born in the middle of the French Revolution ( March the 18th, 1790), The Marquis Alfonse de Custine had a fitful lifestyle. Originally from a rich and aristocratic family, he was the grandson of General de Custine who led the Army of North in 1793 and was decapitated by the Jacobins.

The Marquis de Custine is early attracted by literature, no doubt under the influence of the writer Chateaubriand who was the lover of is mother, Delphine de Sabran, for twenty years. He travelled a lot, in England, Switzerland, Italy (1811-1822), Spain(1835) and in Russia (1839), taking notes of his impressions and reflections. If his travelling records were succesful, especially La Russie en 1839, his others books, novels and plays, were less regarded.
Refined and acute spirit, sometimes conflincting and disgraceful, the Marquis de Custine, between 1832 and 1857, maintained a patron reputation by inviting the whole artistic Paris : painters, musicians and above all writers. Stendhal, Honoré de Balzac, Georges Sand, Victor Hugo ou Barbey d'Aurevilly took part in the sumptuous nights at the house of the street de la Rochefoucault and frequented the inner diners of the castle of Saint-Gratien. (Source : http://saintgratien.free.fr/custine.htm).


In La Russie en 1839, several volumes presented as letters sent to parisian friends, the Marquis de Custine describes and analyses Russia by the prism of his own society, the post revolutionary France. The Marquis stayed three months in Russia, during the summer of 1839, went places as Saint-Petersburg or Moscow. He was introduced to the Csar Nicholas but talked also with dissidents as the philosopher Pyotr Chaadaev.
In the foreword, the Marquis de Custine makes a lucid balance, based on his aristocratic, liberal and moralistic point of view :
"Il me semblait qu'en disant la vérité sur la Russie, je ferais une chose neuve et hardie : jusqu'à présent la peur et l'intérêt ont dicté des éloges exagérés ; la haine a fait publier des calomnies : je ne crains ni l'un ni l'autre écueil. J'allais en Russie pour y chercher des arguments contre le gouvernement représentatif, j'en reviens partisan des constitutions."
La Russie en 1839, major book who was republished six times, is as important in the political literature as his equivalent, the essay of Tocqueville Democracy in America.

Currently at Loliee's bookshop :
La Russie en 1839
, Paris, d'Amyot, 1843, 4 volumes, in-8, contemporain binding.

November 27, 2006

Le Paradis Musulman

Important figure of the Art Deco, François-Louis Schmied, born in Switzerland, came to Paris at the beginning of the 20th century and lived there until the middle of the Thirties when he moved to Marocco. He published luxuous illustrated books, of classic literature as Homer's Odyssey, and also orientalist stories. Thus, Le Paradis Musulman by Joseph-Charles Mardrus, doctor born in Cairo who was well-known for his new translation of the Book Of One Thousand And One Nights. Le Paradis Musulman is the third collaboration between the two men after La Création (1928) and Le Livre de la Vérité de la Parole (1929).

Schmied can easily be qualified as a designer because of the importance he give to the layout of the book. He worked, besides, with the designer Jean Dunand. And it's obvious that, with Schmied, the art of illustration becomes decoration : colors are substances, page setting is architecture. The typography is arranged as an harmonious structure, playing with the symmetry. Le Paradis Musulman, is deservedly considered as one his very best works.

Currently at Loliee's Bookshop, you can find, among others, Le Paradis Musulman, 1930, in-4, loose leaves, illustrated cover, with the publisher's folder and case.

November 22, 2006

La Princesse de Clèves

The Princess of Cleves by Mme de La Fayette (1634-1693) is regarded as the first modern novel of the french literature. The story takes place in the 16th century, at the Court of Henry the Second. Miss de Chartres, sixteen years old, keep her mind in front of tributes her beauty generates. She marries the Prince of Cleves who touched her by his constancy and love. Shortly after, The Princess of Clèves is introduced to the Duke of Nemours who disturbs her quiet lifestyle... The narration, beyond the Court's glitter, puts in first place the psychological dimension of the characters.

The fact that Marie Laurencin, painter of womanhood, illustrated this book is not an accident. Her distinctive style, made of caring and refined colors, with a purpose more settled on undertone than expressiveness, matches perfectly with this self-restrained love story. The ten etchings, among them the frontispiece, resonate harmoniously with the text of Mme de La Fayette.

Currently at Loliee's Bookshop :
La princesse de Clèves, Paris, Robert Laffont, 1947, in-4, loose leaves, chemise and cover from the publisher. Printed at 300 copies on vélin pur fil du Marais.
Copy containing also a complete set of the etchings in colors by Marie Laurencin.

November 14, 2006

Rues et Visages de New York

Charles Laborde (1886-1941), also knowned as Chas-Laborde, was borned in Buenos-Aires, Argentina, to french parents. He studied in Paris, at the Academie Julian and at the Beaux-Arts. He began, at the age of fifteen, to sell drawings to satirical magazines of Paris.
After War War I in which he was engaged, Charles Labordes travelled in England. He drew the bourgeois life and published his illustrations in Le Rire Rouge et La Baionnette. Chas-Laborde became then a full-time illustrator. He poke fun, with pleasure, of his own world, cartooned snobs et aristocrats between the two world ward. Influenced by the german artist Georg Grosz, to whom his work is often compared, Chas-Laborde illustrated a lot of novels.

He was also commissioned to illustrate a well-knowned serie of books about the streets and faces of famous cities :
- Rues et Visages de Paris, with text by Valery Larbaud
- Rues et Visages de Londres, with text by Pierre Mac Orlan
- Rues et Visages de Berlin, with text by de Jean Giradoux
- Rue et Visages de Moscou, with text by Chas-Laborde himself
- Rue et Visages de New York, with text by Paul Morand

The last folio of the serie, Rues et visages de New York, was published in 1950 after the death of Chas-Laborde. On each page, text et illustration complete each other to criticize social and cultural codes of the New York melting-pot. This book stigmatises the artificial dimension of the city and refers to the gap that seperate the rich from the poor.

Currently at Loliee's Bookshop :
- Rues et Visages de New-York, with text by Paul Morand - etchings by Chas-Laborde, Paris, Lacourière, 1950, in folio, in loose leaves, with illustrated paper covers. One of the 200 copies on velin d'Arches.
- Rues et Visages de Berlin, with text by Jean Giradoux - etchings by Chas-Laborde, Paris, La Roseraie, 1930, in folio, in loose leaves, with illustrated paper covers. One of the 90 copies on velin d'Arches.









November 06, 2006

Le Voyage d'Urien

Le Voyage d'Urien (1893) by André Gide, and illustrated for the original edition by Maurice Denis, is a transitional and ambiguous work. The young Gide belongs then becomes subjected to the symbolist movement which dominates in this end of the century and from which he tries to peel off. Le Voyage d'Urien signs the slow liberation of his writing, free from ethic pressure and literary codes. During his trek, Urien and twenty of his companions sail from a "pathetic ocean" to a "frozen sea", shore on enchanted islands, die from contagious ill, reach a country full of zombies eskimos... Ellis, Urien's sister, show him the mystic meaning of this adventure which, in the final, leads to nothing. The title is a word play : le Voyage d'Urien, du rien (for nothing). The book ends with this words : "We did not made this trip", "this entire book is a lie". With this work, Gide questions himself on the sense of writing, turns aside from the sacralization of poetry for an aesthetic of irony.

The frienship between André Gide and Maurice Denis is borned from their collaboration on Le Voyage d'Urien and went on till the death of the painter. In 1893, Maurice Denis, as young as Gide, is already the theorist of the Nabis movement. He is certain of his skills and his ideas. He helps Gide to find his positions and move froim Symbolism. More than illustrations, his lithographies are a part of the creation of the novel.


Currently in Loliee's Bookshop, the original edition (tirage à 300 copies, 29 original lithographies by Maurice Denis) in a nice binding, red levant, from Knoderer.

- André Gide - Maurice Denis - Correspondance 1892-1945, Paris, Gallimard, 2006
- Maurice Denis exhibition at the Musée D'Orsay in Paris from october, 31 2006 to january, 21 2007

October 27, 2006

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.

October 18, 2006

Paroles peintes, synthesis between icon and poetry

Jean Paulhan and André Pieyre de Mandiargues who were associated with the Surrealists and kept since that time a beautiful friendship, had a great impact on the edition of an extraordinary collection, composed of 5 volumes published between1962 and 1975 : Paroles Peintes. The conception is basic : putting in resonance an engraving and a poem.

A short introduction (Volume I) specifies this collective approach :
"Le couple peintre-poète ou la gravure considérée comme une traduction. La poésie veut donc être universelle. Mais la parole plonge ses racines dans le sol natal. Le peintre, lui, est libre. Ne pourrait-on pas considérer la gravure comme une sorte de traduction Une trasnmutation du poème. Le poème offert au regard, directement intelligible, antérieur à Babel."

In each volumes, famous names lent their support at this specific work. So, we can find, in volumes I, II and III , viewed as the greatests, engravings of Chagall, Zadkine, Ernst, Braque, Giacometti, Alechinsky, Miro as poems of Aragon, Arp, Mandiargues, Paz, Queneau.

The Bookshop currently offers two first editions on pur fil Johannot (200 copies). One in loose leaves with paper covers (volumes I and II), another with a binding by Creuzevault (volumes I, II et III).

Paroles Peintes I. Paris, éditions O. Lazar-Vernet, 1962, in 4°:
Aragon/Chagall - Arp/Magnelli - Birot/Zadkine - Follain/Gilioli - Guillevic/Ubac - Joyeux/Bissières - Laude/Jacobsen - Lescure/Fiorini - Liberati/Ernst - Pieyre de Mandiargues/Bona - Paulhan/Braque - de Solier/Dufour - Tapié/Lepatre - Tardieu/Vieillard.

Paroles Peintes II. Paris, éditions O. Lazar-Vernet, 1965, in 4°:
de Bayser/Vieira da Silva - Boissonnas/Giacometti - Bosquet/Serpan - Cassou/Vessereau - Clancier/Bryen - Daguet/Wogensky - Dotremont/Alechinsky - Grosjean/Deyrolle - Jouffroy/Lam - Magnelli/Arp - Oster/Sugaï - Paz/Zanartu - Queneau/Baj - G. Trakl/Wessel - Ungaretti/Fautrier.

Paroles Peintes III. Paris, éditions O. Lazar-Vernet, 1967, in 4°:
Aldan/Mothewell - Cartier-Bresson/Calder - Deguy/Perez-Roman - Gilbert-lecomte/Sima - Pyere de Mandiargues/Miro - Roche/Hundertwasser - Takemoto/Yoshihara.