Writers & Painters

First edition, printed in 64 copies, one of 10 so-called “complice” copies numbered on Lana wove paper; a deluxe issue following one “grand spécialiste” copy.

Each booklet is printed in a different colour, forming the hues of the rainbow. Our copy is complete with its original full black cloth slipcase.

The set comprises the following:

1 – Sur la plaque tournante by Jean Richer, complete with an original etching numbered and signed in pencil by Peverelli, an original collage signed by Michel Butor (detached from the leaf), and a monotype signed in pencil by Roger Membrini.

2 – Que l'enciellement spermanent rêvéalise by Roger Meyere, complete with an original etching dated, numbered and signed in pencil by Enrique Zanartu, the photogravure of a drawing by Roger Meyere, the publisher’s graphic montage, and a monotype signed in pencil by Roger Membrini.

3 – Les cartes postales de Michel Butor by Gaston Puel, complete with an original etching numbered and signed in pencil by Paul Franck, a tactile collage by Yseult, and a monotype signed in pencil by Roger Membrini.

4 – La Reine, les Boules, le Répertorieur by Michel Vachey, complete with an original etching numbered and signed in pencil by Wout Hoeboer, a graphic composition signed in black marker by Michel Vachey, and a monotype signed in pencil by Roger Membrini.

5 – Relation complète by Jean Starobinski, complete with an original etching numbered and signed in pencil by Ania Staritsky, a collage of a musical score by Henri Pousseur, and a monotype signed in pencil by Roger Membrini.

6 – Les Miroirs de Borgès et les Mondes de Leibniz by Jean Roudaut, complete with an original etching numbered and signed in pencil by Jacques Hérold, a collage signed by Michel Butor, and a monotype signed in pencil by Roger Membrini.

7 – Bibliographie Butorienne by Adrien-Valery Aelberts and Jean-Jacques Auquier, complete with an original etching numbered and signed in pencil by Frédéric Benrath, a folded collage signed by Michel Butor, and a monotype signed in pencil by Roger Membrini.

A fine copy, complete with all 7 original etchings, collages and foldings, and 7 monotypes.

First edition, one of 15 numbered copies on Hollande paper, the leading copies.
This copy with the original frontispiece lithograph by André Masson.
Hors-texte illustrations by André Masson.
A very good and rare copy.

Autograph manuscript signed by the painter and writer Jacques-Émile Blanche, entitled « Serge de Diaghileff ». Five leaves written in black ink, with numerous corrections in blue. Autograph foliation in black ink, later foliation in blue pencil. Leaf 4, originally in two parts, was joined with a strip of adhesive affixed to the verso.

Crossed-out passages and corrections.

A very fine funeral oration by Jacques-Émile Blanche for his friend Serge Diaghilev, director of the celebrated Ballets Russes.
The painter and writer Jacques-Émile Blanche pays tribute to the genius of Serge Diaghilev, shortly after his death in Venice in 1929. Chosen as a « godfather » to the Ballets Russes, the painter followed closely the choreographer’s work as a regenerator of the performing arts and applauded Stravinsky’s Sacre du printemps. He also produced numerous portraits of the Ballets Russes dancers, which he presented at the Venice Biennale in 1912.
At the beginning of the century, Diaghilev’s company, the « Ballets Russes », had dazzled audiences across Europe with a rich and vigorous art which, moving from one new form to another, remained at the avant-garde for twenty years. The painter recalls his first encounter with Diaghilev, a figure of undeniable charm: « j'éprouvai qu'on ne pouvait lui résister. Son autorité, ses caprices d'enfant gâté, on les subissait, tant son intelligence éclatait dans ses paroles d'adolescent. Il ressemblait, alors, assuraient ses compatriotes, au Tzar Alexandre Ier ». He evokes the impresario’s troubled existence and his dazzling triumphs with the Ballets Russes: « Eh quoi ! vingt ans d'expériences, vingt ans d'incomparables spectacles - et la perfection d'une technique de plus en plus déconcertante, ne nous conseilla-t-il pas d'accorder crédit illimité à notre cher ami, le plus artiste des hommes - et somme toute, le plus sûr de soi-même, malgré l'extravagance, le paradoxe de la vie qu'il menait et qu'il imposait à sa troupe ? ».
Blanche highlights Diaghilev’s taste for French culture, which he shared with his friends and collaborators. This passion, inherited from Russian aristocratic circles, made him « Le plus parisien des cosmopolites, croyant au prestige de Paris comme un boulevardier du second Empire ». We also learn of Diaghilev’s unrealized plan to travel to Moscow and stage ballets in the young USSR, then regarded as a land of political and artistic avant-garde. The letter closes with a moving evocation of Venice, where Diaghilev passed away on 19 August 1929:
« voici qu'un funèbre cortège de gondoles accompagne sur la lagune torride [...] les restes de notre cher camarade. Il est bien - puisqu'il devait nous quitter - qu'il fermât les yeux sur la cité du Sang, de la volupté et de la Mort ».

A remarkable panegyric to the creator and impresario Serge de Diaghilev by Jacques-Émile Blanche, his loyal friend and portraitist of the Ballets Russes.

First edition of this important and early collection of 50 superb lithographs of Algiers printed on china paper mounted on heavy wove, executed by the two painters Emile-Aubert Lessore (1805–1876), a pupil of Ingres, and William Wyld (1806–1889), a friend of Vernet. The work was originally issued in five parts: buildings, landscapes, figures, scenes, etc.

See: Bibliothèque algérienne de Gérard Sangnier, no. 207. Not in Blackmer. Playfair, 517. Tailliart, 896. Gay, 919. Brunet III, 1018.

Contemporary binding in half green shagreen, flat spine with triple gilt fillets and blind-stamped fleurons, gilt decorative bands at head and foot of spine, the upper band partially faded; marbled paper-covered boards with some marginal discoloration. Contemporary binding.

Spine restored, occasional scattered foxing.

First edition printed in 51 copies numbered and initialled by the author on Whatman.
Playful and striking signed presentation inscription from Jean Ajalbert to Henry Fèvre: "... ex-écrevisse de rempart, ces vers de l'auteur des bastions..."
Illustrated with an original lithograph by Paul Signac as frontispiece.
Minor spots on the lower cover, a rare and handsome copy.

First edition, with no mention of deluxe paper copies.
Precious signed autograph inscription from Octave Mirbeau to his friend Jules Renard.
Blue pencil mark by Jules Renard on the front cover.
Our copy is further enriched with Jules Renard's celebrated ex-libris, designed and engraved by Henri de Toulouse-Lautrec.

First edition of the French translation. No grands papiers (deluxe copies) were printed.
Some loss of plastic film on the spine, two light damp-stains on the upper and lower edges.
Signed and dated by Andy Warhol with an original drawing on three pages: verso of the first cover, endpaper and title page.

First edition, one of 25 copies on handmade laid paper, numbered and justified by the publisher, the only deluxe issue.
 
Bradel binding in half chocolate-brown morocco with corners, smooth spine, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, illustrated wrappers by Manuel Orazi and backstrip preserved.
Work illustrated with 136 black and colour drawings, in- and out-of-text, by Georges Bottini.
 
Bookplate mounted.
 
Our copy is enriched with a full-page original drawing, signed by Georges Bottini and heightened in black ink, depicting Jacques Beaudarmon wearing a bowler hat and conversing with the « môme ». This drawing appears as a woodcut illustration on page 133.
 
The drawing is inscribed by Georges Bottini to M. Casanove « en grande sympathie ».
 
Very rare deluxe copy of Jean Lorrain’s masterpiece.

First edition on ordinary paper.
Tiny and very discreet restorations to the verso of the first blank leaf.

Significant and fine signed autograph inscription by Antonin Artaud:
« à M. Fernand Pouey qui a voulu comprendre mon aride effort. Antonin Artaud. 13 décembre 1947. »
Signed autograph inscriptions by Antonin Artaud are exceedingly rare in this text.

First edition, one of the review copies.

Spine slightly sunned, minor marginal spots on the front cover.
Precious autograph inscription signed by Maurice de Vlaminck to his Montmartre friend Pierre Mac Orlan: "... son vieux copain..."

First edition, printed on vellum paper in 260 numbered copies.

Bradel binding in half vellum-style boards, smooth spine, gilt title running lengthwise, gilt fillet framing the marbled paper covers, top edge gilt.

A long orange offset to the margin of the lower cover on the vellum-style board, light orange offsets to the margins of the white endpapers.

Illustrated with 68 plates reproducing drawings by Max Liebermann in facsimile.

This copy retains the two original etchings by Max Liebermann, each signed by him in pencil.

First edition and first issue of the suite of 24 color lithographs.

Publisher’s original soft illustrated folder, flat red cloth spine without lettering (expertly restored), red cloth framing on the boards, showing some soiling; original cloth ties intact and present.

Some occasional foxing.

First edition printed in 700 numbered copies, ours being one of the 50 non-commercial copies.

Publisher's binding in full blue cloth, smooth spines, copies complete with their illustrated dust jackets.

Rich iconography.

Beautiful copy in two volumes, complete with its soft cardboard case.

First edition, one of 40 numbered copies, the only copies printed on deluxe paper.

A handsome and scarce copy.

Illustrated with full-page color drawings by André François.

Pencil signature by Vincent Pachès at the colophon.

First edition illustrated with 24 original lithographs by René Seyssaud, one of 70 copies printed on pure Arches wove paper, this one being among the first 20 enhanced with an additional suite of lithographs and an original drawing by René Seyssaud, signed in brown pencil.

The additional suite comprises only 8 lithographs, 5 in color and 3 in black and white.

Text by René-Jean and J. Tourette.

A well-preserved copy, complete with its original chemise and slipcase (spine sunned), a few scattered spots of foxing, notably on the covers.

First edition, one of 950 copies on Vélin Vidalon signed by André Marchand, the only printing following 49 copies on Vélin d'Arches.

Bound in black morocco-backed boards with corners, smooth spine, gilt fillet borders on cat's eye paper-covered boards, marbled endpapers and pastedowns, original wrappers and spine preserved, all edges gilt. Slipcase edged in black morocco, marbled paper panels. Binding signed by D. Saporito.

Illustrated with 50 splendid original lithographs by André Marchand, printed by Mourlot.

Featuring previously unpublished texts by Georges Spyridaki, René Lacôte, Georges Hugnet, Gabriel Audisio, Raymond Queneau, David Herbert Lawrence, Pierre Emmanuel, Luc Decaunes, Léon-Marie Brest, Jean Grenier, Antonio Machado, Marie Mauron, Paul Eluard...

A handsome and finely bound copy.

Autograph letter signed and dated "20 floréal year 79 19 May" [19 May 1871?], 3 pages on a bifolium of blue paper. Small lack of paper affecting a few letters, usual folds from mailing.

Rare letter by painter and illustrator Gérard-Séguin, known for his portrait of Honoré de Balzac (Musée des Beaux-Arts de Tours). Written in the midst of the Paris Commune, as famine and fighting ravaged the capital, the artist delivers a desperate yet spirited plea from the artist.

This letter is one of the few surviving manuscripts by Gérard-Séguin whose biography remains largely unknown: "Little is known about the life and work of Jean Alfred Gérard-Séguin, except that he studied under Jérôme-Martin Langlois at the École des Beaux-Arts in Paris, exhibited at the Salon between 1831 and 1868, and—close to publisher Pierre-Jules Hetzel—primarily worked as a book illustrator, contributing drawings for various publications, including Balzac's La Comédie Humaine, for which he also painted a portrait of the author. Working with Prosper Mérimée and the first Monuments Historiques commissions, he also copied out the church frescoes of Saint-Savin-sur-Gartempe" (Musée de Valence). Staunch Republican Gérard-Seguin supported the Commune and had previously painted a major historical canvas on the French Revolution of 1848, depicting a "guardian of the peace and the Republic." Severely impoverished by the siege and already 67 years old, he expresses in this letter his regret at not being able to join the ranks of the Communard fighters.

First edition, one of the rare numbered copies printed on red papier bouffant, the only deluxe issue alongside 5 copies on Hollande.

Covers slightly and marginally soiled, two initials in red ink in the upper left corner of the front cover.
Illustrated with a "portrait de crotte de bique et couillandouille par eux-mêmes" [portrait of goat-dropping and dick-and-drumstick by themselves.]

Very famous work from the Dadaist canon, written by Pansaers one year before his untimely death — the personal copy of painter Theo van Doesburg, with his autograph signature. In 1917, Doesburg had co-founded the renowned De Stijl neoplasticist movement with Piet Mondrian.

Doesbourg had joined the Dada movement in 1921, and also became one of its theorists. As Marguerite Tuijn notes, “Van Doesburg was deeply impressed by Pansaers. This artist was one of the few Belgian Dadaists, a mysterious figure and a quintessential poète maudit. In early 1920, he also arrived in Paris, where he created a small number of Dadaist works. Among others, he wrote *Le Pan-Pan au cul du nu nègre* (1919) and *Bar Nicanor* (1920). In April 1921, he left the Dada movement. He died at the end of October 1922.” (Theo van Doesburg. A New Expression of Life, Art and Technology, Palais des Beaux-Arts, Brussels, 26 February – 29 May 2016, p. 72).

One of the most desirable copies of this "PAN-DADA" masterpiece, in  Pansaers' own words.

First edition, one of the review copies.

Spine faded with noticeable waterstaining at foot, a few small spots in the margins of the covers.

Illustrated with 53 photographs by Brassaï.

On a card mounted to the front endpaper, a moving presentation inscription, dated and signed in blue ballpoint pen by Brassaï: "Pour Francis Ponge amical hommage de Brassaï Eze-Village le 29 octobre 1964."

First edition, one of 15 copies printed on japon impérial, most limited deluxe issue.

Bradel binding with grey box spine, front board in plexiglass revealing the original cover, back board in grey box, original wrappers and spine preserved, housed in a soft grey paper chemise lined with light grey felt; unsigned binding by Mercher.

Illustrated with three original lithographs, including the original colour illustration on the cover.

Discreet repairs to the head of the front wrapper, which also shows slight sunning along the left margin.

A very rare and beautiful deluxe copy of this major scenario for an imaginary Dadaist film by Picabia: "

I ask each of my readers to stage and film for themselves on the screen of their imagination [...] record for yourselves while reading La Loi d'accommodation chez les borgnes; all seats are the same price, and you can smoke without bothering your neighbors.

" (Picabia, preface). This work related to his celebrated Dada piece L’Œil Cacodylate, directly references the theme of distorted vision – a significant inspiration for Picabia, who suffered from ophthalmic shingles: "The title of the scenario itself (La Loi d’accommodation chez les borgnes) can be seen as an (ironic or humorous) echo of the visual processes explored in his latest works. Depth perception requires two eyes. The lack of stereoscopic vision in monocular vision results in a flat image, and the brain must work harder to construct a sense of relief." (Bernard Marcadé, Francis Picabia Rastaquouère, p. 390)

Our copy includes an autograph letter by the publisher confirming to the recipient that the work is complete and does indeed include two illustrations by Francis Picabia (in addition to the cover), contrary to what Skira indicated in his bibliography.

First edition, with no deluxe copies printed.
Pleasant copy, which is uncommon given the fragility of this book, often handled without care.
Inscribed and signed by Serge Gainsbourg to a recipient named Georges.
 

Second edition, partly original, with 14 poems appearing here for the first time.

Bound in fawn half morocco with corners, spine very slightly darkened without consequence, marbled paper boards, comb-marbled endpapers and pastedowns, original wrappers and spine preserved.

Illustrated with a frontispiece by Félicien Rops.

A handsome copy, attractively bound.

Autograph note signed by Caran d'Ache to a lady friend, 18 lines in pencil on a bifolium, with each letter written in uppercase.

Tears repaired with adhesive patches, minor loss to corners not affecting the text.

"Admirable madame ! Grandpierre & non Dampierre est votre proche voisin rue d'Offemont. Je me traîne à vos pieds heureux de baiser la pointe de vos pieds. Caran d'Ache."

The rue d'Offemont, located in the Plaine Monceau district, is now known as rue Henri Rochefort.

First edition, printed in 105 copies on Rives wove paper, this copy being one of the 60 with an original etching signed in pencil by Annie Proszynska.

Colophon signed in pencil by both Guy Rohou and Annie Proszynska.

Illustrated with 15 original etchings by Annie Proszynska, including a frontispiece, a full-page plate, a double-page plate, and 12 in-text illustrations.

A fine copy, complete with its original Siena moiré cloth chemise and slipcase.

First edition, one of 50 numbered copies on Japan paper, ours not numbered but printed for the publisher, a copy from the deluxe issue.

Half black morocco binding, spine with five raised bands, date gilt-stamped at foot, moiré paper sides, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, binding signed in blind by Ch. Septier.

Illustrated with 21 hors-texte engravings by Daniel Vierge, along with numerous in-text black-and-white engravings.

Our copy, as with all copies on Japan paper, includes the hors-texte engravings in two states.

A handsome and finely bound copy.

New edition, one of 1,000 numbered copies printed on Arches wove paper.

Full red shagreen binding, smooth spine featuring at the foot a black shagreen onlay in the shape of a triangle; minor, unobtrusive rubbing to spine. Boards decorated with a geometric Art Deco design composed of three black shagreen inlaid bands extending across the spine, and gilt fillets culminating in gilt circles and triangles. Moiré and gilt-patterned felt endpapers and pastedowns, original wrappers preserved, top edge gilt. A fine Art Deco binding of the period.

Housed in a custom slipcase covered with marbled paper.

Precious presentation copy inscribed and signed by Francis Carco to his friend Raoul Dufy, who is not explicitly named: "A monsieur Raoul avec tous les sourires de F. Carco. P.L.V."

Autograph note dated and signed by Henri Laurens, 7 lines in black ink, addressed to a Mr Fardel, most likely Gildas Fardel, the prominent art collector.

A handsome example.

Henri Laurens writes to postpone their appointment, as he will not be at his studio at the agreed time.

A major collector of abstract art, Gildas Fardel donated part of his collection to the Musée des Beaux-Arts in Nantes in 1958.

Autograph letter dated and signed by André Breton, 21 lines in blue ink on a single sheet, addressed to Georges Isarlo of the journal Combat-Art concerning a text given to him by his friend José Pierre.

True to form, the leading figure and high priest of Surrealism seeks to clarify matters with his correspondent: "Vous comprendrez sûrement le souci que je puis avoir de ne pas, sous un vain prétexte d'anniversaire, laisser dénaturer le sens et gâter le fruit de quarante années de lutte et voudrez bien considérer qu'il a pour tous ses signataires - répondants du surréalisme aujourd'hui - la même importance vitale que pour moi."

Original drawing in graphite and blue and pink colored pencils signed by Antoine de Saint-Exupéry, on a sheet of watermarked paper "Navarre". Horizontal fold.

One of Saint-Exupéry's quirky characters in a suit and bow tie, spawn from the baroque and overflowing imagination of the Little Prince's author. The writer-aviator-artist very rarely signed his graphic works.




 
 
 

Original drawing with graphite, blue and pink colored pencils signed by Antoine de Saint-Exupéry, on a sheet of watermarked paper “Navarre”. Hor­izontal fold, pencil annotation in the upper left margin, very small loss of paper in the lower right margin.

A remarkable caricature signed by Saint-Exupéry, akin to a cartoon character. The writer-aviator-artist very rarely signed his graphic works.

Original signed drawing in pencil and pink crayon by Antoine de Saint-Ex­upéry, on “Navarre” watermarked paper. Horizontal fold, annotation in pencil in upper left-hand corner, min­ute tears in lower margin.

Precious drawing signed by Saint-Exupéry – the writer-artist very rarely signed his graphic works – of a caricature character, sharing some of the writer's own features.

Autograph letter signed by Ger­maine de Staël and dated 9 Janu­ary 1809 to Julie Nigris, daughter of Élisabeth Vigée Le Brun. Two pages written in black on a bifolium. Autograph address on verso, armo­rial wax seal traces and postmarks.
Usual folds, a tear with a small piece of paper lacking on the address page due to the opening of the seal.
Published as an addendum in Sou­venirs de Madame Vigée Le Brun, 1837, vol. III, pp. 264-265.

Germaine de Staël is eagerly awaiting her portrait as Corinne - her novel's heroine- she had commissioned from the famous Vigée-Lebrun. The letter is a precious link in the fascinating history of the painting the baroness would discover a few months later.

"Madam, I have given up on engraving the portrait of your mother. It is too expensive for my whim and I have just suffered a considerable lawsuit that is forcing me to make do with less. But would you be so kind as to tell me when Madam Le Brun will give me the portrait of Corinne? My intention was to send her a thousand écus upon receiving it, but as I have not heard from her, I don't know what to do.
Please be so kind as to get involved and negotiate what I want in this regard. Another pleasing negotiation would be your arrival to Switzerland this summer. Prosper says he will come. Wouldn't M. de Maleteste be seduced by this reunion of all his friends? I dare to count myself among them. Seeing him once, it seemed to me that I was meeting an old acquaintance."


Germaine de Staël addresses Vigée Le Brun's daughter Julie, inviting her and her mother to brighten up her exile. She also tried to gather at her home of Coppet her lover Prosper de Barante as well as Julie's, the Marquis de Maleteste. Dreading solitude, she was determined to invite a host of interesting personalities. Two years earlier, Vigée Le Brun had begun painting a portrait of the baroness depicted as the heroine of her latest novel Corinne. In-between portrait sittings with the baroness, the artist had met the famous members of the so-called Coppet group: Frederick of Prussia, writer Benjamin Constant and salonnière Juliette Récamier. De Staël had already requested a change as soon as the painter had started the canvas and asked for a different landscape in the background. Aware of the somewhat unprepossessing appearance of her model - neither she nor the baroness denied it - Vigée Le Brun created an ambitious portrait mixing antiquity-inspired attire with a furiously romantic allure. She managed to capture the baroness's inspired gaze instead of an expected neoclassical austerity. Despite her enthusiastic initial reactions, Germaine de Staël was not pleased with it and commissioned another portrait from local artist Firmin Massot. The latter produced a poor but faithful copy of the Vigée Le Brun's composition, except for her face and expression he smoothed out and made devoid of any emotion. The baroness's reaction illustrates the irreconcilable dilemma faced by women of letters at the beginning of the 19th century: torn between their identity as intellectual figures (which Vigée Le Brun had magnificently captured in this portrait), and the normative criteria of femininity Germaine de Staël wanted to align with.

A precious piece of correspon­dence, bringing together two illus­trious women - the patron and the artist, whose visions of femininity would soon oppose on either side of the easel.

Autograph letter signed by painter Elis­abeth Vigée-Lebrun addressed to his­torical painter and portraitist Hortense Haudebourt-Lescot. Two pages in black ink on a bifolium. Autograph address of Mme Haudebourt, 19 rue Rochefou­cauld, on verso of second leaf. Usual horizontal folds, tear without damage to the text on the second leaf due to the wax seal. A bibliographer's note in blue pencil on the verso of the last leaf.

Autograph note signed, addressed to his friend and publisher Felia Léal concerning the completion of their joint project: the forthcoming publication of the book "Les paroles transparentes" illustrated by Georges Braque.

Seventeen lines in black ink on two small leaves.

A handsome ensemble, with a paperclip mark to the upper left corner of both leaves.

"Wednesday,

Dear Felia, here is the letter. Are *Les Paroles* still coming out on June tenth? Very impatient. (When I think of it, I am amazed by your patience, your tenacity, your gentle forcefulness. Good evening, dear dangerous one. Affectionately, Jean. (To be honest, G. showed a little annoyance. He said to me 'but just correct the number!' Please do not mention this to Monsieur Léon Léal."

Autograph envelope addressed by André Breton to his friend Géo Dupin, curator of the La Cour d'Ingres art gallery at 17 quai Voltaire, from whom the Pope of Surrealism acquired several paintings.

The address is written in black ink (some letters slightly smudged).

A well-preserved example.

First edition, with no copies printed on deluxe paper.

A very good copy.

Precious signed autograph inscription from Jean-François Lyotard to Pierre Vidal-Naquet.

Original felt-tip drawing signed by Uderzo, accompanied by René Goscinny's signature in blue ink. Half a page on the verso of the final leaf of a three-page typescript stapled with a metal clip.
Some minor fold marks, without consequence.
A round and cheerful portrait of Obelix, drawn by his creator and inscribed “pour Anne Sophie avec toute notre amitié”, enriched with René Goscinny’s signature, on the verso of television script pages from a show featuring Uderzo and Goscinny as guests.

Complete set of 13 original lithographs by Eugène Delacroix, in first edition, first issue with the letter, one of 20 copies on Chine paper pasted on laid paper:

"It was originally printed in a few proofs on Chine, the format of which exceeds the square line by one or two centimeters. They are highly sought-after, even though they bear the letter" (Robaut).

Bound in the original publisher's brown half-shagreen binding, title gilt stamped on first board, original first cover wrapper preserved. Small restored tear to the margin of the wrapper over 5 cm, sunned spine, joints and corners rubbed, scattered foxing and a dampstain to the lower part of the laid paper on which the lithographs are pasted on, without affecting the lithographs themselves.

Exceptional and rare set of original lithographs by Eugène Delacroix on Chine paper, illustrating Shakespeare's masterpiece.
A cornerstone of Romantic art, this series was "made at M. Delacroix's personal expense. Only 80 copies were printed, 60 on blanc and 20 on chine, and these were sold out at the time of the author's death" (Henri Béraldi).  It is now esteemed as Delacroix's most accomplished graphic undertaking, which took him more than ten years to achieve and generally considered to be one of the first modern livres de peintre.

Autograph letter signed by Marguerite Yourcenar, dated 23 January 1957, two pages in black ink on a single sheet, with the original envelope included.
On two densely written pages, Yourcenar confides her editorial frustrations to her close friend, the painter Elie Grekoff, recounting the blasphemous act of her publisher, who had torn in "en deux ou plutôt en quatre" [‘two or rather four’] the dedicated copy of her poetry collection Les Charités d’Alcippe (1956) and returned it to her by post. She discusses joint projects with Grekoff and requests that he accept the profits from a work he illustrated for her.

Yourcenar writes from the United States, which she joined in 1939 with her companion Grace Frick, then a professor of British literature in New York. From 1950 onwards, they settled on Mont Déserts Island, bordering Canada, in a house named Petite-Plaisance, which she mentions in the handwritten letterhead. Amidst the wild nature and crystalline lakes, she would write there some of her most celebrated works, including The Abyss. Through the text, we catch fleeting images of the author’s reclusive existence: « Ici, travail abrutissant, favorisé par les grands froids, qui font qu'on ne sort qu'un bref moment, ou quand on y est obligé. Correction d'épreuves, correspondance en retard depuis des mois, traduction, et enfin le livre en train [...] les journaux arrivent très régulièrement, et si vite, dans le cas du Monde, que j'apprends par lui les nouvelles de New York avant d'avoir le temps d'aller au village acheter le New York Times » [“The work here is grueling, compounded by the bitter cold, so that one ventures outside only for a short while, or out of necessity. Proofreading, months of overdue letters, translation, and finally the book underway […] the newspapers come so promptly and consistently, particularly Le Monde, that I hear the New York news from it before I even manage to go to the village and buy the New York Times”.]
The most poignant passage of the letter concerns her stormy dealings with her publisher Curvers, regarding her neoclassical-spirited poetry collection Les Charités d'Alcippe. Yourcenar recounts the publisher’s unforgivable act, enraged by her reproaches over the premature release of the collection: "Toute la légalité (et le sens commun) sont de mon côté, mais cela n'a pas empêché l'irascible liégeois de me renvoyer un ex. des 'Charités d'Alcippe' déchiré en deux ou plutôt en quatre. L'époque est à la violence  [‘All legality (and common sense) was on my side, yet that irascible man from Liège still sent me back a copy of Les Charités d'Alcippe, torn in two-or rather, in four. These are times defined by violence.’] “The affair of the gentleman from Liège,” as mentioned in the letter, ultimately resulted in a full-fledged legal dispute through attorneys. The writer’s uncompromising standards and constant concern for copyright earned her several disputes, including two lawsuits—one with the director Jean Marchat, and another with her publisher Plon.

The letter’s recipient, Élie Grekoff (1914–1985), painter, illustrator, and master bookbinder, remained a close confidant of the writer for decades and collaborated with her on several editorial and theatrical projects. Among his contributions, he designed the scenery for her Sartre-inspired play, Electre ou la chute des masques, which premiered at the Théâtre des Mathurins. The letter also bears witness to two of their artistic collaborations: the edition of a Latin classic and of a renowned Hindu poem, the Gita-Govinda, both annotated by Yourcenar and illustrated by Grekoff.

In a few beautifully gracious lines, Yourcenar entreats him to accept the proceeds, probably stemming from the 1956 publication of Laevius’s Bagatelles d’Amour: "merci Elie, et je vous en prie, considérez les trente huit mille qui restent comme vôtres, puisque nous n'en avons que faire en ce moment. Et quand je dis comme vôtres, je ne parle pas seulement comme vous le faisiez, du cas de force majeure, guerre, accident ou maladie, mais aussi en vue de rendre un peu plus commode la vie journalière - provisions de charbon, si l'on peut de nouveau en faire, ou achat de sympathiques conserves et repas au restaurant qui vous éviteront l'ennui de faire la cuisine quand vous préféreriez dessiner".   [‘thank you, Élie, and I beg you to regard the remaining thirty-eight thousand as entirely yours, for we have no need of them at present. And when I say “yours,” I do not mean only, as you did, in cases of force majeure, war, accident, or illness, but also to make daily life a little more convenient - coal supplies, if they can be had again, or the purchase of pleasant preserves and meals at a restaurant, sparing you the tedium of cooking when you would rather be drawing’.]

A delightful and copious letter from the first woman to be elected to the Académie Française, confronting her publisher and confiding to a trusted friend her fight to safeguard the integrity of her work.

Autograph letter card signed by the painter Pierre Puvis de Chavannes to the engraver Emile Boilvin.
The painter addresses a resigning member of the Société nationale des beaux-arts, which Puvis de Chavannes had founded and was in charge of the Salon du Champ de Mars, a dissident event from the official Salon des artistes français: "Cher Monsieur Boilvin, c'est avec le plus vif regret que je vous vois vous séparer d'une société où vous ne comptiez que des admirateurs et des amis. Qu'il soit fait selon votre désir, mais encore une fois, votre démission nous cause à tous un réel chagrin. Cordialement, P. Puvis de Chavannes" ["Dear Mr. Boilvin, it is with the deepest regret that I see you parting from a society where you had only admirers and friends. Let it be as you wish, but once again, your resignation causes us all genuine sorrow. Sincerely, P. Puvis de Chavannes"]

Signed autograph letter by the painter Théodore Rousseau, one page on a folded sheet.

“My dear Sir,

I shall do my utmost to send you my painting today; by early tomorrow morning it will be fully framed, ready to hang. Believe me, if I kept you waiting, it was not out of vanity; I had a difficult task to complete in a limited time. until tomorrow morning, and thank you for all the kindness I have experienced from the administration. Yours entirely devoted,
Th. Rousseau”