388 résultats
19472402Paris: Éditions Cahiers d’Art 1947. First edition. 48 pp. Plain wrappers with attached dust jacket. Some toning to cover extremities minor handling wear near fine.<br /> <br /> One of 500 numbered copies although Eluard noted that only 258 copies were printed due to a lack of paper. Eluard’s poignant tribute to his wife Nusch published a few months after her sudden and unexpected death. Illustrated with eleven exquisite photographs of Nusch by Man Ray and Dora Maar. Nusch had also been the subject of Man Ray’s camera in the similarly superlative Facile published ten years earlier. In 1965 Louis Aragon during a tribute to his friend mentioned his first encounter with the book: “He signed it with an invented name Didier Desroches because he had killed Paul Eluard… What he had shown me of Didier was of a confounding beauty. This little book which was to appear as the work of an unknown it is an understatement to say that in my eyes it surpasses all that Eluard signed with his name. I thought it then and I think it today.†A rare and beautiful book. Éditions Cahiers d’Art unknown
194791779Paris: Editions Cahier d'art 1947. Fine. Dora Maar Signs Her Own Work Editions Cahier d'art Paris 1947 18.50 x 24.50 cm broché First edition which supposedly had an issue of 500 numbered copies. Gallimard donated the paper required for the production of this book but only 258 copies could be printed rather than the 500 announced in the justification from a note by Paul Éluard. A slight crease to the covers slight marginal sunning primarily affecting the rear cover. Illustrated with 11 photographs of Nusch Éluard by Man Ray and Dora Maar. Le temps déborde is a collection of eleven poems published in 1947 a few months after the sudden and unexpected death of Paul Éluards wife Nusch. A poignant ode to their seventeen years of life together the work is illustrated with striking portraits of Nusch. This exceptional copy is signed by Dora Maar beneath or directly on each of her five photographs. We are aware of only one other copy signed by the photographer and none signed by Man Ray. A rare and beautiful copy. In 1965 paying tribute to his friend Aragon recalled his discovery of this masterpiece: He signed it with an invented name Didier Desroches because he had killed Paul Éluard. I let him talk. What he had shown me of Didier was of a confounding beauty. This slender book which was to appear as the work of an unknown to say merely that in my eyes it surpasses everything Éluard ever signed with his own name is to say too little. I thought so then and I think so today. The attribution of each photograph in the collection to either Man Ray or Dora Maar has long been a source of confusion. Strangely the question seems to attract little scholarly attention: as Mary Ann Caws notes Dora Maars portraits of the Surrealists muse were originally attributed to Man Ray since they were so clearly superb in their construction and realization These photographing women: The scandal of genius Angels of anarchy: women artists and surrealism 2009. This misattribution was also a consequence of the systematic erasure of Dora Maars photographic work which she abandoned at Picassos request. The two series by Dora Maar and Man Ray are further entwined by their shared style and by both artists fascination with Nusch. Audacious framing and subtle interplay of shadow and light reflect the two Surrealist photographers formal innovation. Beyond aesthetic alchemy the three of them were very close at the time of these photographs 1935-1938. For several years they all took part with their partners Ady Fidelin and Paul Eluard in late-summer gatherings in the rustic village of Mougins overlooking Cannes at the invitation of Picasso where they indulged in role play identity and couple exchanges Alicia Ortiz Dujovne Dora Maar. Some of the collections illustrations are well known: Man Rays Nusch with mirror his diptych with her eyes closed and open and the celebrated portrait by Dora Maar illustrating the poem LExtase with her carefully lit face floating in darkness supported only with her fingers an elusive expression in her eyes. In one unforgettable version of the same image Les années vous guettent The years lie in wait. Maar superimposes a silvery spiders web over Nuschs features Louise Baring Dora Maar: Paris in the time of Man Ray Jean Cocteau and Picasso. The resonance of the photograph is all the more powerful since Nusch died early of a heart attack just on the day she was to lunch with Dora Maar for whom it was an irreparable loss. Mary Ann Caws For other photographs attribution had remained uncertain notably the portrait of Nusch bare-breasted and draped in foliage illustrating En vertu de lamour: the absence of a signature supports the attribution to Man Ray. A sublime poetic and artistic tribute featuring the finest portraits of Nusch central figure in Man Ray and Éluards shared imagery and graceful model for Dora Maars most accomplished portraits at last restored to their right Editions Cahier d'art unknown
1951118496Paris : Editions du Cercle dÕArt 1951. 295x225mm. collation effectuÂŽ: 29 dessins n/b in texte dont un en couleurs brochÂŽ. Couverture ˆ rabats. Un des 2000 exemplaires sur papier vÂŽlin offset supÂŽrieur numÂŽrotÂŽ n.¡ 322 / 2000. Ce volume achevÂŽ dÕimprimer en octobre mil neuf cent cinquante-et-un a ÂŽtÂŽ tirÂŽ pour les lithographies sur les presses de Mourlot FrÂres la typographie est de lÕimprimerie Union ˆ Paris. Bloch 687. Cramer 62. Mourlot 203. TrÂs bel exemplaire. 284 Editions du Cercle dÕArt unknown
195148786Paris.: Cercle d'art. 1951. Original publisher's printed wrappers with titles to front cover in black. 4to. 285 x 228 mm. With original lithograph by Picasso and 29 lithographs after Picasso drawings printed by Mourlot. The édition de tête with Picasso's original lithograph.From the edition limited to 150 copies with the original lithograph; this copy exceptionally signed by Picasso in pencil and with the collector's mark WDB.The book published the 29 drawing Picasso made of variations on the theme of peace for the 30th Anniversary of the French Communist Party.Mourlot 203; Cramer 62. Cercle d'art. unknown
193983131Paris: Edgar Malfère 1939. Fine. Edgar Malfère Paris 1939 12 x 19 cm broché First edition a Service de Presse advance copy. Precious and handsome signed autograph inscription by Sylvain Bonmariage: ""A Monsieur Paul Eluard dont j'admire les vers. et la fille qui est l'un de ses plus beaux poêmes !"" ""To Monsieur Paul Eluard whose verses I admire. and whose daughter is one of his most beautiful poems!"" Edgar Malfère unknown
1981014815Paris: Éditions Hervas 1981. Book. Near Fine / Bel. Quality Paperback / Broché. tall 8vo / in-8o. Éditions Hervas Paperback
29423Le Cannet 19 janvier 1937. 1 page en 1 f. 160 x 250 mm encre noire. . Poème autographe signé. Éluard a inscrit la date sous sa signature : « chez René Char le 19-1-37 ». . « Entre la porte et le sommeil de ceux qui tout à l'heure ne voulaient pas dormir - remâchaient un murmure plein de petits os autant de mots de passe dans une veille fluide - un peuple dénaturé perpétue la présence humaine. Voici le liseron la capucine le volubilis frais échappés d'un déjeuner de soleil de beaux cuirs usés des fourrures animées des étoffes à reflet des chaises des outils actifs justifiés l'aspirine et le fer à friser le miroir et le paysage en forme de carte à jouer. ». Ce poème sera intégré par Éluard dans le recueil Les Mains libres qui a pour origine sa forte amitié avec Man Ray. L'oeuvre est construite en deux parties inégales précédées d'un frontispice dessin d'introduction et d'une préface du poète. La première partie comporte trente dessins et poèmes la seconde vingt-quatre ; chacune des parties se clôt par un dessin-poème : « La liberté » et « Les amis ». Ce dernier est d'une importance cruciale illustrant une valeur cardinale aux yeux de Man Ray comme d'Éluard. Son placement n'est pas anodin : c'est le dernier poème du recueil et le seul en prose narratif formé de deux strophes. Ce manuscrit nous apprend qu'il fut composé chez René Char lorsque Paul et Nusch Éluard lui rendirent visite au début de l'année 1937. Char est alors en convalescence avec Georgette à la villa Eden Park au Cannet quelques mois après une grave septicémie qui manqua de le tuer. Il signera peu après les pensées fulgurantes de Moulin premier publiées en décembre 1936 avant de rejoindre la région cannoise où le couple Éluard les rejoint : « nous vécûmes ensemble dans l'improvisation et l'aisance de l'amitié une quinzaine de jours » raconte Éluard. C'est lors de ce séjour que seront aussi composés les deux poèmes qui formeront l'édition posthume du recueil homonyme publié en 1960 chez Jean Hugues. [Le Cannet], 19 janvier 1937. 1 page en 1 f. (160 x 250 mm), encre noire. unknown
18243Paris Au sans pareil 10 janvier 1920. 1 vol. 140 x 200 mm de 44 p. et 2 f. Demi-chagrin havane à coins dos lisse titre doré en long tête cirée couvertures conservées reliure signée de Flammarion-Vaillant. . Édition originale. Illustré de 5 dessins hors-texte d'André Lhote. Un des 550 exemplaires sur vélin d'alfa n° 243. Envoi signé : « Noll dormez tout doucement Paul Éluard ». . Les Animaux et leurs hommes est le premier recueil de Paul Éluard où se manifeste l'influence de Dada marque sa véritable entrée dans le groupe Dada parisien son premier manifeste littéraire rédigé quelques mois après sa rencontre avec le futur chef de file du mouvement surréaliste André Breton. L'exemplaire est offert à un compagnon es-lettres Marcel Noll auquel Éluard avait déjà envoyé trois ans plus tôt Le Devoir et l'Inquiétude avec cet envoi déjà onirique : « à Marcel Noll pour que la phrase prédominante s'abaisse au silence ». Le personnage reste pourtant mystérieux : partout présent dans les premières manifestations du mouvement surréaliste il collabore aux revues publiées par le groupe puis à L'Humanité. Avec Breton et Éluard il était très lié à Denise Lévy future compagne puis épouse de Pierre Naville - la cousine de Simone Kahn qu'épousera Breton en août 1921 - et dont il était éperdument amoureux. Marcel Noll est très présent dès 1922 dans le cercle d'amis qui fréquentent l'atelier de Simone et André Breton qui écrivent et voyagent ensemble. Une notice de Marguerite Bonnet pour les notes de l'édition Pléiade énumère la collaboration de Noll à La Révolution surréaliste n° 1 déc. 1924 à laquelle on doit ajouter celles des 15 juil. 1925 15 juin et 1er déc. 1926 et son rôle de gérant de la Galerie surréaliste en 1926. Dix ans plus tard Noll « aurait disparu en Espagne durant la guerre civile » Pléiade p. 1194-95. Aragon lui a dédié le chapitre III du Paysan de Paris 1926 ; Breton le poème « L'Aigrette » dans Clair de terre et dans Nadja 1928 Breton évoque sa visite un jour de 1926 « avec Marcel Noll au ‘marché aux puces' de Saint-Ouen. ». La notice du Maîtron Dictionnaire biographique du Mouvement ouvrier indique : « Noll est entré jeune en contact avec Breton et Éluard par l'intermédiaire de Denise Lévy née Kahn amatrice d'art qui habitait comme lui Strasbourg Haut-Rhin et était une cousine de Simone Breton. Le nom de Noll apparaît au sommaire de la revue La Révolution surréaliste dès le premier numéro 1924. Journaliste il écrit et signe parfois en 1925 la revue des revues dans les colonnes de L'Humanité. Faisant du courtage de tableaux il exerça des responsabilités à la Galerie surréaliste qui avait été ouverte en mars 1926. Il travailla plus tard à L'Humanité de Metz édition en langue allemande. Dans une lettre à Breton de 1932 il indique qu'il y donne des échos de l'activité surréaliste. . mort le 5 janvier 1937 sur le front de Madrid. » Paris, Au sans pareil, (10 janvier) 1920. 1 vol. (140 x 200 mm) de 44 p. et [2] f. Demi-chagrin havane à coins, dos lisse, titr unknown
23098Toulouse Comité national des écrivains 1944. 1 plaquette 105 x 135 mm de 16 p. Agrafée. Couverture jaune. Première édition séparée de ce poème initialement paru en clôture du second volume de L’Honneur des poètes. Publié en mai 1944 aux Éditions de Minuit il est dédié « à la mémoire de Lucien Legros fusillé pour ses 18 ans » entré dans la clandestinité après sa participation le 16 avril 1942 à la protestation contre l'arrestation de Raymond Burgard professeur résistant du lycée Buffon. Arrêté par les brigades spéciales le 5 juin condamné aux travaux forcés le 25 il fut livré à l'occupant qui le condamna à mort le 15 octobre. Une semaine plus tard Éluard recevait une lettre du père du jeune homme le lui annonçant : « mon petit est condamné à mort mais je le sauverai » cité dans Minuit au coeur au coeur de Minuit p. 43. Il y échouera : avec quatre camarades du lycée Buffon son fils sera fusillé le 8 février 1943. Éluard écrira « Les Armes de la douleur » pour lui et « Daddy des ruines » le père du jeune martyr son « camarade des deux guerres ». Les poèmes « À celles dont ils rêvent » « Courage » et « Bêtes et méchants » suivent « Les Armes de la douleur ». Toulouse, Comité national des écrivains, 1944. 1 plaquette (105 x 135 mm) de 16 p. Agrafée. Couverture jaune. unknown
191831297Paris: Les Cahiers idéalistes français 1918. Fine. Les Cahiers idéalistes français Paris 1918 15 x 20 cm broché First edition of this idealistic and internationalist French review published in a small number of copies. Copy uniformly foxed on the margins the covers are detached from the volume the back cover shows uniform foxing throughout. Contributions by Renan La guerre entre la France et l'Allemagne article published September 15 1870 M. Loumaye; H. Dalby P. Eluard Pour vivre ici; G. Pillement; A. Domin; Brenn; E. Dujardin Au Président Wilson. Handsome interior condition. Les Cahiers idéalistes français unknown
1937D4508Paris: Éditions Jeanne Bucher 1937. Limited Edition. Hardcover. Near Fine. Rebound in solid brown crushed morocco with gilt-lettered spine; 4to; with pictorial title and 56 plates by Man Ray illustrating poems by Eluard. Inscribed and signed by Man Ray though recipient's name has been removed and signed by Eluard on half-title. Original wraps laid-in. Spine evenly sunned; very light rubbing to spine tips and corners. One plate Breton portrait has pencil measurement indications perhaps left by the publisher otherwise are all nice and clean. <br/><br/> Éditions Jeanne Bucher hardcover
193721205811937. Paris: Jeanne Bucher 1937 4to. Original pictorial red and white wrappers lettered in red to spine; pp. 176 30 with pictorial title and 66 full-page illustrations by Man Ray; pages partially uncut; very minor creasing to lower corners and spine a little frayed otherwise near fine copy; author's presentation inscription to half-title 'a Georges Mouton tres amicalement Paul Eluard' see below.First edition number 319 of 650 copies printed on Chester verge of a total edition of 675 copies presented by Eluard to the Surrealist writer Georges Mouton. Les mains libres is the second collaborative work between Man Ray a pioneer of the Surrealist movement and Paul Eluard poet and one of the movement's founders. During the 1930s Man Ray made numerous drawings in Paris and the South of France. He shared them with Eluard who requested to keep them temporarily. Adhering to the Surrealist tradition the poet 'illustrates' the images not the opposite: upon Man Ray's return Eluard had paired each drawing with a poem. This collaboration resulted in the publication of Les mains libres featuring fifty-four illustrations by Man Ray facing as many poems by Eluard and three appendices 'Sade' 'Portraits' and 'Details' which include Man Ray's portraits of Pablo Picasso Andre Breton and Eluard. Provenance: This copy was presented by Eluard to the writer Goerge Mouton. Connected to Surrealist circles in the 1930s Mouton was a member of the Contre-Attaque group led by Georges Bataille and Andre Breton during 1935-1936. unknown
1937106371Editions Jeanne Bucher 1937. Softcover. Good/No jacket. #68/650cc. Wraps pulling away from the text block. Binding is a little loose. Pages clean. <br /> <br /> Bookplate inside front cover of Anne Renier and Fernand Renier a formidable duo who collected books in the thirties but ramped up their interest in children's books in the fifties. In 1970 the Reniers donated their collection of 80000 children's books and toys to the Victoria and Albert Museum. Editions Jeanne Bucher unknown
19371704521937. MAN RAY. Les Mains Libres. By Paul Eluard. 208 pp. with 66 reproductions of drawings by Man Ray. 4to 280 x 225 mm. bound in the original illustrated wrappers in a new slipcase with morocco backed chemise. Paris: Editions Jeanne Bucher 1937. A pristine copy of this celebrated collaboration between Man Ray and Paul Eluard inscribed by Man Ray to Souzouki. Man Ray had moved to Paris in 1921 and in the 1930s was one of André Breton's surrealist circles. Unlike most illustrated books where the pictures illustrate the text this book uses the poems to illustrate the drawings which are important documents of Man Ray's non-photographic output. One of 650 printed on Chester Vergé of a total edition of 675 copies. From Manet to Hockney 104. unknown
194521208641945. Paris: Editions de la Revue Fontaine. 1945. 8vo. Original beige wrappers with fold-over flaps; black title lettering in black; pp. unpaginated; pages lightly toned with minimal spotting to front end paper; otherwise very good. Signed by both Eluard and Ernst and intriguingly inscribed by Eluard in French 'To Mr and Mrs Edwin Sisler this book of which I only did a third' possibly insinuating the presence of a third collaborator. Second Edition this work numbered 558 of the run of 1860.A landmark of Surrealism and the first collaboration between two of the movement's most essential and revered contributors. Combining Ernst's images with Eluard's poetry Les Malheurs Des Immortels explores the relationship between painting and poetry 'the role of the image as an icon of psychic processes and the ambivalent status of the scopic function or the reversibility of blindness and revelation'. unknown
194516567AB1945. Paris Editions de la Revue Fontaine 1945. 22 : 165 cm. 24 leaves with 21 illustrations after Collages by Max Ernst. Original wrappers. Numbered copy of a small edition. With the legendary illustrations by May Ernst. - The first edition was in 1922 in a very small number and is extremly rare. - As always bit browned. - Spiess/leppien A 5. unknown
194547336Paris.: Éditions de la Revue Fontaine. 1945. Original publisher's printed wrappers with titles to front cover and spine in green and black. 8vo. 224 x 164 mm. . Half-title with monochrome frontispiece by Ernst verso printed title and Eluard's text illustrated with twenty plates after collages by Ernst final leaf of text with publisher's note concerning the first edition verso leaf with achevé d'imprimer and justification recto printer's credit verso. An excellent unsophisticated copy from the édition de tête limited to 10 copies on Madagascar of the second edition of the seminal collaboration marking the boundary between dada and Surrealism.From the edition limited to 1860 numbered or lettered copies with this one of 10 lettered hors commerce copies from the édition de tête on Madagascar.Reprinted by Henri Parisot from the edition of 1922 which was issued in very small numbers 'un petit nombre d'exemplaires' as per the publisher's note this second edition reproduces the first exactly adding only a publisher's explanatory note and a justification. 'Les Malheurs des Immortels' matches Paul Eluard's prose poems with Max Ernst's 'synthetic' collages. Each poem is faced with one collage; the collages are reproduced at two thirds of the size of those in the orignal edition. An English edition was published by the Black Sun Press in New York in 1943 and a German edition in Cologne by Galerie der Spiegel in 1960.'Ce livre d'étroite collaboration peintre-poète est un des jalons majeurs du livre au vingtième siècle . L'importance de ces collages est soulignée par le fait que c'est essentiellement grâce à eux que le groupe surréaliste naissant prit conscience des possibilités plastiques du surréalisme.' De Parallèlement à Chanson Complète. Éditions de la Revue Fontaine. unknown
19452282Paris: Éditions de la Revue Fontaine 1945. Second edition. Original wrappers with integral dust jacket. Slight spotting to wrappers spine a little browned.<br /> <br /> 1860 copies were printed on various papers; this copy unnumbered and apparently on wove pur fil du marais of which fifty lettered copies were noted at the colophon. Inscribed by Eluard on the half-title “à Hans Bellmer qui a admirablement limité les erreurs de reproduction du désir son ami Paul Eluard.†The first edition was published in 1922 and marked the first major collaboration between Ernst and Eluard; this copy introduces a third association bringing together three of the most important figures in the surrealist movement. Éditions de la Revue Fontaine unknown
71638Köln Galerie der Spiegel 1960. . Nr 235 von 250 Exemplaren auf holzfreiem Werkdruckpapier GA: 335. "Les malheurs des immortels" erschienen zuerst 1922 dann nur noch zwei Mal in den 1940er Jahren Paris und New York. - Schwach lichtspurig. Gutes sauberes Exemplar [Köln, Galerie der Spiegel, [ 1960]. unknown
192261537Paris: Librairie Six 1922. Fine. Librairie Six Paris 1922 19 x 25.50 cm relié The first edition on simili-Japon paper. Bradel grey cloth binding navy blue cloth band with authors and title blindstamped to edge of upper board upper cover preserved at end. With 21 collages by Max Ernst. A very good and rare copy. Librairie Six hardcover
195252661Paris: Armand Henneuse 1952. Fine. Armand Henneuse Paris 1952 14 x 19.50 cm relié sous chemise et étui First edition one of 15 numbered copies on chiffon Auvergne paper tirage de tête. Spectacularly bound in black calf by Pierre-Lucien Martin the covers inlaid with white and grey calf with a geometric decoration of gilt fillets making perspective shapes endpapers and pastedowns of Auvergne paper the delicate Auvergne paper covers and back preserved top edge gilt. Slipcase with black paper flaps lined with grey felt and with a spine of rhodoid plastic small crack to head trimmed with black calf and with a brown paper interior. This copy is enriched with a manuscript sheet bearing six fragments of poems chosen and copied out by Paul Eluard which had appeared in Poésie et vérité Poetry and Truth ten years before. A magnificent copy remarkably bound in decorated black calf by Pierre-Lucien Martin. Armand Henneuse unknown
23247Cahors Editions des Francs-tireurs et Partisans français du Lot s.d. 1944. Deuxième édition. . Les Sept poèmes seront réédités à Cahors en 1944 pour la Libération du Lot avant d'être repris dans Au rendez-vous allemand en 1944. Ils avaient initialement paru dans la collection La Bibliothèque française créée par Louis Aragon "sur le modèle des Editions de minuit dont elle reprend certains titres pour les diffuser en zone sud". La collection comprendra 15 brochures imprimés clandestinement à Saint-Flour par Amarger sous la direction technique de Paul Eluard qui avait trouvé refuge en Corrèze dans l'établissement du docteur Lucien Bonnafé. Les trois premiers titres sont d'Aragon Le Musée Grévin Les Bons voisins Gabriel Péri celui d'Eluard est le quatrième. [Cahors], Editions des Francs-tireurs et Partisans français du Lot, s.d. [1944]. unknown
193621640Paris: G.L.M. Guy Lévis Mano 1936. First Edition. Limited Issue. Very Good/No Dust Jacket As Issued. <br /> THE ARTISTIC FRIENDSHIP THAT SHAPED MODERNISM<br /> Surrealist collaboration at the height of the movement pairing Éluard's lyric intensity with Picasso illustrations.<br /> <br /> A seminal collaboration of the Surrealist movement pairing the lyrical intensity of Paul Éluard with the graphic genius of Pablo Picasso. Produced during a period of profound creative and political synergy between the two artists-just months before the inception of Guernica-this volume is a hallmark of Guy Lévis Mano's aesthetic of restrained modernist typography. The work features a portrait and four full-page illustrations by Picasso masterfully integrated into the text.<br /> <br /> KEY FEATURES<br /> Visuals: Portrait of Éluard and four full-page illustrations by Pablo Picasso.<br /> Limitation: Copy No. 512 of 1240 numbered copies on papier Alfa teinté total edition of 1500.<br /> Imprint: Printed on the presses of G.L.M. 6 rue Huyghens Paris; completed 15 October 1936.<br /> Press: Typography and design by Guy Lévis Mano the premier printer for the Surrealist avant-garde.<br /> Binding: Original printed wrappers; octavo 4.75 x 7.375 inches.<br /> Provenance: Mature Surrealist period; documented collaboration between Éluard and Picasso.<br /> <br /> CONDITION: Very Good -- An exceptional copy. The bindings are tight and square showing only minimal shelf handling wear. Internally the text block is clean with even age-toning consistent with the tinted Alfa paper stock. Notably the original glassine wrapper is present and has been preserved separately to prevent the common acidic transfer or 'ghosting' to the wrappers. HISTORICAL SIGNIFICANCE --<br /> Les Yeux fertiles is more than a poetry collection; it is a document of a friendship that defined the 20th-century Parisian avant-garde. By 1936 Éluard and Picasso were inextricably linked in their opposition to the rising tide of Fascism. The 'Fertile Eyes' of the title refer to the transformative power of the Surrealist gaze. This G.L.M. edition is highly prized by collectors for its 'book-as-object' quality where the white space of the page is as vital as the ink of Picasso's drawings.<br /> <br /> SUBJECTS: Surrealism Modernist Poetry Artistic Collaboration Pablo Picasso French Avant-Garde Livre d'Artiste Limited Editions Fine Press.<br /> <br /> BIBLIOGRAPHIC REFERENCE: Cramer 27; Bloch 289; Baer 608; G.L.M. BN n°114. G.L.M. (Guy Lévis Mano) unknown
1989031673Paragon House 1989 Book. Fine. Hardcover. First American Edition. 8vo - over 7¾ - 9¾" tall. book is tight with no markings page edge has a couple of tiny red marker marks great copy. Paragon House hardcover
1557781192.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
