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Mon 27 May

Louis XIV style carved oak armoire, with cut sides

Mon 27 May

Carved oak armoire with rounded sides - Liège, 18th century, Louis XV period

Sat 25 May

Molded and carved oak armoire, decorated with rosettes and foliage, opening to two doors. 19th century. H. = 234 cm; W. = 188 cm; D. = 68 cm.

Sat 01 Jun

Armoire en bois naturel Style Alsacien - ARMOIRE in natural wood and wood veneer with an architectural front, molded and carved with shells, acanthus leaves and foliage.it is flanked by half-columns and opens to a door and a drawer in the lower part; Alsatian style Late 19th - Early 20th century H : 205 cm - W : 123 cm - D 73 cm (accidents, missing parts and restorations)

Fri 24 May

Small Art-Deco armoire in natural wood, opening with a door and resting on a plinth, the interior includes a closet and two shelves. H. 183 cm W. 68.5 cm D. 53 cm

Sat 25 May

OAK ARMOIRE, opening to two molded false doors, richly carved with lattice work, flowers, shells and volutes. 231 x 151 x 62 cm. Early 18th century.

Fri 31 May

Armoire bibliothèque de style Louis XVI - opening with two glass doors in the upper part, the rounded fluted uprights. H: 186.5 - W: 82.5 - D: 32 cm Accidents

Fri 31 May

Grande armoire du XIXème siècle - opening to two doors and a drawer in the lower part, decorated with geometrical motifs representing crosses in high relief Béarn H: 268 - W: 170 - D: 65 cm wear, restorations

Tue 28 May

Moulded and carved oak wedding armoire with cornice, opening to two doors on the front, the frame engraved MAG.ne L'Ouvrier 1791. 18th century. Height: 226 cm. Width: 155 cm. Depth: 55 cm. (Wear, restorations).

Thu 23 May

A set of wrought-iron door and cabinet keys, some with openwork or split bit designs, two with decorated rings, one with a frog-leg ring (oxidation). 18th and 19th century. Length. Largest: 25.5 cm Length. Of the smallest: 8.5 cm An antique wrought-iron lock is included.

Fri 31 May

* Bibliothèque de boiserie de la fin du XIXème siècle - Rectangular, molded walnut cabinet with double central shelving between two cupboards, each opening with two doors. Decorated with bronze fluting, drapery and palmettes. H: 289 - W: 446 - D: 58 cm Sold by designation.

Wed 29 May

ANGLETERRE, LONDRES 1841 - Duo of silver dishes Hallmarked E.J., B and E.W., the marli engraved with cupboards, the rim with gadroon and rocaille decoration. Weight : 1.700 gr Diameter : 30 cm Sold without reserve price, starting price 10 €. Collection by appointment only.

Tue 28 May

PETITE ARMOIRE À SUSPENDRE - in walnut opening to a leaf and a drawer in the base decorated with molded ressortis, rosettes and brass nails. Openwork pediment. Italy, Bologna, first half of the 17th century. Height: 72 cm - Width: 52.4 cm - Depth: 27 cm (Minor accidents and restorations)

Thu 23 May

Mahogany and speckled mahogany veneered secrétaire en armoire, opening with an upper drawer, a central flap and two lower leaves, fluted uprights, resting on scrolled legs, bronze ornamentation such as pull handles and key escutcheons (chips, dents, rubbing and restorations). Composed of antique elements. Height 148 cm - Width 103 cm - Depth 43 cm

Veneered armoire with flower inlaid decoration, opening with two leaves revealing two drawers in the middle section. Chased bronze ornamentation. Louis XV style. Dimensions 186 x 183 x 53 cm Lots will be available by appointment from June 10, 2024 (Métro Convention, 4th floor apartment).

Tue 28 May

Oak armoire opening to two doors with rich fluted column decor with Corinthian capitals supporting the entablature; door decorated with pilaster and round arch; flattened ball feet. Inside, a cupboard with clerestory panels. Flanders, early 17th century H. 176 cm - W. 147 cm - D. 75 cm (wear and tear) One base

Sun 26 May

Armoire de l'Eifel Luxembourg/Allemagne du début du XIXe siècle en noyer et marqueterie de bois ouvrant à 2 portes de par et d'autre d'une traverse centrale. Deux tiroirs en ceinture et panneau central coulissant dcouvrant un tiroir secret. Pans coupés. Serrures et fermetures rapportées. Très bel état. 180 x 50 x 240 cm

Small Louis XIV armoire In oak, opening with two large doors in the front, decorated with trefoils and frames, and two drawers in the lower part. Pull handles and iron escutcheons. It stands on added ball feet. Restoration and maintenance 18th century Sold by designation, the pick-up address will be communicated to the buyer. Dimensions: H: 218; W: 158; D: 57 cm

Sat 25 May

ARMOIRE in mahogany and blond mahogany opening to two doors with false dormers, molded and carved with acanthus leaves, flowers and rocaille, large iron hinges, lock and double cremone bolt, cornice with wide basket-handle molding, standing on plinth and cambered front legs with leafy shells on the feet. Bordeaux work, Louis XV period. 274 x 190 x 66 cm. Misses and accidents.

Small Louis XV armoire In fruitwood, opening with two large doors in front decorated with bouquets of flowers and birds in marquetry, one drawer in the lower part. Iron drawer handles and escutcheons. It stands on four legs, two of which are cambered. Restoration and maintenance 18th century Sold by designation, the address of removal will be communicated to the purchaser. Dimensions: H: 194; W: 151; D: 59 cms

Tue 28 May

ARMOIRE ALSACIENNE - in fruitwood, softwood and blackened wood, the front with turned pilasters, shells, busts of winged children and flower falls opening to two leaves and a drawer in the lower part. Date on the pediment: 1681. Beautiful iron lock and original key, engraved hinges. Alsace, Strasbourg, late 17th century. Height : 189 cm - Width : 163 cm Depth : 64 cm (Damage and missing parts)

Thu 06 Jun

Rosewood and satinwood veneered doucine bookcase with rich chased and gilded bronze trim. Gusseted legs, the front ones extending from the rounded uprights. The sides are decorated with inlaid crosspieces. The slightly recessed front opens to reveal three latticed leaves and a row of three drawers in a doucine arrangement. Marble top. Beautiful gilt bronze trim, such as falling satyr masks, keyholes and hinges. Stamped I. DUBOIS. First half of the 18th century. Height : 153 cm - Width : 218 cm - Depth : 45 cm Jacques DUBOIS (1693-1763) received the title of Master in Paris on September 5, 1742. The very Regency form of this armoire bibliothèque can be a little confusing, with the stamp of Jacques DUBOIS, undisputed Master of Rocaille. The stamp may indicate that this piece of furniture was restored by Jacques DUBOIS, as was the case for a Boulle marquetry desk sold at CHRISTIE'S in Paris on November 24, 2024 (lot no. 507). This desk, with its mascarons similar to those on our armoire, would have been restored by the Master.

Tue 11 Jun

2 documents - Mémoire et Instruction sur le service des prises, 1778 et 1780. - Instruction that the King wishes to be observed, by the officers of his vessels, for the captures they will make on his enemies. September 27, 1778. 6 pages in 4°. "As soon as a prize has been taken, the commander of the vessel taking the prize shall, in accordance with article 39 of the Declaration of June 24 last, send the officer in charge of details to seize the keys, seal the hatches, chambers, chests, cupboards, barrels and other things locked or packed, and draw up a summary statement which shall be signed by the said officer and the captain of the vessel taken"... Mémoire sur le service des prises. Extract from Mémoire concernant le service à exécuter par les Officiers chargés à bord des vaisseaux armés, et préposés par l'Ordonnance du 27 septembre 1776, pour remplir les fonctions qui étaient attribuées aux écrivains de vaisseau. Paris. De l'Imprimerie Malmassis, 1780. Brochure of 16 pages in 4°.

Sun 26 May

China, Qianlong period (1735-1796) Pair of small Shui-hu-Zhuan cabinets in polychrome lacquer in relief on a gold background, opening with two leaves and revealing a large drawer at the top and two flights of three small drawers with handles decorated with gold foliage on a burgundy background. They stand on red lacquer feet with carved dragon heads. Shell hinges and engraved metal corners. The exterior decoration is inspired by the Shui-hu-Zhuan novel ("At the water's edge"). The front and top depict bands of outlaws hunting hares and foxes with bow and arrow. The sides are adorned with bouquets of flowers and a branching bird. Height 37 Width 38.5 Depth 28 cm. (small accidents and missing parts) Provenance: Monegasque collection. China, Qianlong Period. A pair of lacquered cabinets depicting scenes from the Shui-hu-Zhuan novel. LAQUER DES HORS LA LOI, by Aymeric Rouillac This pair of cabinets belongs to a rare group of European, mainly French, furniture featuring highly colored lacquer panels on a gold background, depicting in light relief bands of outlaws hunting. The decor is inspired by the Chinese novel Shui-hu-Zhan ("At the Water's Edge"), one of the four great classical texts of the Ming dynasty. It recounts the exploits of one hundred and eight brigands, revolting against the corruption of the government and high officials of the emperor's court. Hordes of brigands clash in duels, between scenes of looting, hunting or fishing. Unlike the beautiful commode by Delorme in the Duc de Choiseul's collection at the Château de Chanteloup (Musée de Tours), this pair of Qianlong-period cabinets has not been stripped of its panels for re-use by French cabinetmakers. Four other commodes with such decoration are also known: one in the Château de Talcy (Loir-et-Cher), one by Mathieu Criaerd in the Musée du Louvre (Paris, OA 10456) and the other two in private collections (Sotheby's sale, Paris, June 23, 2004, no. 57 and Sotheby's sale Monaco, June 14, 1997, no. 84). A secrétaire à abattant (Paris sale, June 25, 1937, no. 97) and a pair of bas d'armoire by B.V.R.B. (Sotheby's sale, Paris, November 30, 2011, no. 57) are also known. The use of these high-quality panels was therefore reserved for cabinetmakers with the most prestigious clientele, whose production was coordinated and financed by Parisian or Versailles-based mercier merchants. However, together with the screen preserved in the Chinese museum of Empress Eugenie at the Château de Fontainebleau, this pair of cabinets is, to our knowledge, a rare find, the only Chinese furniture of this quality that was not transformed on its arrival in France in the 18th century.

Wed 29 May

Monumental cabinet in molded, carved, painted and silvered painted wood, with a curved front and sides, opening to two leaves and two drawers, decorated with cartouches, rocaille, garlands of flowers and palms. Probably surrounded by Johann Christian Hoppenhaupt (1719-1785). Germany, probably Posdam, circa 1750-1760. H. 248 cm - W. 210 cm - D. 70 cm PFD Provenance : Former Fischer-Boehler Gallery, Munich, private collection, Germany, sale Zurich, Koller, June 18, 2009, lot 1070. The Parisian rocaille style spread to Germany during the 18th century thanks to the engravings of François de Cuvilliés (1695-1768). Cuvilliés intensified the style's distinctive features, moving it towards a more unbridled style, accentuating asymmetrical curves and developing more jagged models by cutting out more of the motifs' contours. His numerous engravings flooded the market in the mid-18th century, so that a large number of German sculptors adopted a very characteristic type of decoration, found notably in Johann August Nahl (1710-1781) and his pupils, the brothers Johann Michael (1709-1755) and Johann Christian Hoppenhaupt (1719-1785). This style spread throughout Germany in the second third of the 18th century. It flourished in the south, around Munich, notably in the Amalienburg Pavilion at Schloss Nymphenburg. Decorated by Cuvilés and the painter and sculptor Johann Baptist Zimmermann (1680-1758), the round hall of mirrors is entirely decorated with a profusion of silver Rococo motifs on a blue background. The same spirit can also be found in Prussia, particularly in Potsdam's New Palace at Sanssouci, many of whose rooms are decorated in silver on a white background. The Haupenhaupt brothers were the main sculptors of both woodwork and furniture. Johan Christian created a number of furniture models, which he had engraved and published in a style entirely comparable to the armoire shown here. In this respect, he is a plausible attribution for this cabinet. Many similar pieces of furniture are still preserved at the Nouveau Palaus (see G. Streidt and P. Feierabend, Prussia, art and architecture, Oldenburg, 1999), others are published in P. Meister and H. Jedding, Les beaux meubles au fil des siècles, Heidelberg, 1958.

Pierre ABRAHAM / MARCEL ARLAND... JEAN DUTOURD... FRANçOIS WEYERGANS - Lot of 24 volumes enriched with a signed autograph letter from the author Henri Sonet (one or the other excepted). First editions in current print runs, one or other numbered. In-12 or in-8. Paperback. 1: Pierre ABRAHAM - Tiens bon la rampe! Paris, Les Éditeurs Français Réunis, (1951). Fine mailing to Simone Cordet, a Belgian singer whom the author met in Brussels in 1957. 2: Marcel ARLAND - Terres étrangères. With a portrait of the author engraved by GALANIS. Paris, NRF, 1923. Limited edition of 545 numbered copies. 1/535 on Navarre laid paper (no. 18). 3: Marcel ARLAND - La Route obscure. Portrait of the author by G. AUBERT. Paris, La Nouvelle Revue Française, "Une Oeuvre, un Portrait", 1924. paperback. Edition of 1131 numbered copies. One of 1115 on vellum (no. 62). Fine mailing to Henri Sonet, dated June 1973: "this book, which appeared almost at the same time as Terres Étrangères - the book of a 'rebel' who was looking for a kind of 'order' (and who didn't find it)/ in very cordial sympathy." 4: Marcel ARLAND - Étapes. With a portrait of the author by CHAGALL. Paris, Nouvelle Revue Française, "Une Oeuvre, un Portrait", 1927. Letter to Henri Sonet, dated June 1973 "... I don't think Chagall's portrait is very accurate...". 1/670 numbered on Navarre vellum (no. 237). 5: Marcel ARLAND - Sidobre. (Paris), Minuit, "Nouvelles Originales -VIII-", 1949. First edition. One of 990 numbered on vellum (no. 396). "This short story, which I never took up again as a whole, I wrote after the war, in a corner of the Sidobre plateau where I spent my vacations with Paulhan...". 6: Marcel ARLAND - Je vous écris... II: La Nuit et les sources. Paris, Bernard Grasset, "Les Cahiers Verts", 1963. First edition. One of 200 hors commerce on esparto foam, reserved for the press (n° S.P. 191). Envoi de l'auteur à M. Young. Mint condition. 7 : Charles BERTIN - Les Jardins du désert. Paris, Flammarion, 1981. 8: Charles BRAIBANT - Le Secret d'Anatole France: du boulangisme au Panama. Paris, Denoël et Steele, (1935). First edition. 1/100 on alfa for "Les Amis de Charles Braibant" (n° LXXXVIII). Spine faded. 9: Pierre BOURGEADE - L'Armoire. [Paris], Gallimard, 1977. First edition. Copy of the S.P. 10: Noël DEVAULX pseudonym of René Forgeot. - Sainte Barbegrise. [Paris], Gallimard, (1952). First edition. Copy of the S.P. Letter to Paul Neuray, unidentified signature. 11 : Jean DUTOURD - La Fin des Peaux-Rouges. [Paris], Gallimard, (1964). First edition. Copy of the S.P. Sent to the journalist Victor Moremans. Accompanied by a signed typed letter on Gallimard letterhead. Envelope preserved. 12: Jean DUTOURD - Le Demi-solde. [Paris], Gallimard, (1965). First edition. Copy of the S.P. 13: Hervé GUIBERT - Des aveugles. [Paris], Gallimard, 1985. 14: Jean-Edern HALLIER - Le grand écrivain. Paris, Seuil, 1967. 15: Violette LEDUC - La Bâtarde. [Paris], Gallimard, 1964. First edition. Copy of the S.P. 16: Violette LEDUC - La Folie en tête. [Paris], Gallimard, 1970. First edition. Copy of the S.P. 17: Maurice PONS - Metrobate. Paris, Julliard, "La Porte ouverte", (1951). 18: Jorge SEMPRUN - La Montagne blanche. [Paris], Gallimard, 1986. 19: Jorge SEMPRUN - Netchaïev is back. [Paris], JCLattès, 1987. 20: Jacques SERGUINE - Les saints innocents. [Paris], Gallimard, (1961). First edition. Copy of the S.P. 21: Michel TOURNIER - Le Fétichiste, un acte pour un homme seul. Paris, La Quinzaine littéraire, (1974). Forms the supplement to No. 190 of "La Quinzaine littéraire". 22: Yves VÉQUAUD - Monarque. [Paris], Gallimard, (1967). First edition. Copy of S.P. Sent to novelist Jean-Pierre Giraudoux (Paris, 1919-2000) "au risque d'encore vous déplaire." 23: François WEYERGANS - Le Radeau de la Méduse. [Paris], Gallimard, (1983). 24: François WEYERGANS - La Vie d'un bébé. [Paris], Gallimard, (1986). 24 VOLUMES. GOOD CONDITION.

Mon 17 Jun

René-Pélagie de Montreuil, marquise de SADE (1741-1810). Manuscript in the hand of lawyer Gaspard Gaufridy (1729-1818), [1774]; 5 pages and a quarter in-fol. Important memoir, inspired by Sade, in which the marquise outlines events since the Marseille affair, defends her husband, and denounces her mother's maneuvers. "Dame Renée Pélagie Cordier de Montreuil, wife of Messire Louis. Donatien Adolphe Aldonce marquis de Sade, chevalier, seigneur de La Coste, Mazan, Saumanes et autres places, in her own right and as administressee of messieurs his children, will expose that she is in the cruel necessity to resort to the protection of the laws to repel at last the most blatant vexation that ever was. The innocent victim of the most sacred attachment, she claims the rights of humanity that have been outraged for too long. She was staying with her husband, the Marquis de Sade, on his land at La Coste in Provence, where she was joined by her sister, the delle de Launay, on the pretext of keeping him company and breathing healthier air. Divided between her attachment to her husband and her tenderness for her children, she enjoyed for a long time this peace which nothing should have disturbed, and her husband's eagerness did not allow her to suspect that a fatal passion was soon to become the focus of a series of misfortunes and misfortunes"... She recounts her husband's departure with a servant in June 1772 for Marseille, the criminal proceedings brought against him there, and her efforts on his behalf: "Although she was convinced that pure gallantry was the only subject of the proceedings, she realized that the most outrageous prejudice had seized all minds [...] her investigation was precipitated by some malevolent genius who feared the return of calm and reflection"... She denounced a crippling judgment handed down by a blind magistrate, inspired by a fatal prejudice... She tried in vain to appeal to her mother Mme de Montreuil: "but tenderness no longer spoke in her favor. To solicit for her husband is to be complicit in his deviations, his deviations! [...] her husband is more unhappy than guilty [...] a victim who must be sacrificed to the peace and happiness of the family that adopted him"... The Marquis had left for Savoy, and had written to Mme de Montreuil, hoping for a resource against the injustice that pursued him. When the President learned of her son-in-law's retreat, she used her maneuvers to have him arrested and imprisoned at the fort of Miolans, a "dreadful stay"... "But what will surprise any sensitive soul is that the lady of Montreuil, who had set herself up as the absolute despot of the Marquis de Sade's person, to the detriment of the law of nations.and public faith", intercepted all his letters... The Marquis was finally able to escape, which redoubled the ardor of the President's persecutions; he managed to return to France and retire to his land at La Coste. Mme de Montreuil, however, "looked with fear upon any attempt to justify her son-in-law and secure his freedom". On the night of January 6, 1774, she had an exempt police officer escorted by the maréchaussée sent to La Coste to seize the marquis and his papers: "the walls of the château were scaled, they entered with pistols and swords in hand", and the whole house was violently searched: "The marquis de Sade's study was the object of the last scene: family pictures were ripped out and cut up, the exempt de police especially distinguished himself by breaking into the desks and cupboards of this cabinet, he seized all the papers and letters he found there; some, at the whim of this exempt, became the prey of the flames, he separated others which he carried away"... The Marquise denounced this "abduction, which violates both the law of nations and the law of humanity, sacrificing the honor of the Marquis de Sade and his family to views relating solely to the Lady of Montreuil"... Etc. The memoir remains unfinished. Correspondance inédite (P. Bourdin), p.9-12.

Wed 05 Jun

JANNINK (Éditions). L'Art en écrit. Paris, Editions Jannink, 1991-2017. 100 vol. in-8 narrow (12.5 x 21 cm), paperback, flap covers, cardboard slipcases. Housed in a pine bookcase specially designed by Tadashi Kawamata. Exceptional complete collection of this fine set of writings by contemporary artists, most in first editions, including: Buren, Asse, Soto, Arman, Topor, Arrabal, Viallat, Baselitz, Jan Fabre, Monory, Raysse, Gilbert et George, Morellet, Adami, Baj, Christo, Othoniel... Each title is accompanied by a signed work (original or original multiple). The collection is housed in a signed T. Kawamata library, dated 2017, of which there were only 2 copies. Each work was printed in circa 280-295 copies (plus 15 hors commerce, most of the time). Detailed collation: 1. César Domela. L'Art en écrit - 1991: 285 copies and 15 HC; original silkscreen. 2. Roland Topor. Vous savez, moi, sans mes lunettes - 1992 : 295 ex. and 15 EA ; original enhanced lithograph. 3. Claude Viallat. Suite - 1992 : 275 ex. and 15 EA ; enhanced canvas. 4. Antonio Saura. Señoritas y caballeros - 1992 : 295 ex. and 15 EA ; original serigraph. 5. Martial Raysse Qu'il est long le chemin - 1992 : 288 ex. and 15 EA ; original phototype. 6. Jacques Monory. 3'30' - 1993 : 299 ex. and 15 EA ; original enhanced silkscreen. 290 ex. and 15 EA ; original enhanced lithograph in colored pencil. 7. Erró. Easy is interesting - 1993: 299 copies and 15 EAs; original enhanced silkscreen. 8. Claude Rutault. Marie-Louise - 1993: 285 copies and 15 EAs; complete with work, bookmark and cut-out frame. 9. Takis. Les fleurs poussent si on les regarde - 1993 : 290 ex. and 15 EA ; original serigraph. 10. Olivier O. Olivier. Paris-Rome - 1993 : 290 copies and 15 EAs ; original lithograph enhanced with phosphorescent paint. 11. Christian Zeimert. Moreau... lure of glory - 1993: 290 copies and 15 EAs; original lithograph enhanced with colored pencil. 12. Eduardo Arroyo. Saturne ou le banquet perpétuel - 1994: 295 copies and 15 EAs; original lithograph enhanced in color pencil. 13. Gilles Aillaud. Mise au point - 1994 : 295 copies and 15 EAs ; original lithograph with enhancement. 14. Alexandre Fassianos. L'Envie du Lézard - 1994 : 290 copies and 15 EAs ; original lithograph. 15. Basserode. Poitevin (Qui Lab) - 1994: 284 copies and 15 EA; original drawing. 16. François Morellet Je n'ai plus rien à dire - 1994 : 295 ex. and 15 EA ; original silkscreen enhanced. 17. Valerio Adami. Lettere non scritte - 1994 : 295 ex. and 15 EA ; original serigraph. 18. Serge Rezvani. Processus - 1994: 290 copies and 15 EA; original etching. 19. Gilbert & George. The Ten Commandments - 1995: 299 copies and 15 EAs; original serigraph. 20. Gottfried Honegger. Le vide est plein - 1995 : 285 ex. and 15 EA ; original screen print, enhanced. 21. Jean Dewasne. Tenu de rigueur - 1995: 288 copies and 15 EAs; original silkscreen. 22. Arrabal. Tête de mort dans l'armoire - 1995: bilingual text; 280 copies and 15 EAs; illustration on rhodoïd, and original highlights. 23. Larry Bell. Fractions - 1995 : 285 ex. and 15 EA ; original and unique work (canvas). 24. Jacques Villeglé. Un homme sans métier - 1995 : 273 copies and 15 EAs ; signed torn poster (pasted on cardboard). 25. Arman. Complément d'objets - 1996 : 295 ex. and 15 EA ; signed accumulation (nails). 26. Pol Bury. La gravité des images - 1996 : 291 ex. and 15 EA ; original etching. 27. Jean Miotte. L'Œuf, le couteau et la ficelle - 1996 : 275 ex. and 15 ex. EA ; original painting. 28. Marie Chamant. Le Palais des glaces - 1996 ; 275 ex. and 15 HC ; original signed work. 29. Ben. Manifeste d'Art Total - 1997: 275 nos. and 15 ex. EA; original serigraph. First separate edition. 30. Bram Bogart. Optimist - 1997: 254 copies and 15 HC copies; original painting. 31. Claude Bellegarde. Blancheur de la couleur - 1997: 280 copies and 15 HC copies; original painting. 32. Stephen Farthing. Mode d'emploi - 1997: 285 copies and 15 copies EA; numbered silkscreen sketch (not yet enhanced by the artist). 33. Jean Le Gac. Je t'écris - 1998: 295 editions and 15 editions EA; complete with artist's LAS with photo, addressed to M. Correia Sampaio. 34. Peter Stämpfli. Pneupneupneupneupn - 1998: 295 copies and 15 EAs; original work (on rhodoid and paper). 35. Jean-Luc Parant. Et je fais des boules... - 1998 : 295 ex. and 15 EA ; original collage. 36. Christo and Jeanne-Claude. Erreurs les plus fréquentes - 1998 : 295 copies and 15 EAs ; signed, numbered edition. 37. Baj. Inactualité de l'art et pataphysique - 1998: 275 ex. and 15 EA; original collage enhanced. 38. Jean Messagier. Tous les Pollens du monde - 1998: 280 copies and 15 EAs; original lithograph, enhanced. 39. Peter Klasen. L'Image la ville - 1999: 290 copies and 15 EAs; original collage. 40 Georges Noël. Les