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Ray, Man (illustrateur). First edition. Folio, two unbound folded sheets to make [6] pp. text, with 10 photogravures plates 8 1/16 x 10 1/4 inches [20.48 x [26.03 cm] tipped to a stiff art paper mount 10 7/8 x14 3/4 inches [27.62 x 37.46] each with a titled protective vellum wrapper. The text and prints are laid-in a blank vellum folder, which is mildly creased, and laid-in the four-point printed paper portfolio. This copy has the complimentary slip from the CPDE, which is seldom included. Each plate bears the signature of Man Ray, which was signed in the original negative. This is copy number 409 from a total edition of 500 copies. A fine, near new copy. Aside from a slight bit of toning to the printed four-point paper folder, this is a fine, near new copy contained in a newly made gilt titled leather-backed cloth over boards chemise with matching cloth slipcase. In 1931, the Paris electric company, CPDE, commissioned Man Ray to produce a series of images promoting the various uses of electricity. The resulting portfolio of ten Rayogrammes was issued in 500 copies, which were distributed to the CPDE's best and prospective clients, and not commercially offered for sale. The photogravure prints made from original Rayograms are titled: Electricité, La Ville, Salle de Bain, La Maison, Lingerie, Salle a Manger, Cuisine, Le Souffle, Electricité, Le Monde. In 2014, the Metropolitan Museum of Art, Curator in Charge, Department of Photographs, Jeff R. Rosenheim, stated: "This remarkably seductive album of photogravures is an exquisite example of his legacy as America's greatest Surrealist photographer." "Man Ray's ÉLECTRICITÉ is not only one of the most ravishing and sought-after of company photobooks, but it contains a cogent suite of photographs that the leading American Dadaist and commercial photographer himself never bettered." Parr and Badger, The Photobook: A History. Volume II, p.183.

En feuilles 22 x 27, double étui toilé, chemise titrée or au dos, couverture muette rempliée. L'un des 15 exemplaires numérotés et signé par les auteurs, outre 8 Chine avec dessin, cuivre et suite et 25 hors commerce et 99 ordinaires, tous sur Duchêne. 9 eaux-fortes originales de Gérard de Palézieux, tirées par l'Atelier de Saint-Prex, répétés en suite signée sur Chine. Du pur Palézieux hachuré fin - ça fait un peu recette de cuisine peut-être ? Une délicate réussite, avec 7 grandes eaux-fortes (quelle autre technique conviendrait pour ce titre ?) à pleine page, entre deux menus motifs oblongs, la barque de frontispice et le village noyé dans le blanc néant du souvenir en fin de volume.Seuls les 23 premiers exemplaires sont signés par Gracq.Avec une carte autographe signée d'une vingtaine de lignes de l'écrivain, le premier tiers évoquant le peintre Félix Labisse qui aurait fait un portrait, de lui-même inconnu.La suite aborde la question de ses livres illustrés parmi lesquels est cité "Les eaux étroites" de Palézieux. Datée du 27 mars 2005 à St-Florent, elle est sous enveloppe C6 adressée main.Bel ensemble.Exemplaire du tirage "ordinaire" sur demande.[Daulte III.456-464; Bogousslavsky 32] > En cas de problème de commande, veuillez nous contacter par notre page d'accueil / If you have any problems with your order please contact us via our homepage <.

Couverture souple. Etat : Bon. SOCIETE HALLWAG croix rouge suisse collection , 1980. 1 volume broché(s) format In-8 bon edition abrégée.

couverture souple. - Paris 18 mars 1905, 13,1x20,9cm, 3 pages sur un double feuillet. - Lettre autographe signée de Victor Segalen adressée à Emile Mignard, trois pages rédigées à l'encre noire sur un double feuillet de papier quadrillé. Pliures transversales inhérentes à l'envoi. Une des très rares lettres relatant le rocambolesque sauvetage des oeuvres de Gauguin par son "champion". Emile Mignard (1878-1966), lui aussi médecin et brestois, fut l'un des plus proches amis de jeunesse de Segalen qu'il rencontra au collège des Jésuites Notre-Dame-de-Bon-Secours, à Brest. L'écrivain entretint avec ce camarade une correspondance foisonnante et très suivie dans laquelle il décrivit avec humour et intimité son quotidien aux quatre coins du globe. C'est au mariage de Mignard, le 15 février 1905, que Segalen fit la connaissance de son épouse, Yvonne Hébert. Segalen a quitté Tahiti, après avoir transité par Colombo, Port Saïd et Toulon, il est à Paris pour quelques jours et raconte à son ami les réactions face aux uvres de Gauguin qu'il a fait revenir de Polynésie. La vente aux enchères des biens et des uvres de Gauguin, demeurés dans sa Maison du Jouir après sa mort, se déroula à l'automne 1903. L'un des rares acquéreurs présents lors de cette liquidation fut Victor Segalen qui permit ainsi le sauvetage de plusieurs pièces capitales du peintre qui risquaient d'être détruites dans l'indifférence générale. Segalen, qui avait espéré arriver à temps pour rencontrer Gauguin, ravive sa mémoire en tentant - malgré sa faible solde - d'acquérir un maximum d' uvres de son défunt mentor. Il relate dans son « Hommage à Gauguin » (préface des Lettres de Paul Gauguin à Georges-Daniel de Monfreid, 1918) cette dispersion aujourd'hui incroyable : « Puis s'accomplit la vente judiciaire, sous les formes les plus légales, les plus sordides. On liquida sur place les objets « utiles », vêtements, batterie de cuisine, conserves et vins. Une autre adjudication eut lieu à Papéété, et comprenait quelques toiles, deux albums, l'image de Satan et de la concubine Thérèse, le fronton et les panneaux de la Maison du Jouir, la canne du peintre, sa palette. Pour acquéreurs : des marchands et des fonctionnaires ; quelques officiers de marine ; le Gouverneur régnant à cette époque ; des badauds, un professeur de peinture sans élèves devenu écrivain public. [.] La palette m'échut pour quarante sous. J'acquis au hasard de la criée tout ce que je pus saisir au vol. Une toile [Village breton sous la neige], présentée à l'envers par le commissaire-priseur qui l'appelait « Chutes du Niagara » obtint un succès de grand rire. Elle devint ma propriété pour la somme de sept francs. Quant aux bois - fronton et métopes de la Maison du Jouir, personne ne surmonta ma mise de.cent sous ! Et ils restèrent à moi. [.] Les bois de la Maison du Jouir, je les destinai dès lors, à l'autre extrémité du monde, à ce manoir breton que Saint-Pol-Roux se bâtissait, lui aussi, comme demeure irrévocable, dominant la baie du Toulinguet, sur la presqu'île atlantique. La palette, je ne pus décemment en faire mieux hommage qu'au seul digne de la tenir, - non pas entre ses doigts, comme une relique dont on expertise avec foi l'origine, - mais passant dans l'ovale au double biseau le pouce qui porte et présente le chant des couleurs, .à Georges Daniel de Monfreid. [.] Cette toile [Village breton sous la neige], je l'ai gardée. Le don même en serait injurieux. Gauguin mourut en la peignant, c'est un legs. » La biographie de Gauguin par David Haziot, dresse l'inventaire précis des uvres achetées par Segalen : « Segalen put acquérir sept toiles sur dix. Parmi elles l'autoportrait Près du Golgotha [aujourd'hui au musée d'art de Saõ Paulo]. Les sculptures Père Paillard et Thérèse partirent, ainsi qu'une seconde version des trois femmes au bord de la mer dont une allaitant à leurs pieds. [.] Segalen [.] emporta le carnet de dessins d'Auckland, quatre des cinq panneaux de bois qui ornaient la porte de la Maiso.

First edition. First edition. 142 pp. with author portrait. Bound in publisher's pebbled cloth with black printed titles. A Good copy, with rubbing and strips of wear to cloth, flaking along spine, front hinge starting. Tidemark along fore edge intruding into margins of some pages; some light stains, former owner's name written on front free endpaper. Rare, with no physical copies located in a recent OCLC search. A self-published cookbook by an African-American chef who was born into slavery in Tennessee. In the 590+ recipes herein Estes was able to take Southern cuisine (back in vogue at the time) with its African roots and add a hearty dollop of French sophistication. Recipes include Squash Flower Omelet, Beef Marrow Quenelles, Turkey Truffles, Pineapple Parfait, Stuffing for a Suckling Pig and Possum, "Japanese Sandwiches" made from flaked left-over fish, Metelote of Haddock, and more. Tipton-Martin The Jemima Code, 29. Culinary America, 786.

Etat : Very Good. Etat de la jaquette : Very Good. 1st Edition. FIRST EDITION IN ENGLISH, WITH MAGNIFICENT PRESENTATION INSCRIPTIONS, DRAWINGS, AND "PAPER SCULPTURE" BY DALI. On the inscription and drawings: Dali lavishly decorated the endpapers of this copy, writing in thick black marker (and taking up over half the page): "Pour MR Riskin / Hommage / Dali." Beneath his inscription, he dated it (1974) and drew what looks to be a large version of one of his spinning men. Dali scraped the paper at the base of one of the figure's arms to create something resembling a hand. On the facing page, Dali created something even more unusual: He drew a bug, but molded and scraped the paper to create a three-dimensional exoskeleton for the creature. Finally, on the page facing the title page, Dali added another inscription: "with apologies for the translation / Dali / 1974". The book: "Les Diners de Gala, the opulent cookbook that [Dali] conceived and illustrated, sets out a surrealist gastro-aesthetics that is at once visceral and ascetic, Dionysian and Catholic. [It] showcases Dali's ornamentation of menus from such legendary restaurants as Maxim's and La Tour d'Argent and features the recipes of their chefs. Dali stages himself within the sumptuous culinary mise-en-scene. Les Diners de Gala moves between 'sado-masochistic pleasure', 'acute sybaritism', Rabelaisian scatology, religious ecstasy, and anaesthetic asceticism." (Richard Gough, On Cooking). With 136 recipes in 12 categories: exotic dishes; eggs & sea food; first course; meats; snails & frogs; fish & shell fish; game & poultry; pork; vegetables; aphrodisiacs; desserts; hors-d' oeuvre. The book is stunningly illustrated throughout with surrealistic full-color images of food, figures, and wild scenes sprung from Dali's imagination. Provenance: The recipient, Martin Riskin, was an influential member of the New York art scene, serving as the banquet director at the St. Regis Hotel during the 1960s and '70s (an appropriate association for this book), where he befriended Salvador Dalí and also held hospitality positions at The Plaza, The Pierre and The Waldorf-Astoria. He was culturally diverse, serving as a founder of the New York Youth Symphony, the Puccini Foundation and the World of Musicians, and as a board member of the American Symphony Orchestra. Through his activity in contemporary art circles he was friends with Miró and Chagall (among others) as well as Dalí. Translated by Captain J. Peter Moore. New York: Felicie, 1973. Quarto, original cloth, original illustrated foil dust jacket. A few superficial scratches to dust jacket, otherwise fine. One of the most interesting presentation copies of a Dali book we've handled. Original cloth, original dust jacket.

Hardcover. Etat : Very Good. 20 hand carved food items including a milk bottle, an orange, a carrot, three eggs, a banana, a potato, a ham, a tomato, a jar of peanut butter, a bag of sugar, a tomato can, a wedge of cheese, a jar of molasses, a pound of butter, a pound of lard, and a loaf of bread with two slices carved from the loaf, with a supplied basket. Some rubbing and wear on the paint, overall very good. Of the 20 pieces, nine are stamped "Delta Art Center, W.P.A. Miss. Art Project," but they are all obviously of a piece. Wonderful hand-carved and painted vernacular representations of groceries, presumably much on the minds of the Depression-era artists and craftspeople. Speculation in our office is rampant about the uses to which these objects could be put, some of it not facetious.

Hardcover. Etat : Near Fine. Octavo. Figured cloth with leather spine label ("Tour in the North of Europe 1835"). 233 closely and neatly written pages, mostly written on one side of each leaf (although it varies between rectos and versos), bound with nicely engraved letterheads and illustrations of the various locales visited and described, some are hand colored, also with a folding hand-colored map of Denmark published by Thomas Kelly in London, 1834. All illustrations on unnumbered pages. Modest wear at the spine label, text block fallen slightly forward, and hinges partially split, still a nice, very good or better volume, with the interior fine. Authorial Signature of Capt. Kelly dated January 1835. Kelly, about whom we could find little, traveled with "my usual traveling companion Alderman Kelly" on the John Bull Steam Packet to Hamburg. This is followed by a thorough description of their activities and of each of the many localities they visited, with exceptionally detailed remarks on travel, the geography, architecture, population, the paintings and other art displayed in the churches, palaces, and museums, the hotels and their cuisine (or lack of it), weather, observations, and entertainments by the various British consuls. Capt. Kelly's companion, born Thomas Kelly (1772-1855), was according to at least one source, "a Dick Whittington character," a man who had risen from modest beginnings to be Lord Mayor of London and a respected Alderman. After his father's bankruptcy in about 1788, Kelly was sent to work at Hoggs, the publisher and bookseller, on Paternoster Row after which he became a noted printer and publisher. He became Lord Mayor of London in 1836, the year following the trip described in this diary, with his official mayoral portrait painted by Mary Martha Pearson in 1837. A lovely travel diary filled with rich details and personal anecdotes.

First edition of this extravagant, lavishly illustrated cookbook created by Dalà in honor of his wife, Gala. Quarto, original color-printed pictorial cloth, pictorial endpapers, illustrated throughout. Translated by Captain J. Peter Moore. Association copy, inscribed by Salvador Dali with a double-page inscription and drawing on the copyright page and opposite page, "For Jean Vergnes 1976 Le oen de la Cuisine Dali." Dali has added an original portrait of Vergnes and a dripping spoon. With an additional presentation card inscribed by famed American restaurant critic Gael Greene laid in on Greene's custom stationary, "To Jean Vergnes with love from his great admirer Gael Greene 1-27-76." The recipient, Jean Vergnes, was a classically trained and highly acclaimed French chef, best-known as the co-founder of the famed Manhattan eatery Le Cirque, which opened in 1974. Vergnes had a major influence on American restaurant culture for more than four decades. He began his career working as a chef at various top restaurants in Paris during World War II, with a brief stop in Bermuda before moving to the United States in 1950. Classically trained in the French tradition, he was soon working in the kitchen of the Waldorf-Astoria, then as the youngest executive chef of the legendary Colony Restaurant, and finally as co-founder of Le Cirque, one of the most dazzling culinary jewels of New York since its opening in 1974. From 1986 to 1992, Daniel Boulud was executive chef of Le Cirque and in 1995, it was awarded the James Beard Foundation Award for Outstanding Restaurant. From the library of Jean Vergnes and thence by descent. Near fine in the original decorative stiff paper dust jacket which is in near fine condition. â When six years old I wanted to be a cook.â At age 68, Dalà fulfilled that ambition in this book. His careful selection of menus and recipes, â with its precepts and its illustrations, is uniquely devoted to the pleasures of Taste. Donâ t look for dietetic formulas here. We intend to ignore those charts and tables in which chemistry takes the place of gastronomy. If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive and far too impertinent for you.â With color plates and in-text photographs and illustrations on nearly every one of the 322 pages. The colophon reads, â The divine Salvador Domenech Philippe Hyacinthe Dalà conceived and materialized this work dedicated to Gala. All the recipes in this cook book, never before published, have been elaborated with great precision by a â chefâ wishing to remain in the most secret anonymity.â Gala was DalÃâ s wife and muse.

First edition of this classic work by the social historian Dorothy Hartley, which is both a cookery book and a history of English cuisine. Octavo, original cloth, illustrated with Hartley's own strong, detailed and lively illustrations. Lengthily signed by the author on the front free endpaper, "D. Hartley. the author- with remembrances of our meetings-at the National!" Near fine in a very good price-clipped dust jacket. Exceptionally rare signed, we trace no other examples. First published in 1954 and the bible of English cooks ever since, Dorothy Hartley's Food in England has remained a classic. Her love of the infinite variety of English cooking and her knowledge of British culture and history show why our food should never be considered dull or limited. There are unusual dishes such as the Cornish Onion and Apple Pie, and even recipes for fungi, from common field mushrooms to puffballs. She describes some delicious puddings, cakes and breads, including an exotic violet flower ice cream, an eighteenth century coconut bread and Yorkshire teacakes. The finely-executed line drawings that accompany many of the recipes are more than just beautiful; they inform the cook about different varieties and techniques of food-handling. Hailed by Lucy Worsley as "a curious mixture of cookery, history, anthropology, folklore and even magic.".

Pas de couverture. Etat : Très bon. Edition originale. Exceptionnelle suite de 12 dessins originaux érotiques par un artiste (à découvrir) commanditée par René Kieffer pour un ouvrage qui vraisemblablement n'a jamais été publié. Vers 1939-1945. Magnifique. Unique. Anonyme [pour René Kieffer, éditeur parisien]. [CURIOSA - EROTICA - DESSINS ORIGINAUX] 12 dessins originaux érotiques à l'encre et à l'aquarelle (taille variable - voir détail ci-dessous). Vers 1945 Voici la liste et la taille des dessins : - Mon curé dans les bois (environ 24 x 22,5 cm) - Mon curé chez les riches (environ 19 x 19 cm) - [Les gymnastes] (avec légende que nous ne comprenons pas) (environ 23 x 18,5 cm) - [Enculine Paris] (texte dans le dessins) (environ 21 x 20 cm) * ce dessin n'est pas montré dans cette fiche - Derrière la scène (environ 19 x 18,5 cm) - L'affaire . légendée au crayon en dessous La vengeance du juif (environ 21 x 19,5 cm) ** ce dessin daterait la série de l'année 1945 - Cuisine bourgeoise (environ 18 x 16 cm) - Education spirituelle (environ 17,5 x 15 cm) - . du nègre (environ 16,5 x 16 cm) *** nous ne lisons pas le premier mot avec certitude - Vive la lieberté (environ 17,5 x 17,5 cm) ** ce dessin daterait la série de l'année 1945 - Mon curé chez les pauvres (environ 21,5 x 19,5 cm) * ce dessin n'est pas montré dans cette fiche - Séduction (environ 25 x 20 cm) * ce dessin n'est pas montré dans cette fiche Chaque dessin a une forme différente, soit rectangulaire, soit carré, soit avec des pans coupés. Ces dessins sont sur papier bristol blanc. Excellent état de l'ensemble des dessins. Ces dessins se trouvaient depuis tout ce temps conservés dans une enveloppe de papier kraft accompagnés d'un billet autographe de l'éditeur parisien René Kieffer. Dans ce billet d'instruction René Kieffer s'adresse à son photograveur en ces termes : "Toute la série. Des dessins au crayon doit être en simili détourée comme vous avez fait le dernier. Signé René Kieffer. Même réduction. Très soigné (au crayon). [un mot illisible à droite]. Ce billet est rédigé au verso d'une photogravure d'un dessin par Jacques Touchet. Provenance : de la bibliothèque du photograveur ayant travaillé pour René Kieffer (et pour Maurice Duflou) au cours des années 1920-1940. Nous pourrons fournir à l'acquéreur des renseignements complémentaires sur la provenance de cet ensemble unique. Exceptionnel ensemble pour un ouvrage illustré érotique qui vraisemblablement n'a jamais été publié. Nous n'avons trouvé aucune illustration concordante dans Dutel (Bibliographie des ouvrages érotiques publiés clandestinement en français entre 1920 et 1970). L'éditeur parisien René Kieffer a souvent frisé le curiosa, la gaudriole, sans jamais (à notre connaissance) s'être déclaré lui-même éditeur d'ouvrage dépassant les bonnes m urs et l'outrage. René Kieffer a-t-il finalement renoncé à publié cet ouvrage ? Nous ne savons pas. NDLR : nous ne montrons que 9 dessins sur les 12 proposés. 3 dessins sont en effet impossibles à exposer au regard aujourd'hui. Nous pouvons vous envoyer ces 3 dessins originaux en photo si vous le souhaitez pour juger de visu. L'artiste reste une énigme. Anticléricalisme, anti-riche, anti-bourgeois, anti-nazi, raciste, volontiers scatologique, . nous n'avons pas réussi à mettre un nom sur ce travail vif, enlevé, humoristique, sarcastique et provocateur. Nous n'avons rien trouvé d'approchant ni dans Dutel, ni dans Nordmann, ni dans la collection Leonhardt. Le visage de la femme dans la dessin "vive la lieberté" nous semble bien dans la manière d'André Collot (1897-1976) illustrateur bien connu des amateurs de curiosa qui manie le crayon de l'humour et du sarcasme avec brio. Superbe en tous points. Unique.

Softcover. Etat : Fine. Photographic archive of Al and Katherine Williams, proprietors of the Papagayo Room restaurant in San Francisco's Fairmont Hotel and host of the mid-1950s cooking program *Copper Kitchen*, totaling more than 1,000 photographs and 1,000 negatives, with some original menu art. The photographs are nicely presented in a series of folio and large quarto albums and with the majority of the original negatives present and neatly organized and labeled; an additional number of unprinted negatives related to travel in Mexico are also included. Overall fine with only a bit of wear and toning to the menu art.

Large 8vo. Contemporary grey cloth, titled in gilt on spine. A great classic of cookery from the personal library of the French-Polish scientist and food writer Édouard de Pomiane (1875-1964), inscribed by the author Auguste Escoffier (1846-1935), the chef who put the Savoy on the map, co-founder of the Ritz and the Carleton, and codifier of the five "mother sauces" of French cuisine. Still in print and a go-to textbook in culinary schools today, no other cookbook has had such a lasting effect on the modern concept of French cookery. - From the start Escoffier strove to modernize French haute cuisine. He formalized his kitchens in terms of role and structure (including his hierarchical "brigade de cuisine" system), setting a new standard among his peers and students. A partnership working at the Savoy with hotelier César Ritz escalated both men to professional stardom; when Escoffier and Ritz were fired under suspicion of fraud, they founded the Ritz in Paris and the Carleton in London, swiftly eclipsing their old employers at the Savoy. The "Guide culinaire" was the culmination of his life's work, and included so many recipes that it was decades before an English edition translated them all (the initial translations being only partial). - The recipient of this inscribed copy, Pomiane, was himself a notable public figure dedicated to writing, lectures, and research in food science, promoting proper food hygiene and modern recipes using the gas stove. He was a well-known voice on radio broadcasts, headed a department at the Pasteur Institute, and wrote recipes designed for Occupation rationing during the war. In the book's inscription, dated Paris, December 1924, Escoffier thanks Pomiane for a previous gesture: "Mes sinceres et meilleurs compliments pour les scientifiques volumes sur la gastronomie que vous m'avez addresses et leurs charmantes dedicaces". The communication between both men evidently continued for a few more years, as shown by a letter tipped-in on the front free endpaper apologizing for a belated reply, signed A. Escoffier and dated 1928. - Text block toned, one subtly repaired closed tear, otherwise in very good condition. - From the library of Édouard de Pomiane (1875-1964), with his standard handwritten ex-libris.

First edition, one of 40 copies on papier Honan, this copy out of series, of the first work written in French on Chinese cuisine. A further 10 copies were issued on papier Coréen, and 500 copies released as the trade issue on papier pelure Chinois, with the pagination errors from this earlier printing corrected. A scarce and important work in beautiful condition. This in-depth study of Chinese cuisine was written by a master French chef, Henri Lecourt, who was was "head of the French post at Tianjin and a member of the Order of the Cloud of Jade Green" (Shurtleff & Aoyagi, p. 432). He was married to a Chinese chef with whom he conducted the research for this pioneering work, and was a learned connoisseur of both French and Chinese cooking. The work includes a chapter on smoking vegetables, which spices to use and what to replace them with if unavailable, and many recipes using tofu. It also includes detailed accounts on the origins of the recipes, and on table manners and dining etiquette. The publisher notes that "In the enormous bibliography devoted to cooking, one would seek in vain, written in European language a document on Chinese gastronomy. We must therefore praise Mr. Lecourt, one of our compatriots residing in China for many years, knowing Chinese and Chinese inside out, for having filled this gap". The work was distinct in its praise for Chinese cuisine, contradicting the scarce reviews which are known up to this time, almost all of which were overwhelmingly negative and couched in racist and imperialist viewpoints. The first gourmet Chinese restaurants to open in Paris were Chung Fat Lung (1920-1939), rue des Carmes and Wan Hua (1921-1940), street of the medical school, whose clientele was made up of diplomats, wealthy Americans, and Japanese teachers, in contrast to the restaurants opening in the Latin Quarter in the following years and catering to Chinese students in the area. It was a further 20 years until the first comparable book on Chinese cooking in the English language, How to Cook and Eat in Chinese by Buwei Yang Chao (1945), was published. William Shurtleff & Akiko Aoyagi, History of Soybeans and Soyfoods in France (1665-2015), 2015. Quarto. Unopened in the original richly decorated paper wrappers, the inscription on the pediment reading "Tong tch'ou sou ming" [the one who commands the eastern kitchen]. With the glassine wrapper. A near-fine copy of this incredibly fragile publication, in the notably well-preserved glassine wrapper.

Etat : Good+. On offer is a sensational, original early 20th Century manuscript book of 100s of baking and dessert confection recipes handwritten and compiled as per the inscription on the pastedown: "Michael Karner Konditor 1907". Rarely have we seen such a comprehensive book of recipes of such breadth in the dessert arts. The book has an index at the beginning indicating 32 pages of German specialties: Makron Masse, Gefullte Makronen, Linzertieg, Klezen Brod, Maderaschnitten, Gugelhupf, etc. Then from page 34 on the next 200 or so pages written in excellent English peppered with the odd German word [putting cream in the 'mittel' of something for example] it begins with English Food Cakes to Golden Rod Cakes, New York Orange to all manner of cookies, turnovers, pies, donuts, buns, rolls, puddings, parfaits, etc. etc. The index continues at the rear and then there follows a six page section of hand drawn illustrations appearing to be cake icing designs, some ornamental flourishes for special cakes and some fonts for writing on cakes. We can only speculate but we believe given the layout of the book and the steady writing throughout this book was created as an amalgamation of 100s of recipes finally coalesced by Michael into one book as his personal 'bible'. We also speculate that the book is very clean, thusly not used in the kitchen so likely a personal reference work. The 5 x 7¾ inch book is VG. Size: 8vo - over 7¾" - 9¾" tall. Manuscript.

No Binding. Etat : Good. 1st Edition. This poster is an advertisement for the German delicatessen Wilhelm Mozer. Created in the Jugendstil style (Germany's Art Nouveau), it shows a table overflowing with food - including lobster, fruit, and alcohol. It has some visible folds and minor foxing in the margins, but is otherwise linen backed and in very good condition. Born in Munich, Germany in July 1871, Ludwig Hohlwein started his professional career as an architect. In 1895, induced by his love of color and the desire to produce colorful posters, he deserted his profession to begin a new career as a poster designer. He immediately established an enviable reputation and was soon recognized as the leader of his field. Today, he's known as having been one of the best poster designers in the world whose style is filled with beauty and charm. His compositions are always striking and original, his colour harmonies unusual and superb, and his technique at once recognizable and inimitable. Many of his productions bear the distinctive mark of an architect, others are endowed with the qualities of mural decor, while some denote a Japanese influence. His career is defined by a high standard of excellence and a versatility in subject matter. Linen backed and ready to frame, it measure 34.5 x 48 inches.

First edition, first printing, of the fifth Nero Wolfe novel, in the bright, rare dust jacket. The story was originally serialized in the American Magazine from March to August 1938. The novel follows Stout's detective as he investigates a murder during a banquet hosted by the world's greatest chefs. Its alluring representations of gourmet cuisine won particular praise from Agatha Christie: "I must reveal that greed and the general enjoyment of food is one of my main characteristics and the descriptions of the meals served and prepared by Nero Wolfe's cook have given me a lot of pleasure and a great wish to have occasionally tasted these suggestions myself. Perhaps for that reason, I particularly liked Too Many Cooks" (quoted in McAleer, p. 263). The book includes 12 recipes enjoyed by Wolfe, printed on blue paper and bound at the rear. Provenance: from the collection of the Rolling Stones drummer Charlie Watts (1941-2021), with his posthumous bookplate. John McAleer, Rex Stout: A Biography, 1977. Octavo. Original red cloth, spine and front cover lettered in black, top edge blue. With dust jacket. Pencilled ownership signature of "Joseph A. Murphy" to front free endpaper; bookseller's ticket to rear pastedown. Binding bright, a few faint marks and bumps to extremities, outer leaves slightly foxed, marginal chips to pp. 263-5 not affecting text; jacket spine slightly sunned, extremities lightly worn, pale red splash to verso, else bright and unclipped: a very good copy in very good jacket.

Hardcover. Etat : Very Good. First edition. Octavo. 244pp., 36 plates of portraits. Blue cloth illustrated in black and titled in gilt with an image of Uncle Sam holding scales, weighing men and women as equals (we have also handled a variant with the cover image stamped in yellow, with no known priority). Lacking the rear fly, endpapers darkened, and the binding has several stains and rubbing on the boards, somewhat worn, but a good or better copy. Boldly Inscribed by the editor to one of the contributors: "To Mrs. Raymond Robins from Elizabeth Kleber, August Twenty Third." Mrs. Robins has contributed a recipe for Lemon Cream on page 160 and a full-page portrait of her appears on the unnumbered facing page. A cookbook assembled by a Pittsburgh equal rights organization with a five-page introduction by Pittsburgh journalist Erasmus Wilson. Features recipes, endorsements, and statements regarding woman's suffrage from prominent political, social, and literary figures, including letters from several state governors (California, Kansas, Wyoming, and Washington), Jane Addams, Mary Roberts Rinehart, Dr. Anna Howard Shaw, Fanny Garrison Villard, film actress Nazimova, Judge Ben Lindsay, an original poem by John Whitcomb Riley (not listed in *BAL*), and recipes from Charlotte Perkins Gilman, Irwin Cobb, and Jack and Charmain London. London contributes two prose recipes for preparing roast duck, contributions not listed in the standard London bibliography. The impassioned introduction, written by Erasmus Wilson, further explains that Kleber's cookbook is a fine example of the many cookbooks and culinary tracts written during the Suffrage movement that encouraged a radical shift from traditional delicate victuals to wholesome, pragmatic, and often medicinal meals. A very uncommon title, with a nice association.

Pas de couverture. Etat : Bon. Edition originale. GAINSBOURG, Serge (1928-1991) Notes autographes&#8232;S.l.n.d [c. 1985-86], 1 p. in-4°&#8232;Petite mouillure en marge supérieure Notes préparatoires de Gainsbourg pour son film Charlotte for Ever, qui fit scandale lors de sa sortie « prénoms pour&#8232;long métrage&#8232;*herman [interprété par Roland Dubillard] producteur Koldhero&#8232;moi possible *stan [interprété par Serge Gainsbourg]&#8232;charlotte ou *alice second rôle léon [interprété par Roland Bertin]&#8232;gant de cuir bleu marine [Gainsbourg porte en effet un gant bleu marine à la main droite dans le film]&#8232;s en référer à la photo intérieure de mon live trente trois [Gainsbourg Live 1985 au Casino de Paris, Gainsbourg porte bien un gant de cuir bleu sur la photo dépliante à l intérieur de l étui] » Écrit et réalisé par Serge Gainsbourg, Charlotte for Ever sort dans les salles de cinéma le 10 décembre 1986. S inscrivant dans la continuité de sa chanson Lemon Incest (1984, album Love on the Beat), le scandale est [de nouveau] retentissant pour le parallèle entre le scénario du film, traitant du rapport entre un père alcoolique et une jeune fille de quinze ans dans une atmosphère incestueuse, et la relation de Serge Gainsbourg et de sa fille Charlotte.&#8232;Ayant fait l objet d attaques et d insultes alors que son film est cloué au pilori par une large partie de la presse, Gainsbourg s en défendra dans une interview télévisée quelques jours après la sortie du film : « Si on rejette mon film de façon analytique, O.K. Mais quand des puritains, des pisses-copies qui pissent des maladies vénériennes  » Précieux témoignage inédit de l une des uvres les plus scandaleuses du poète-musicien.

Très longue relation de son voyage en Grèce avec Simone de Beauvoir (le Castor) parsemée danecdotes cocasses. Extraits : Ça me fait un drôle deffet de continuer cette lettre ici et sur ce papier, avec une plume française avare et fine au lieu décraser une grosse plume grecque lippue sur du papier rayé (je le haïssais, ce papier) et ça ma fait un drôle deffet aussi dentendre votre voix hier au téléphone un drôle deffet bien émouvant .Je voudrais seulement savoir si vous mavez aussi de temps en temps profondément haï parce que je traînais sur les routes de Grèce pendant que vous étiez au fond de votre puits. Je reprends le récit du voyage. Je le finirai dans cette lettre ou dans le prochaine (je ne suis pas encore rentré chez mes parents, je fais le fier à Montparnasse, tout fier dêtre si brun parmi des navets, je vois Zuorro, jenvoie partout des coups de téléphone pour tâcher de réunir largent du voyage du Castor et de Hazackewer en Alsace Vous savez donc que, vers le 25 août nous traînions à Athènes, puis que nous avons pris un bateau pour Salonique et que nous y sommes arrivés le 27 au matin. Nous avons eu une drôle de surprise en arrivant car de loin Salonique na pas du tout lair dune ville couchée, comme les autres villes grecques, elle fait « ville debout », vous savez comme dit Céline en parlant de New-York, avec un quai tout bordé de gratte-ciel élancés. Entendez moi : des gratte-ciel à sept étages. Mais vous nimaginez pas ce que ça peut faire après quarante jour de Pelopponèse et dans les Iles de voir ainsi, au bord de leau, des sept étages lun sur lautre .Nous avons débarqué dans cette ville qui faisait cruellement luxueuse pour deux sans le sous et je me suis installé à la terrasse dun café pendant que le Castor cherchait un hôtel. Vous savez la combinaison : nous attendions de largent pour le premier septembre. Il sagissait donc de prendre la pension dans un hôtel luxueux et de nous faire tout servir à lhôtel quon ne paierait quà la fin du séjour. Mais le bon Castor ne revenait pas et au bout dune heure jétais sérieusement inquiet.Nous sommes descendus à Volo, ville sinistre. Il pleuvait, nous avons appris à la gare quil fallait sept heures pour arriver aux Météores. Cétait trop long, nous aurions manqué le bateau du lendemain et naurions pu rentrer à Athènes que le cinq au matin. Nous sommes revenus sous la pluie, un peu désespérés dans le plus grec des cafés, un hall sinistre ou quelques grecs aux yeux vides avaient lair dattendre indéfiniment (un train ou une audience) le visage morose, jetés nimporte comment sur des chaises de cuisine mais restant dans les positions les plus incommodes par paresse de faire un mouvement et trouvant le moyen au fond de leur néant de garder une mine dimportance. Cette pluie, les visages taillés à coup de serpe et barrés de dures moustaches, cette grande salle dattente, notre indécision : nous nous sommes sentis tout dun coup au fond de la Grèce, avec des épaisseurs et des épaisseurs de Grèce par dessus la tête.

PAPERBACK. Etat : Good. 8474109728.

Pas de couverture. Etat : Très bon. Edition originale. "THE SUITOR (RIDOLINI CERCA LA FIDANZATA)" Réalisé par Larry SEMON et Norman TAUROG en 1920 avec Larry SEMON (RIDOLINI) / Affiche originale italienne entoilée / Litho UNION TIPO-LITOGRAFICA BRESCIANA (1939) / Format entoilé: 71x102cm / Très bon état /// Original italian poster on linen / Litho 1939 / Size on linen: 71x102cm / Very good+ condition.

Huile sur toile.Format de la toile : 100 x 81 cmCamille Claus est né à Strasbourg en 1920 et s'est suicidé en 2005.Une huile très précoce dans la carrière de l'artiste qui fut étudiant des Arts décoratifs de Strasbourg de 1940 à 1942. L'oeuvre a été réalisée après les terribles années de guerre au cours desquelles il a d'abord été incorporé de force dans l'armée allemande, puis interné dans le camp russe de Tambov. Cette peinture laisse peut-être entrevoir un retour progressif à la vie normale. Âgé alors de 27 ans, Camille Claus nous laisse entrer dans l'intimité de son foyer. Il peint un intérieur sombre -une cuisine ?-, à peine éclairé par la faible lumière d'une ampoule et meublé d'une simple table sur laquelle se trouve une assiette avec un oeuf au plat. A droite, une fenêtre. La scène dépeint une frugalité certaine.Il s'agit sans nul doute d'une période de transition dans sa peinture, où l'artiste s'éloigne de la violence et du trauma de la guerre pour se diriger peu à peu vers sa période abstraite.Référence bibliographique : Hervé Lévy, "Peindre après Tambov" dans Saisons d'Alsace. Hors-série octobre 2022. pp. 78-81.

Caja. Etat : Excelente. Edouard Vuillard, A. Dunoyer de Segonzac, André Villeboeuf. (illustrateur). 1ª Edición. Laroche, Henry Jean. CUISINE Recueil de 117 Recettes illustré par Edouard Vuillard 6 Lithographies originales, A. Dunoyer de Segonzac 6 Eaux-fortes originales, André Villeboeuf 6 Eaux-fortes originales. Arts et Métiers Graphiques 1935 Paris. 34x26.5cm +caja. 150 exemplaires sur Arches, numérotés de 1 à 150.

couverture souple. - 23 janvier 1957, 16,2x23,5cm, 2 pages sur un feuillet - enveloppe jointe. - | "L'époque est à la violence" | Lettre autographe signée de Marguerite Yourcenar datée du 23 janvier 1957, deux pages à l'encre noire sur un feuillet, enveloppe autographe jointe. Sur deux pages à l'écriture dense, Yourcenar confie ses déboires éditoriaux à son ami intime le peintre Elie Grekoff, et relate le geste blasphématoire de son éditeur, qui avait déchiré "en deux ou plutôt en quatre" l'exemplaire dédicacé de son recueil de poèmes Les Charités d'Alcippe (1956) et lui avait renvoyé par la poste. Elle s'entretient de projets communs avec Grekoff et le prie d'accepter les profits d'un ouvrage qu'il a illustré pour elle. Yourcenar écrit depuis les Etats-Unis, qu'elle rejoignit en 1939 avec sa compagne Grace Frick, alors professeur de littérature britannique à New York. Elles s'installèrent à partir de 1950 sur l'île des Mont Déserts, jouxtant le Canada, dans une maison baptisée Petite-plaisance qu'elle mentionne dans l'en-tête autographe de la lettre. Au beau milieu de la nature sauvage et des lacs cristallins, elle y écrira certains de ses écrits les plus célèbres, dont L'Oeuvre au noir. Des images fugaces de la vie recluse de l'écrivaine nous parviennent au fil des lignes : « 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 ». Le passage le plus poignant de la lettre concerne ses aventures mouvementées avec son éditeur Curvers, au sujet de son recueil de poèmes à la verve néoclassique Les Charités d'Alcippe. Yourcenar fait part de l'acte impardonnable de ce dernier, exaspéré par le mécontentement de l'écrivaine qui lui reprochait la parution hâtive du recueil : "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". « L'affaire du monsieur de Liège », terme employé dans la lettre, se soldera par un véritable litige par avocats interposés. L'intransigeante exigence de l'écrivaine et sa constante préoccupation pour les droits d'auteur, lui vaudra plusieurs affaires, et même deux procès - avec le metteur en scène Jean Marchat, et son éditeur Plon. Le destinataire de la lettre Élie Grekoff (1914-1985), peintre, illustrateur, maître cartonnier, demeurera un proche confident de la femme de lettres pendant des décennies, et travailla avec elle sur plusieurs projets éditoriaux et théâtraux. Il réalisa notamment les décors de sa pièce aux accents sartriens, Electre ou la chute des masques, créée au théâtre des Mathurins. La lettre garde également la trace de deux de leurs collaborations artistiques : l'édition d'un classique latin et d'un célèbre poème hindou, le Gita-Govinda, tous deux commentés par Yourcenar et illustrés par Grekoff. Dans quelques magnifiques lignes pleines de bonté, Yourcenar le prie d'accepter les bénéfices probablement issus de la parution des Bagatelles d'Amour de Laevius (1956) : "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". Charmante et profuse lettre de la première femme élue à l'Académie Française, aux pr.

Paint on cardboard. Etat : Near mint. Size: Tram poster (cca. 24 x 17 cm). A pair of beautiful painted poster artworks created by M ty s Sinka They were created for the opening of the Gundel restaurant which is one of the most famous restaurants of Hungary Its script says The Zoo Gundel Restaurant has opened as the restaurant is located in the City Park in the neighbourhood of the Zoo The history of the Gundel Restaurant dates back to the end of the 19th century The restaurant was built in 1894 and its walls were decorated by the most important painters of the 19th and the 20th centuries The building evokes the atmosphere of the turn of the century Originally the restaurant was led by Ferenc Wampetics but it was taken over by K roly Gundel the son of J nos Gundel who had been already the owner of several successful hotels and restaurants by that time The restaurant gained its international fame under the lead of the control of K roly Gundel K roly Gundel refined the Hungarian cuisine and created delicious dishes of his own taste His pioneering work placed Hungary on the world map of gastronomy K roly Gundel also documented gastronomic history He collected local recipes all over the Carpathian Basin as Hungary s world famous composers Kod ly and Bartok recorded Hungarian folk music He is the author of cook books translated into dozens of languages The Restaurant earned his shine since K roly Gundel opened this house in 1910 Its reputation was strong enough to survive the stormy decades of war and communist nationalisation Having been privatised in 1992 the GUNDEL took back its deserved position in Hungary as the country s leading restaurant source www gundel hu en The poster artworks were created in 1953 when the restaurant had a reopening after the nationalisation in 1949 The decade of the 1950s was a hard period in Hungarian history as well as in Hungarian poster design The political regime also determined the rules of arts and the norms of Socialist Realism were to follow for poster designers too It produced a very typical painting like style of posters in the first part of the decade M ty s Sinka designed a plenty of posters in every kind of subject even the propaganda of the period He often created humorous desings for campaigns for prevention from accidents healthcare promotions etc but he also created interesting movie posters in a style recalling cartoons These poster artworks are also different from the typical socialist realist compositions of the period they rather reveal the own cartoon like expressiveness of the artist These pieces are beautifully painted compositions in a similar portrayal The first version shows the restaurant from a distance surrounded by a crowd of people and decorative trees can be seen in the foreground with the script above The second version also contains the view of similar trees but the script is the main element here in a delicate frame The naturalistic motifs and the typographic design are depicted skillfully and in an impressive portrayal contributing to the decorative designs Both versions of artworks were created to be reproduced later as a tram poster Although a final poster wasn t produced of them these poster artworks are highly elegant and decorative.

Hardcover. Etat : Good. 1st Edition. 460 pages with frontispiece and index. Octavo (8 1/4" x 5 1/4") bound in half blue cloth with raised spine bands and gilt lettering to spine and marbled boards. (Bibliotheca van der Linde-Niemeijeriana: 5256) First edition. Like the historic London competition nearly half a century earlier (1851, the third Paris international tournament was conducted in the exciting splendor of the world's fair. A total of 17 players from Germany, Hungary, Mexico, Austria, the Untied States, England, Russian and France competed for 12,800 in prize money and four valuable Servres fases donated by the French Government. The Grande Cercle club served the visiting masters free coffee, tea and lemonade during the competition. The participants were permitted to take all their meals in the club, which was known for its superior cuisine. The Paris organizing committee, following the example of the London 1883 and New York 1889 tournaments, required that all drawn games be replayed. Only the result of the second game would count. In another attempt to encourage fighting chess, the committee announced that ties at the end of the tournament would be broken by number og games won. Schlechter fell victim to this tie-breaking system: he posted a +9 -5 =2 score to finish even with Marco and Mieses (both +10 -6 =0) in seventh-ninth places but went without a prize, since he had won fewer games. The London-domiciled Lasker (+14 -1 =1)began in impressive fashion with successive victories against Schlechter, Didier, Burn and Mieses. He then suffered his only defeat, this at the hands of the exciting 23 year old American rookie, Marsha. The Paris victory was Lasker's fourth in international competition and clearly established him as the world's premier player. The "American Eagle" Pillsbury (+12 -3 =1) soared into an early lead, but losses to Marshall (26 moves), Lasker (23 moves) and Burn consigned him to second place. Marshall, another brash young invader from across the Atlantic, also covered himself with glory (+11 -3 =2). He entered the final round with 12 points, then suffered a painful setback at the hands of the grimly pursuing Marcozy. The loss dropped him into a tie for third and fourth places with his Magyar conqueror. Enroute to his impressive showing, Marshall scored a 5 1/2 out of seven points against the other prizewinners. Burn (+11 -5 =0) distinguished the cause of British chess by securing the fifth of eight prizes - while the courageous Tchigorin (+9 -4 =3), overcoming a faltering start (losses in three of his first four games), fought back to claim the sixth prize. Just outside the prize list was Schlecter, who played below his usual strength. Nonetheless, he did manage to author a number of good games. His contest with Mason was singled out for inclusion in the 500 Master Games of Chess. Condition: Hinges cracked with rubbing, shelf wear, corners bumped rubbed, some foxing else a good to very good copy.

Grand in-4 carré ( 315 X 245 mm ) de 123 pp.-( 4 ) ff. toile blanche, illustrée du titre en rouge dessiné par COCTEAU sous coffret de toile tango de l éditeur. Edition originale, et premier tirage des 30 compositions de Jean COCTEAU, imprimées en rouge. Tirage sur papier de toile enduit, comme les nappes de restaurant, pliées en double à la chinoise, à 915 exemplaires, et quelques hors-commerce, celui-ci un des 30 exemplaires de tête ( N°17 ), avec un beau DESSIN ORIGINAL signé de Jean COCTEAU une RECETTE AUTOGRAPHE signée avec PETIT DESSIN de Raymond OLIVER et une suite en noir des illustrations. Dos de l'étui légèrement passé, livre en parfaite condition. De la bibliothèque Jacques et Hélène BON ( 2022, N°521 ) ( Ex-libris ). Gastronomie Oeunologie Cuisine Vins Autographe.

Hardcover. Etat : Fine. Etat de la jaquette : Fine. Coryn, Sidonie (Illustrations) (illustrateur). First Edition. Stated First Edition; Note About Authors dated August, 1961. Ultra-rare first printing in original wrapper. Signed and holiday inscribed by Julia Child on signature cuts lightly adhered at half-title page: "Merry Christmas, Julia Child." Very attractive and rare Christmas inscription from Julia. Patterned fleur-de-lis boards w/turquoise stars, black and white cover and spine titles on orange fields, light shelf wear. Pages near fine, bright. Turquoise endpapers. Crisp orange top-stain, moderate toning. Bind fine, square. Original dust wrapper, bright with light shelf wear; clipped, protected in new clear sleeve. Code 10/61 at front flap. Rare near fine first printing in same sharp wrapper. "Mastering the Art of French Cooking" is for both seasoned cooks and beginners who love good food & long to reproduce at home the savory delights of the classic cuisine, from the historic Gallic masterpieces to the seemingly artless perfection of a dish of spring-green peas. This beautiful book, with over 100 instructive illustrations, is revolutionary in its approach because: It leads the cook infallibly from the buying and handling of raw ingredients, through each essential step of a recipe, to the final creation of a delicate confection. It breaks down the classic cuisine into a logical sequence of themes and variations rather than presenting an endless and diffuse catalogue of recipes; the focus is on key recipes that form the backbone of French cookery and lend themselves to an infinite number of elaborations bound to increase anyone's culinary repertoire. 684 pages w/32 page index and a Note About the Author. Insured post. Size: 4to - over 9¾" - 12" tall. Signed. Book.

Piel. Etat : Excelente. Manuel Alcorlo (illustrateur). 182 pp. Sumamente ilustradas con láminas, y grabados entre el texto. Y 15 láminas aparte, aguafuertes originales, firmados y numerados a mano por el artista. Y en nuestro ejemplar, 5 láminas aparte, de aguafuertes firmados, prueba de artista. Todo en una soberbia caja en formato libro, encuadernada en exquisita piel totalmente grabada en seco, lomera con nervios. Y dentro un compartimento para guardar el facsímil en tamaño cuarto menor, y también encuadernado en la fina piel muy decorada con grabado en seco. En la justificación de tiraje se habla de 199 ejemplares, pero en realidad solo fueron impresos 6 ejemplares. =Consagrado artista español, Manuel Alcorlo es Académico de la Real Academia de Bellas Artes desde 1998. ==Es bueno destacar que un tercio de la obra hace hincapié en el comer y el beber. Size: 48,5 x 36 Cm. y 22,5 x 15,5 Cm.