Salon International du Livre Rare & de l'Autographe
Salon International du Livre Rare & de l'Autographe
Salon International du Livre Rare & de l'Autographe
Salon International du Livre Rare & de l'Autographe
Salon International du Livre Rare & de l'Autographe
Salon International du Livre Rare & de l'Autographe
Salon International du Livre Rare & de l'Autographe
Salon International du Livre Rare & de l'Autographe
Salon International du Livre Rare & de l'Autographe
Salon International du Livre Rare & de l'Autographe


The 28th International Rare Book & Autograph Fair was proud to exhibit the Fonds patrimonial Jeunesse Heure Joyeuse


Fonds Patrimonial Jeunesse Heure Joyeuse
Heure Joyeuse Youth Heritage Fund

Inaugurated in 1924, the Heure Joyeuse library was the first library devoted to youth in France. Over the decades, it has accumulated a very rich collection of children's books from the 16th century to the present day. The heritage fund has received significant donations over the years, in particular from editors such as Rageot and François Ruy-Vidal as well as researchers and bibliophiles including Jean Glénisson.

© François Grunberg / DICOM

The Heure Joyeuse heritage fund now comprises more than 80,000 books, original drawings, art books and archives and joined the Françoise Sagan media library when it opened in May 2015. Available for consultation on site, it has a dedicated room and a lending reference fund specialising in literature for children and youths and accessible to all. The Françoise Sagan media library is part of the City of Paris network of libraries comprising 58 lending libraries and 16 specialist and heritage libraries, representing the largest network of libraries in France.
The main axes framing the Heure Joyeuse heritage fund will be showcased at the Grand Palais through a selection of primers, cloth books, pop-up books, art books, colouring books and Soviet albums not to mention a focus on digitised works. Guided visits, open visits and encounters focusing on the books will be organised.
fonds patrimonial jeunesse heure joyeuse

© / Fonds Heure Joyeuse




Saturday 23rd April
Stand D21, West nave

2.00 pm to 4.00 pm
Henri GALERON & Philippe HUGER
Under the auspices of Editions des Grandes Personnes

Philippe HUGER

5.30 pm to 6.30 pm
Jacqueline DUHÊME & Georges LEMOINE
Under the auspices of Editions Gallimard

Jacqueline DUHÊME


Christophe Jegher after a design by Pierre-Paul Rubens (1577-1640). Jesus and Saint John. Woodcut, reworked by Rubens.

The Department of Prints and Photography has the great pleasure of participating in the International Rare Book, Autograph, Print & Drawing Fair for the eleventh time. This major event offers the French National Library the opportunity to present a selection of remarkable works. During the fair, the enthusiastic and enlightened public can thus enjoy access to works which are not often exhibited. It is also the chance for the public to talk to the curators of the collections and to learn more about the department whose reading rooms are open throughout the year to students, artists, researchers and aficionados of graphic arts. 
Since it was founded in 1667 by Colbert, the French National Library's Department of Prints and Photography has collected and maintained a collection of some ten thousand prints, posters and images from every school, from their origins to the present day. The collection is now one of the oldest and most extensive in the world. Moreover, it continues to expand thanks to the donations and generosity of major collectors and benefactors and through the legal deposits of engravers and publishers still in effect which enables the works of contemporary artists to rub shoulders with those of the old masters. 
Focusing on the theme of "childhood" chosen this year by the organisers of the fair, the French National Library's stand will present a selection of prints, drawings and posters ranging from the Renaissance to the modern day. 
Children in western art were initially represented by the Infant Jesus, most often depicted in the arms of the Virgin Mary, before becoming an inexhaustible source of inspiration for artists. Maternal tenderness has remained a recurrent theme over the centuries. On the walls of the stand, visitors can therefore see a Renaissance Holy Family hanging near a work by Mary Cassatt. Children can also be seen in portrait, initially in official works and subsequently in more private offerings, such as Enfant entouré de fleurs by Odilon Redon. There are numerous scenes of daily life ranging from the school lessons of Abraham Bosse to the children's games of Jean-Honoré Fragonard and Pierre Bonnard. While the figure of the child inevitably reflects life and early innocence, it can also be seen in allegorical depictions of death and sacrifice, as shown for example by a vanity by Hendrick Goltzius. 


Abraham Bosse (1602-1676). The School Master. Circa 1638. Acid etching, slightly enhanced by a chisel in the shadows.

Mary Cassatt (1844-1926). The Kiss. 1890- 1891. Drypoint and aquatint in colour.

Odilon Redon (1840-1916). Head with Flowers. 1897. Lithography, enhanced
in colours, on coated China paper.


Détail de la reliure d’un exemplaire du Retour de l’enfant prodigue d’André Gide, 1919.
L’Hôtel Jean de Brion aux Baux de Provence, siège de la Fondation Louis Jou

2016 is a key year. It is a time to pay homage to those who have kept the Foundation alive over the past 40 years - volunteers, curators, teachers, typographers and of course patrons. A successful work of transmission commensurate with the magnetism that this Catalan exerted over his contemporaries. It is also the moment to pass the torch to a new generation focusing on a flagship project: the restoration of the Hôtel Jean de Brion.  Rebuilt by Louis Jou with his very own hands and as such a veritable work in three dimensions, this building - classified a historical monument and located at the very heart of the Les Baux - is a treasure trove of the creations, the collections, the taste of a great artist overflowing with creativity.
This exhibition provides an opportunity to explore the particularities of Jou's works - the search for the greatest possible coherence between the different elements of a book, enjoying complete mastery from the typography through the composition to the engraving. It is also the opportunity to take a look back to his younger days or his artistic and literary friendships, the most significant being that he shared with André Suarès. Books are not the only means of expression adopted by Louis Jou, who also embraced myriad art forms ranging from painting to ceramics, music to architecture.
Louis Jou's return to Paris will be celebrated at the Grand Palais thanks to the Syndicat de la librairie ancienne et moderne and the provision of an exhibition space within the Antiquarian Book Fair. It is a magnificent symbol and an amazing opportunity offered to the Louis Jou Foundation. Boasting some 40 years of activity, recognised as being of public utility and of general interest, it must expand its audience beyond les Baux de Provence. Presenting the artistic and literary testimonies of timeless, almost immortal, works of art and increasing public awareness of a unique cultural heritage will help it fulfil its mission of transmission at a pivotal moment in its history.
Stand I11, Nef sud
La Fondation Louis Jou
Grand rue Frédéric Mistral
13520 Les Baux de Provence




From utopia to renown: the "villages du livre" in France

Eight villages, which have now formed a federation, are destinations for cultural tourists. They have united their efforts and actions to promote antique and second-hand books in these exceptional venues and to stem rural desertification by building a local economy that has already proven its worth. This discreet, yet ambitious, economic, social and cultural fabric brings together more than 90 booksellers and bookshops, craftsmen and artists who all share the same passion for books and reading, a common quest for adventure and nature, by creating living and working surroundings that range from the classic to the inventive. These newcomers have brought a genuine breath of fresh air to the French countryside, with their armfuls of boxes crammed with books, much to the delight of the locals, tourists and book lovers.

These people of letters are the very expression of skills and know-how, availability and attention. The instrument of their labour is patience. They form bonds, they convey words, phrases and ideas, they protect the future of their books by putting them in good, caring and benevolent hands. Every day of the year, in every aisle and every darkest corner of the bookshops in the winding streets and on the squares of France's villages, colourful crowds of quiet visitors take their time to delve into this huge collection of almost 2 million vintage books, manuscripts, letters, registers, diaries, tracts, posters, photos and music scores that can be found in the Book Villages. And every one of them leaves feeling triumphant, with their new-found booty, from all countries, all ages, in all formats, at all prices and from every sphere of knowledge or fiction. Lucky books that outlive their authors, their readers and even their sellers.
For a number of years, the book villages have organised old book fairs, encounters with authors, conferences on the book-related trades, round tables with artists, designers, craftsmen and professionals in the field of books, readings and literary shows, educational workshops to discover and practise the arts and trades of the book industry (typography, printing, engraving, illustration, calligraphy, illumination, binding and paper manufacturing), youth literature festivals, exhibitions of graphic art, contemporary editions and bibliophilia... Each one has succeeded in creating events adapted to its territory, attracting a loyal, curious and informed public. At the heart of their actions are the associations which bring the book villages to life. Their roles: to encourage encounters between the public, authors, works, craftsmen, publishers, book stores, librarians and artistic and literary sites; to provide access to culture for all by sharing knowledge and written heritage; to promote and enhance the image of book-related trades; to organise a range of happenings and creations in rural areas similar to urban events; to support the book market and facilitate access to literary knowledge and reflection; to encourage, promote and spread reading and books, in particular among children and the general public.
On the occasion of such a prestigious event as the International Rare Book Fair, the ambassadors of these original locations will be on hand to welcome you and present their rich and remarkable local heritage along with the latest news from their villages.

To be discovered on the "Villages du livre" stand (i13 – south aisle): the exhibition of Lusotte et les histoires qu’on lui raconte taken from the François Bernouard bibliophilia fund, kept in the Musée des Arts et Métiers du Livre in Montolieu.


"PARIS WITHOUT THE BOUQUINISTES WOULD NO LONGER BE A FEAST... " Anna Gavalda so pertinently wrote in the guest-book at the stand of the Association Culturelle des Bouquinistes des quais de Paris, with a tip of the hat to the great novelist Ernest Hemingway, when she visited the fair in 2014.

The feast continues in 2016 as the association enters its seventh year and takes its place at the fair for the fourth consecutive year.

Bringing together 180 of the 235 bouquinistes of the quays of Paris, the association is once again present at the fair to remind us of the lively and dynamic activity of the booksellers on the quays of Paris, undeterred by the economic and cultural crises and the competition arising from new technologies! Standing apart from anything of their kind, the thousand and one boxes that form the huge open-air book store continue to offer the millions of visitors who visit it each year from 1 January to 31 December more than 300,000 works of every genres and every price. A rich hunting ground for numerous important bibliophiles, the quays of Paris remain one of the most fertile lands where even the wildest hopes of discovery are permitted.

These descendants of the travelling pedlars of the old regime, whose geographic scope was increased considerably by the development of the quays during the First Empire and whose trade was recognised and regulated by the Second Empire in a form still practised today, apart from a few details, are proud to welcome you again to their stand to tell you about their wonderful profession.

This has changed very little from the time of Savary and his definition of "Bouquiniste" in the 1725 edition of his dictionary, the first known printed reference to the term: "Poor booksellers without the means to have a shop or to sell new works, who "estaloyent" old books on the Pont-Neuf, along the quays and in several other locations in the city..." . Today, 80 women and 145 men of every age ply their trade by the banks of the Seine, one-third of them on the right bank between the Louvre Museum and the Pont Marie and the remaining two-thirds on the left bank between Rue du Bac and the Arab World Institute.

As for their boxes, they took the shape and size we are now familiar with in 1891, the date on which the bouquinistes were authorised to leave their goods on site overnight. They must be painted a specific shade of green and their dimensions have been strictly regulated since 1930.

At the 2015 fair, the Association Culturelle des Bouquinistes de Paris organised a retrospective exhibition on its stand of some fifty bindings by the famous binder Daniel Knoderer, which was a great success. For the 2016 fair, the bouquinistes of the quays of Paris are repeating the experience and are pleased to present an exceptional exhibition on their stand of Islamic calligraphy from the 8th century to the 19th century, taken from the private collection of a great art enthusiast. This selection of some thirty museum-quality works provides a unique vision of the different styles of writing in Islamic countries over the centuries.

Jérôme Callais, bouquiniste
to communicate with the President of the association, Jérôme Callais,
the Treasurer, Sylvie Mathias or the Secretary, Michel Bouetard


Calligraphy exercise (karalama) attributed to Hafiz Osman Efendi. Words of the Prophet Muhammad. Very elegant Thuluth (sülüs) on polished paper, golden rosettes and top left corner decorated with floral motifs in gold, marbled border).
Front, subsequently inscribed by hand, attributed to Hafiz Osman Efendi. Dim. page: 19.5x24cm. Dim. text: 13x18cm
Ottoman Turkey, 17th century.

Page of Koran on paper, Thuluth script in black, coloured and gold ink. In the banner, title of the sura "Yunus" 40.5x31cm. Egypt, mid-14th century
CALLIGRAPHY IN THE ISLAMIC WORLD: AN OPEN PERSPECTIVECalligraphy, or Khatt, is the major art form of the Islamic world. The approach to this exhibition is both didactic and artistic. Many of the works presented, either religious or secular, can be compared to modern or contemporary works in western art.

The historical works section includes two of the most important types of writing reserved for Koranic texts: the western kûfî (kufic), an angular script befitting of the oblong format of the 9th- and 10th-century Korans, and the Muhaqqaq, a cursive script used in the most attractive Mamluk Korans from 14th- and 15th century Egypt. Kufic script was subject to very few major changes. From the 12th century, the relative fixity of the shapes made it a hieratic script. It became a rigid script with a solely ornamental function. Its use waned in favour of rounded, cursive scripts offering flexibility and rapidity previously unheard of. Opposite these historical works, visitors can marvel at compositions from Iran and Ottoman Turkey dating from the 18th and 19th centuries.
With regard to Iran, the use of colour is reminiscent of painting. These works are produced in Nasta’ liq script specific to Iran, which was developed from the 15th century onwards, and in Shekasteh, a script derived from Nasta’liq, which appeared in the 18th century. These two scripts are reserved for secular works, correspondence and poetry.
Turning to Turkey, the compositions are in celî sülüs (or Thuluth), a script similar to muhaqqaq. The term celî means "in large format". They are said to be muttannâzar, "which face each other", or mirror each other. They are often the works of members of the Sufi communities. One of these compositions takes the form of a hat worn by the members of the order of Dervishes (sikké) and can be considered a deviation from tradition.
Considerable importance is accorded to the calligraphy exercises which draw parallels between the works of the greatest Turkish and Iranian calligraphers, in Thuluth script for Turkey and in Nastaliq and Shekasteh script for Iran. These exercises are produced in total freedom: texts or sets of letters or words, repeated or superimposed, they are comparable to the drafts and sketches of the masters in the field of painting and rival our great abstracts.
The exhibition also includes a calligraphic cutting (or cut), a practice greatly appreciated in the 16th century in both Iran and Turkey, and a letter admired for its decorative interest, a tip of the hat to the "tachism" of our surrealists.


Calligraphic composition signed Dervish Abdul Majid Taliqâni, in Shekasteh Nasta’liq script painted in white on blue clouds against a golden background. Mounted on an album page with several frames. Dim. page: 27.5x22.5cm. Dim. text: 21.5x16.2cm Iran, Chiraz, circa 1770.


Page of Koran in Kufic script on parchment, in black ink and red dots. Sura 47 "Al-Mulk" (Royalty), verses 19-21. 23x32cm. Middle East or North Africa, 9th-10th century.


ATELIERS MORET - L12, South Nave

A little history…
André Moret, a former intaglio printing worker at the Ateliers Robbe and Ateliers Leblanc, created a workshop in 1947. His wife Jeanne also contributed to the activity of the workshop. He trained apprentices in whom he instilled a love for a trade which can only be learned slowly; these apprentices would subsequently be greatly appreciated in other workshops. A collaboration began to develop between engravers and intaglio printmakers. In some cases, it still exists today. On his death in 1967, André Moret left a workshop that was flourishing thanks to his technical level of accomplishment and more particularly the convivial atmosphere he created between the craftsmen and the engravers. His wife took over the workshop, assisted by her husband's friend Fernand Albarel.

Her son Daniel Moret joined the family workshop in 1968. In 1980, Daniel took over sole management of the workshop, creating "Les Ateliers Moret" in 1990 with Didier Manonviller and Jean-Philippe Boucher, former apprentices and subsequently employees of the workshop. In 1992, les Ateliers Moret began working with a steel unit. In May 2000, Jean-Philippe Boucher left the workshops to move to the country. Thomas Fouque and Matthieu Perramant joined les Ateliers Moret in 2010.
Engraving over time…
In previous centuries, most engravers dedicated their work and their life to reproducing painted works. Imagination, original and personal artistic creation, was in no way part of their prerogative and they were considered to be mere technicians serving the cause of painters to depict socio-political life and the life of the political and ecclesiastical decision-makers of the time.

The status of artists and printmakers has evolved since then, both through the technique of engraving and of printmaking; based on the foundations of engraving where direct carving and the chisel were key elements, new techniques were developed with mordant etching and subsequently acid etching (or line engraving), in turn giving rise to aquatint, soft varnish, hard varnish, sugar-lift etching, etc. New techniques were also seen in the field of direct carving, including drypoint itself and mezzotint. 
All of these developments went hand in hand with the new mindset relating to engravers and printmakers, who became artists in their own right as well as craftsmen or even master craftsmen. In the past, the profession of printmaker was reserved for men due to the physical effort required to turn the intaglio printing presses. Some women were nevertheless present within the workshops, tasked with handling the engravings (packing in cartons, inspection of the proofs). This profession is now increasingly open to women, with electric machinery replacing the wheel. This is the only real change in the printmaking profession which has essentially remained unchanged.

Intaglio, on the other hand, is constantly changing; in addition to so-called "classic" techniques that can be combined at will, the artist engraver is free to use all sorts of less conventional tools in order to create a line, a hollow on a sheet of metal which can be printed on paper. There are as many engraving techniques as there are engravers and as long as there are artist engravers, there will be printmaking workshops and people like Daniel Moret and Didier Manonviller to make prints and perpetuate these magnificent techniques…
The profession suffers from low awareness among the public for whom, admittedly, the distinction between the different printmaking techniques remains difficult to grasp. In an attempt to overcome this lack of awareness, les Ateliers Moret regularly organise open days when the public can watch prints being made and familiarise themselves with the techniques of intaglio. The workshops are also present at numerous art fairs and exhibitions which are their main means of communication.


Les Ateliers Moret
8 rue Saint Victor
75005 Paris
T. : 01 43 26 51 67


Moulin à papier Richard de Bas
Richard de Bas
63600 Ambert
T. : 04 73 82 03 11

Since its invention, attributed to China sometime around 105 AD, paper travelled a long and winding road before it reached the West.
It followed the Silk Road, appearing in the Middle East at the end of the 8th century. As technical developments emerged, paper replaced parchment and paper-making centres sprung up in Europe and France from the 14th century onwards. The centre in Ambert was developed around 1450. Some 300 mills scattered along various watercourses were in operation in the three paper-making valleys around Ambert, making paper by hand, sheet by sheet, from recovered rags.

Today, the Moulin Richard de Bas in Ambert (the last working paper mill in the Auvergne) keeps this ancestral activity alive. The Moulin Richard de Bas is open to visitors all year round, offering guided visits and introductory workshops during which visitors can roll their sleeves up and lend a hand.

Exceptional paper on which some of the key moments of our history have been written (Diderot and Alembert's Encyclopaedia in the 18th century, the one and only copy of the 5th Constitution in 1958, etc.), rare hand-made paper which has long been appreciated by great artists (Picasso, Dali and Rauschenberg among others) and art publications (book of bibliophiles), prestigious paper
made in vats: the mill has also specialised in producing paper suitable for modern printing techniques. During the fair, visitors can discover these ancestral practices which have given rise to the sheet of paper along with the articles and papers produced by hand, sheet by sheet, at the Moulin Richard de Bas.



23 April 2016, 400th anniversary of the death of Cervantes

On the World Book and Copyright Day initiated by UNESCO with the support of the International League of Antiquarian Booksellers, an exhibition will be organised during the fair in honour of Miguel de Cervantes Saavedra, the immortal author of Don Quixote, who died 400 years ago on 23 April 1616.
A selection of some of the rarest and most original documents and objects from the personal collection of René CLUZEL, a former member of the SLAM, honours and sheds more light on this great Spanish author.

Bronze of clock, 19th century, depicting Cervantes

Unknown gouache in watercolours. Probably card for tapestry, late 18th century

Magic lantern and glass plates, painted, 19th century depicting the adventures of Don Quixote

Large, original inkwash and lead pencil painting by Decaris
The exhibition comprises four sections:

·      a choice of old and modern editions
·      the library of Don Quixote
·      translations in various languages
·      some "enfantina", echoing this year's theme: Childhood in art

In particular, the exhibition will include two of the oldest editions of Don Quixote (1607 and 1611); los trabajos de Persiles y Sigismonda from 1617; the first complete French translation from 1622; the original Italian edition of the Novelas ejemplares (1626); illustrated English editions from the 18th century; the famous Ibarra edition (1780); an original ancient erotic engraving; the most attractive illustrated editions from the 19th century (Doré, Johannot, Urrabieta Vierge, etc.); modern editions (Lemarié, Dubout, Dali); unique copies (an unknown series of watercolour gouaches from the end of the 18th century); the handwritten model illustrated by Louis Icart (never published). Also on show are plates from the Second Empire; glass plates painted for a magic lantern; bronze and wooden sculptures, puppets, comics, etc.

Why such a fervour for Cervantes? We should simply recall (without entering into the exegesis of the work) that he is the father of the modern novel who presents the very first "anti-hero". We hope that this exhibition encourages visitors to read or reread Don Quixote, whose legend has insidiously hidden the author!

Cervantes and the metamorphoses of Don Quixote
Presentation on Sunday 24 April at 3 p.m. by Jean Canavaggio, editor of Cervantes in the Bibliothèque de la Pléiade.
Orchestra area, south aisle



Two exhibitions combined in a selection of 80 books and documents
Albert Camus & René Char
Lourmarin 2013 – 2015

For anyone who was not fortunate enough to visit the Lourmarin exhibitions in 2013 and 2015 devoted to Albert Camus and René Char, we are pleased to be able to present them together, in a reduced format, at the 2016 fair held at the Grand Palais. You will have the opportunity to discover a hundred exceptional books and documents drawn from private or institutional collections: manuscripts and autographs, significant copies, photographs and bindings by renowned masters.




Everything you always wanted to know about antiquarian books but never dared to ask

The fair, which is open to both informed book lovers and newcomers, features a stand to initiate book lovers welcoming visitors throughout the event. Booksellers who are members of SLAM answer any questions budding collectors might have while accompanying them in their first purchase and sharing their expertise and passion. The works presented on this stand are carefully selected by the exhibitors for their interest and affordable price.



To join UNESCO in celebrating this day on 23 April, the SLAM has joined forces with the International League of Antiquarian Booksellers to celebrate books and reading, in particular with an exhibition devoted to a selection of works by Miguel de Cervantès in this year marked by the 400th  anniversary of the famous author's death.



Several times a day, an initiation tour will take place to discover the wealth and diversity of the collections on show at the fair. Organised by booksellers from the SLAM, these guided visits will reveal the keys to a better understanding of these objects belonging to our heritage.


ORCHESTRA - South Nave

Concerts every day performed by the talented students of the Conservatoire National Supérieur de Musique de Paris. Strings and piano. Romantic and classical repertoire.
Concerts on friday 22& saturday 23 april, from 3pm to 6 pm
Orchestre aera, south aisle

Florent NAGEL, pianist and composer


© CS

© CS
An all-round artist who has won prizes from numerous conservatories (piano, chamber music, accompaniment, harmony, musical analysis and orchestration) and the winner of the Claude Kahn international competition (1998), Florent Nagel has chosen a highly personnel language of musical expression. He never ceases to renew his interpretations while his compositions reflect his constant inner adventure. He explores the acoustic space and its countless shades to their very limits.
A bold and meticulous musician with virtuoso fingers, he produces music in which emotion blends with the universal and the human.
He participates in numerous festivals and tours throughout France and the world, giving concerts in Asia, Africa and Europe.
A talented artist, he is also an educator (examination boards, piano teacher) and composer: Tiento sobre la Virgen Maria, 2004; Nuit d’Amants, 2007; Mantra, 2009; Entre-Temps, 2013; 28 pièces ludiques pour piano à 6, 8 et 10 mains, 2014; RageÔrêve, 2010/2015; Mainmise - Gestes déplacés, 2015.
He organises recitals incorporating words and music or improvised "performances" in collaboration with actors.
His works have been published by éditions Henry Lemoine since 2015.
In 2012, he put "Alice in Wonderland" to music as a musical tale based on the work of Lewis Caroll, a creation blending concert, theatre, recital, reading, chamber music and fairy tale. A show for children and adults where music mingles with words, creating a synthesis of his stage and teaching work and his use of music therapy. 
His show, named coup de cœur (best pick) Radio Classique and coup de cœur Via France, was part of the musical teaching prize of the Chamber of Publishers and boasts a hundred performances in France and abroad. It is also played in several national conservatories.
The association Musique pour Alice, created in 2012, has the aim of promoting this work.

Florent NAGEL, Association Musique pour Alice  /  /  T. 06 84 23 53 42
Concert, Sunday 24 April at 4.30 p.m.
Orchestra area, south aisle


Each year, the SLAM awards a bibliography prize to a quality project in reward for studies of old and modern books, literature, publishing, illustrations, bookbinding, the history of books, libraries or simply the love of books.

The 2015 prize was awarded to Jean-Marc Dechaud: critical bibliography of the works and translation of Gabriel Chappuys. Preface by Jean Balsamo. Geneva, Droz, 2014.

The 2016 prize will be awarded during the fair on Saturday 23 April.


BINDING , RESTORATION , CONSERVATION - at the entrance to the Fair

Specialist craftsmen present their know-how in preserving the identity and history of books.


ASSOCIATIONS - South Nave, under balconies

ALAM,  Bordeaux
Salons du Livre de Bordeaux
Jean-Alain Caminade
Salon européen du livre ancien et de la gravure - SELAC, Colmar
Association AUVERGNE

Journées du livre ancien & de la bibliophilie d’Auvergne
Léoda Scale & Bernard Maurel

Joël Talon
Salon du Livre Ancien Souvigny, Lapalisse et Bourbon Lancy

Jérôme Godon
Salon du livre ancien de Lille

La Société des amis de Colette est une association créée en 1956 afin de perpétuer le souvenir de Colette et de promouvoir son œuvre :
La Maison de Colette
8-10 rue Colette


Founded in Beaune in 1859, Louis Jadot is now a major owner in Côte d’Or, Beaujolais (Château des Jacques) and Fuissé (Domaine Ferret).

The company controls some 250 hectares of vineyards and produces a representative selection ranging from Burgundy, Chablis and Beaune Premiers Crus to such “Grands Crus” as Chambertin Clos de Bèze, Corton Charlemagne, Clos Vougeot and Chevalier-Montrachet to name but a few.

For wine aficionados, the head of Bacchus - which has appeared on the labels since Louis Jadot was founded - has become a guarantee of respect for Burgundy and a subtle expression of its lands.

21 rue Spuller
T. 03 80 22 10 57 – F. 03 80 22 56 03