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

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Cinémathèque française


In 1936, the visionary Henri Langlois founded the Cinémathèque française in order to preserve scores of films, costumes, sets, posters and other treasures from the world of cinema. This made him the first person to think of cinema as an art to be preserved, restored and showcased. Eight decades later, in a boldly modern building designed by Frank Gehry and wholly devoted to the cinematic  arts, the Cinémathèque française draws on the most extensive cinematic collection in the world to exhibit cinema in its own unique way, through a series of activities, which are only increasing in number.

The Cinémathèque is a hub of different cinematic tastes, constantly revisiting cinema throughout the ages, across the world and including all genres and boasts 4 theatres (with over 2000 screenings a year, exhibitions, a Museum, a host of meetings with cinema professionals, activities for young people, a library, a bookshop and a restaurant, all for a wide audience.

Outside its walls, the Cinémathèque française also produces or co-produces 5 temporary exhibitions a year around the world from the 500 films or 2,200 items from its collection.
This way, audiences can discover something new, and young people can find out more about the history of cinema every day.
One of the finest cinematic collections in the world 40,000 films, 3,000 costumes, 23,000 posters, 14,500 pieces of art, 2,300 items, 6,000 pieces of equipment, and more. The Cinémathèque française stands out through the degree to which it values its archives, equipment, costumes, posters, models and films. Over the years, the Cinémathèque française team have gathered together one of the finest cinematic collections in the world, which is constantly refurbished and added to thanks to the support of donors and patrons.

The Cinémathèque has carried out research into cinema across the world and its history, in partnership with various universities. This has resulted in seminars, study days and conferences on this subject.
As a guest of honour at the International Rare Book and Fine Arts Fair at the Grand Palais from 23 to 26 April 2020, The Cinémathèque française will showcase a selection of rare or distinguished items that exemplify the wealth of cinema's heritage, from Georges Méliès to Martin Scorsese.

La Cinémathèque française | 51 rue de Bercy - 75012 Paris |


A Trip to the Moon – Art by Georges Méliès

A section of the storyboard from George Lucas' Star Wars by Alex Tavoularis

Audrey Hepburn on the Ile de la Cité during the shooting of Stanley Donen's Charade – Photo by Vincent Rossell


Max Douy's models for Quai des Orfèvres music-hall set directed by Henri-Georges Clouzot

American poster for Breathless directed by Jean-Luc Godard – Art by Guido August

Jacques Prévert, 1939 - Art by Maurice Henry

Art Book and Engraving Studio / Imprimerie Nationale (H19-H21, South Nave)

A vibrant, modern workshop
The atelier du Livre d’art & de l’Estampe at the Imprimerie nationale is a vibrant studio which continues to print books from contemporary artists and authors in the fine French tradition of excellence that stretches back five centuries. A vibrant studio which demonstrates its modern character through the digitisation of historical printing typefaces and the creation of exclusive made-to-order contemporary fonts.
A tradition of excellence that goes back five centuries
The typeface designer, hallmark designers, the art caster, the typesetters and printers and the copperplate printers constitute an exceptional team who work on a daily basis with a set of machines that cannot be found anywhere else in the world and who maintain the wealth of the hallmarks office, which is made up of some 700,000 engraved items, most of which are classes as historical artefacts.
Bespoke items
These artisans and masters of their craft can meet the needs of publishers, artists, gallery owners, book lovers, public institutions and private companies. The typesetters use the eight typefaces that are exclusive to the Imprimerie nationale; Garamond (or "Romain de l'Université"), Grandjean (or "Romain du Roi"), Luce (or "type poétique"), Marcellin-Legrand, Jaugeon, Gauthier, and most recently a typeface designed by Franck Jalleau in 2019: le Salamandre. They also have the largest collection of eastern typefaces in the world, and are able to write in over 65 different scriptures, with several different styles available in each one: Hieroglyphs, Coptic, Chinese, Ninevite, Aramaic, Hebrew, Arabic (12 styles), Samaritan, Thai, Brahmi, Syriac, Tifinagh, and more.
Art books at the Imprimerie nationale
The role of the Imprimerie nationale has always been to make books for bibliophiles. Many masterpieces have been published by the institution since its creation in 1640. The very first book of paintings was printed on its presses in 1900. Countless renowned artists have had their books printed or published by the Imprimerie nationale, from Pierre Bonnard to Miquel Barceló. Several of these artist books are still available, as well as the first editions, limited editions or deluxe editions published in the "Lettres françaises", "La Salamandre" or "Acteurs de l’Histoire" collections.
An historic library
Boasting 35,000 volumes from the 16th century to today, the historic library of the Imprimerie nationale has more than just works published by the state institution, including specialist collections for the graphic arts, bibliophilia, eastern scholarship, travel, natural history, and more.
Demonstrations of punchcutting, type founding and typesetting will be on offer during the exhibition on Friday, Saturday and Sunday between 2pm and 6pm.

For all information and orders, please contact the following address:

Atelier du Livre d’art & de l’Estampe, 104 avenue du Président-Kennedy, 75016 Paris. Tel.: (+33) 01 40 58 87 83 or (+33) 06 71 65 83 60.


The Conference of the Birds, by Farīd ud-Dīn ʿAṭṭār, seven poems from the 12th century in Persian and in French (translated by Leili Anvar) written in Dabi (a specially-made typeface for this book based on Avicenna's Arabic), and in Luce, accompanied by seven compositions from Sylvie Abélanet, engraved in intaglio and printed by the atelier du Livre d’art. Featuring quotations from François Cheng and Saint Francis of AssisiThe artist received the Jean Lurçat prize from the Académie des Beaux-Arts and the Institut de France for this work of art, which was published and entirely created by the atelier du Livre d’art at the Imprimerie nationale in 2019.

"Gros Arabe" punchcutting, in size 64, engraved under the organisation of and financed by Savary de Brèves, French ambassador to Constantinople from 1591 to 1605 and to Rome from 1608 to 1614. "Gros Arabe" also appears in Michel Le Jay's Paris Polyglot Bible, published between 1629 and 1645.


Frédéric Lepetz, typesetter at the atelier du Livre d'art.
Annie Bocel, student of the Master of arts and punchcutter at the atelier du Livre d’art.

Les Cent Une book lover's association (Booth H20-i10, South Nave)

Women book lover's society

« Aren't there any women? »

The "Les Cent Une" book lover's association was founded in 1926 by princess Schakowskoy after a conversation with a member of the Société des Cent (the Society of One Hundred, a former book lover's society). Over dinner, the princess asked if there were any women members of the association. "The expression she received in return told her all she needed to know about the esteem in which women's intelligence was held. Somewhat insulted, the process declared that she would found a book lover's society for women. In response, the gentleman said he doubted she would find many women interested in a good book. "I won't just find one hundred, but one hundred and one," she shot back. Surely enough, she did."
That is how the story goes in the archives of Les Cent Une, and it is a good reflection of the frame of mind into which this new, exclusively female book lover's society came into existence. The name Cent Une (One Hundred and One) was chosen, as fortunately the word for one ("un") has a feminine equivalent in French! The number of members was never to exceed one hundred and one, and the group has been at full strength for several years in a row. Jean Cocteau praised the group's "noble spirit", and Démétrios Galanis drew and engraved the society's bookplate in 1926, and it has been used ever since. Today, Les Cent Une are chaired by Catherine de Vasselot de Régné.
The society has been in a flurry of constant activity since. Once every two years, Les Cent Une publish a beautiful book for their 101 members that has been illustrated by a contemporary artist. Throughout its history, the Society and its chairwomen have always taken great care to ensure the quality of the illustrators that are taken on for this, and thanks to this, the tradition of quality and excellence in the society's illustrated books has continued. Throughout the society's ninety-three years of existence, forty-eight books have been published: these books combine original script with a contemporary artist and unfailing production methods with the help of expert bookmakers (papermakers, copperplate printers, typographers).
The society's publications include the following highlights: Suzanne and the Pacificby Jean Giraudoux, illustrated by J.E. Laboureur (1927), Alexis by Marguerite Yourcenar, illustrated by Dali (1971), and Adriana Mater, the first edition of Amin Maalouf's opera libretto, illustrated by Miguel Condé (2006), and its latest creation; La Maison du Lys de France by Gérard Manset, illustrated by François Schuiten. After over 90 years, Les Cent Une is one of the oldest book lover's associations in France, behind the Société des bibliophiles françois (1820) and les Amis du livre contemporain (1903). The society is the only one that is exclusively for women.
The society has been cubically recognised at two exhibitions: one organised in 2011 by the Château de Chantilly library, Femmes bibliophiles, de Catherine de Médicis à la duchesse d’Aumale [women book lovers, from Catherine de' Medici to the Duchess of Aumale], and a lovely retrospective exhibition at the town hall of the 6th arrondissement of Paris, during which the society was able to present all of its editions.
Ex-libris des Cent Une, par Galanis © Cent Une

Les Cent Une's bookplate, by Galanis © Cent Une
La Maison du Lys de France, de Gérard Manset, illustré par François Schuiten, 2017 © Cent Une

La Maison du Lys de France, by Gérard Manset, illustrated by François Schuiten, 2017 © Cent Une
De quoi parlent les chimpanzés, Boris Cyrulnik, Illustré par Antoine Poupel, 2015 © Cent Une

De quoi parlent les chimpanzés, Boris Cyrulnik, illustrated by Antoine Poupel, 2015 © Cent Une

Adriana Mater, opéra d’Amin Maalouf, illustré par Miguel Condé, 2005 © Cent Une

Adriana Mater, opera by Amin Maalouf, illustrated by Miguel Condé, 2005 © Cent Une

Le Cheval, Tolstoï, illustré par Boris de Schloezer, 1982 © Cent Une

Kholstomer, Tolstoy, illustrated by Boris de Schloezer, 1982 © Cent Une

ARA France - Les Amis de la Reliure d’Art (Stand D13)


How literary themes are pervading and renewing the present-day language of bookbinding.

logo Ara
ARA France

70 boulevard Saint-Michel, 75006 Paris

Couverture rouge bleu grise façon papiers déchirés

Sigurdur Palsson, Ritual of the senses 
Pola double-spine leather binding by Paula Saint-Hillier
Couverture façàn carreaux de céramique cassés

Alexandre Vialatte, Les Fruits du Congo
Case binding with incised mosaics by Alain Koren
Reliure bleu et or en tissu ajouré

Hawad, Les Haleurs d’horizons 
Floating spine binding with silk ribbons on polymer by Sylvie Frégé
Couverture de matières noires

Morina Mongin, La Tête Or 
Flexible full-leather binding by Prisca Joubert
Couverture en marqueterie de bois

Gérard Bialestowski, Des Nouvelles des arbres 
Knotwork binding, miscellaneous woods, by Alain Taral
Couverture en plexiglass
Edgar Poe, MS. Found in a bottle 
Brushed aluminium binding by Claude Debras


Since it was founded, our company’s mission has been to reconcile Art and Literature by publishing great works the spirit of which is illustrated – although it would be more accurate to say translated into images – by contemporary visual artists. All our efforts – whether the production oflimited editions, the quality of the paper and typography or the engraving and lithography techniques – are designed to turn our books into artistic creations. 

However, while the arts and crafts of the book trade often draw on tradition, true creation flows from the crucible of contemporary culture. Where would the bibliophilic master piece of “The Jungle Book” be without the bold drawings of Paul Jouve? Similarly, what would Malraux’s “Noyers de l’Altenburg” be without the expressionist force of Velickovic? Or Henri Pichette’s “Ode à la Neige” without the abstraction of Etienne Hajdu’s stamps? 

Beautiful books that bibliophiles love to touch, stroke, breathe... But we need to go beyond this and make our works unique creations. The books published since the beginning of last century serve to underline our company’s calling to create striking works of art.
“Corps d’extase”, - 2004
“Que nos instants soient d’accueil” - 2005
“Lumière sur Lumières“Ulysse in Love” - 2012
“Grünewald Velickovic” - 2014
“La Féminité face à la nuit” - 2016
“Arts Premiers, Arts Lointains” - 2018

are the fruit of a genuine dialogue between artists and writers, expressing modern-day philosophical and cultural concerns. 

To Les Amis du Livre Contemporain, creation – in every sense of the word – is certainly the best means of fulfilling their primary duty of maintaining and developing a taste for rare books and nurturing new callings among bibliophiles.  

Our company fosters the love of books by welcoming new followers alongside traditional bibliophiles. While the concept of an artist’s book is indeed different from that of a book as an artistic creation, it is nevertheless complementary and collectors, equally keen on culture and aestheticism, are more than welcome to join us and share a noble adventure. 

Yves Benoît-Cattin, président

06 06 59 13 44

Couverture D'Ulysse In Love, illustration Enki Bilal

2012 © Les amis du livre contemporain
Couverture : Un Absolu du visible, illustration : Grünewald Velickovic

2014 © Les amis du livre contemporain
Couverture : La féminité face à la nuit, illustration : Mikio Watanabé

2014 © Les amis du livre contemporain
Couverture : Arts premiers, arts lointains, illustration : Alain Bonnefoit

2018 © Les amis du livre contemporain
Logo : Les amis du livre contemporain

Character sign, by Olivier DEBRÉ - 1998 / LES AMIS DU LIVRE CONTEMPORAIN


Les Bouquinistes aujourd'hui


Present for the eighth consecutive year under the dome of the Grand Palais at the prestigious International Rare Book Fair, the Association Culturelle des Bouquinistes de Paris is the umbrella organisation for the majority of bouquinistes who work along the quays. This community of unique booksellers – a cultural exception and one of the very last small Parisian trades still working – was added to the French intangible cultural heritage list on 6 February 2019 in recognition of its specific traditions and know-how.

The presence of these open-air booksellers on a famous and much-visited promenade at the heart of Paris together with the rich and varied content of their boxes (more than 300,000 works) lends a vibrant feel to the four kilometres granted to them along the banks of the Seine.

Every year since 2015, the bouquinistes have offered visitors to the fair the opportunity to discover an exhibition relating to the world of books. Following a retrospective of the famous bookbinder, Daniel Knoderer, a selection of Islamic calligraphy from the 9th to 19th centuries, a collection of drawings by Jean-Jacques Sempé, Pierre Wiaz’s gallery of portraits of literary figures, both male and female, and last year’s collection of 130 prints on the theme of the bouquinistes plying their trade on the quays of Paris, created specially for the occasion by more than sixty artists, the 2020 edition will present a collection of paintings, prints and miscellaneous documents relating to the world of these curious booksellers. The exhibition essentially includes items from the personal collection of a couple of enthusiasts, Géraldine Lalouette and Antoine Py, who are bouquinistes on the Quai du Louvre.
Bouquinistes début du siècle
Carte postale les bouquinistes de Paris d'antan
Carte postale noir et blanc, les bouquinistes du bord de Seine

Contact details for the Association Culturelle des Bouquinistes de Paris:
3 rue Clodion, 75015 Paris

Facebook pages :
• les bouquinistes des quais de Paris
• les bouquinistes des quais de Paris 2


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 from 1958, etc.), rare hand-made paper which has long been appreciated by great artists (Picasso, Dali and Rauschenberg among others) and art publications (collectors' editions), prestigious paper made in the vats in front of you: the mill has also specialised in producing paper suitable for modern printing techniques and original custom papers for artists and professionals.

During the fair, we look forward to welcoming you and introducing you to these ancestral practices which have given rise to the sheet of paper, and showing you the articles and papers produced by hand, sheet by sheet, at the Moulin Richard de Bas.

Moulin à papier Richard de Bas
Richard de Bas
63600 Ambert
Tel. 33 (0)4 73 82 03 11
La fabrication manuelle du papier
Moulin Richard de Bas, logo
Vue aérienne du moulin Richard de Bas

ATELIER-MUSÉE DE L’IMPRIMERIE (stand D21, west aisle)


The AMIAtelier Musée de l’Imprimerie, or printing workshop museum – together with the AMI[s] d’ARTEGRAF offers you a range of lessons and courses in the fields of bookbinding, restoration of antiquarian books and gilding organised by the bookbinders Amandine and Thomas Boichot. You can also attend introductory and advanced courses in lithography accompanied by Cora Texier, a plastician lithographer. Discover numerous trades linked to printing.

The project implemented by AMI gives meaning to a unique collection of machines, patiently amassed over more than 20 years, while also bringing to life the passion that Chantal and Jean-Paul Maury share with the association ARTEGRAF, which comprises professionals – past and present – in the field of printing keen to preserve the memory of the associated trades and technical prowesses.

While protecting and conserving this industrial heritage, it is also a place where knowledge and know-how are shared with others through an exhibition covering more than 5,000 m2, not far from the Greater Paris region: take part in the workshops and learn how to make paper, marble, compose, design, print and bind.
Demonstrations of binding and printing processes will be organised during the fair.


Free parking. Access for people with reduced mobility. Free audio guides in French and English.

Information and reservations

Tel.: +33 (0)2 38 33 22 67; E-mail:; 70 avenue du Général Patton 45330 MALESHERBES


Lithographie, photo : Stanislas Augris
Lithography , photo : Stanislas Augris
Lithographie, photo : Thomas Boichot
Bookbinding workshop, photo : Thomas Boichot
Reliure tranchefiles, photo : Serge Bouvet
Endband binding, photo : Serge Bouvet
Reliures, photo : Thomas Boichot
Bindings, photo : Thomas Boichot


LITERARY HOTELS (stand A7, Dôme)

The Société des Hôtels Littéraires was created by Jacques Letertre, a keen collector and bibliophile who wanted to share his love for books by dedicating four-star hotels to his favourite writers. The decor pays homage to the chosen author through exhibition areas, multi-lingual libraries containing rare books and 500 paperbacks, works of art and rooms calling a specific character or poem to mind. Organising literary evenings, these hotels are also cultural centres and active partners of book stores, museums and fairs.

The Hôtel Littéraire Le Swann in Paris (8th district) is entirely dedicated to Marcel Proust, not far from the Hôtel Marcel Aymé in Montmartre (18th district) and the Hôtel Arthur Rimbaud (10th district). The Hôtel Gustave Flaubert in Rouen and Hôtel Alexandre Vialatte in Clermont-Ferrand complete the collection.

To find out more and follow the latest news on our blog:


Everything you have 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.


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.
Meet at the reception point on Friday, Saturday and Sunday at 3.00 & 4.00 pm

BINDING, RESTORATION, CONSERVATION (at the entrance of the fair)

Specialized artisans showcase their expertise to preserve the identity and history of books.


Associations which organise Antiquarian Book Fairs in the different regions present their activities:
ALAM, Salons du Livre de Bordeaux
LACME, Souvigny, Lapalisse, Clermont-Ferrand et Bourbon Lancy -
LIVRES ET LIRE À PARAY LE MONIAL, Salon du livre ancien et des métiers d’art du livre


logo Louis Jadot
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