• Le livre d’artiste

The works presented here all come from the African continent. Given the impossibility of preserving wood durably in African climates, we can consider that between 80% and 85% of the pieces present on the African Art market produced during the XXth century. Contrary to the widespread idea, especially in France, quality African creation remained very active in Africa throughout the twentieth century, this independently of the market for “decoration” pieces which do not concern us here. If it is true that the main part of the African cults linked to the use of most works of African Art has not ceased to disappear without renewing itself since the beginning of the 20th century, the fact remains that a lot of’ ethnic groups continued to practice certain rituals. This is not only in the discretionary domain of initiation rituals always very present in certain villages but also in that of more open events like that of great popular celebrations where jealously guarded masks still come out on great festive occasions. 

Our point of view is therefore that contrary to current assertions, an amateur can very well begin a collection of real objects of African Art at reasonable prices. 

• Apparition du livre de photographie et du livre illustré de bibliophilie

groups African ethnic groups number in the hundreds. However, it is relatively easy to attribute most of the works to an ethnic group or a region. However, it can sometimes be difficult to locate the origin of certain parts. In this type of case, it is the personal experience of the collector or the expert that can make it possible to form an “opinion” on the piece according to rational criteria and sometimes also “intuitive” when one is familiar of African Art for many years.

• L’édition d’art et la bibliophilie contemporaine