btp 18-2015 (may)

Transmission 18-2015

Discovery of an unknown portrait

Uploaded at 3.15 pm

4th May 2015

p. 13

Contents of Transmission 18-2015 : “Van Gogh”

Vincent van Gogh in Conversation, 1

Paul Gauguin, 3

Émile Bernard, 4

Félix Jobbé-Duval, 5

Arnold Koning, 6

André Antoine and the Théâtre-Libre, 7

Jules Antoine and Art et Critique, 8

A fur cap, a pipe and one button, 11

Exhibition at 96 rue Blanche, 12

Letter to a neighbor, 13

The Man with a Top Hat, 15

An impressive collection, 16

Two covers you have missed

Number Eighteen of the weekly bulletin has been uploaded on monday, 4th May at 15:15 (Paris time).

All the bulletins are available on our site: www.photoceros.com / BTP

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The e-bulletin presents the discovery of an unknown portrait :

Vincent Van Gogh in conversation with Paul Gauguin and Émile Bernard

This lot is part of Romantic Agony Summer auction (June 19th & 20th)Daguerreotypes, calotypes, autochromes, documentary photography,

Public auction in Brussels on Friday June 19th, 2015 at 2 p.m.Second day on Saturday June 20th, 2015 at 2 p.m

Exhibition times :

Paris : 5, rue du Perche, near the Picasso MuseumFrom the 03/06/2015 to the 08/06/2015, 10 am to 6 pm

Brussels : 40, rue de l’Aqueduc, near the Horta museumFrom 12/06/2015 to 19/06/2015, 10 am to 6 [email protected] + 32.25441055

The auctions will be online with Drouot live

Updates : www.photoceros.com

Serge PlantureuxRhinocéros & Cie

Studios Robespierre71 rue Robespierre 93100 Montreuil

1


Attrib. Jules Antoine (1863-1948)Vincent Van Gogh in conversation with Paul Gauguin, FélixJobbé-Duval, Émile Bernard, standing : André Antoine,slightly aside, probably Arnold Koning. Paris, 96 rue Blanche, about December 1887

Melanotype, direct reversed positive with sensitized collodion onwaterproofed cardboard, 88x119 mm, stamped “Gautier Martin breveté”,recto (non-reversed image on next page).

This exceptional reversed photograph is one of the rare known pictures ofVan Gogh. Sitting around him: Paul Gauguin and Emile Bernard, wearingthe ‘bragou-berr”, a traditional garment from Pont-Aven where they’vestayed. Sitting next to Gauguin, the painter Félix Jobbé Duval, an old friendwho told him about Pont-Aven.

Paul Gauguin is in Paris for a few weeks from mid-november 1887 until the26th of January. Émile Bernard, Félix Jobbé-Duval, André Antoine and ArnoldKoning were also present during this short period. Vincent Van Gogh leavesfor Arles only in February 1888.

They meet in the courtyard of the 96 rue Blanche; where André Antoine,founder of the Théâtre-Libre had invited the pioneering young artists toexhibit their works in his new rehearsal hall. Three artists have repliedpositively to the appeal published in the Cri du Peuple the preceding 7th ofSeptember: Georges Seurat, Paul Signac and Vincent Van Gogh for whomthis exhibition is the culmination of his sojourn in Paris.

Provenance: Ronald Davis, librarian of Myriam de Rothschild (see page 15).

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On this occasion, Vincent Van Gogh accepts to pose with his friends. Hehas put his curious fur hat at the center of the table. He wanted to look hisbest in Paris and had his whole dentition remade sometime earlier. Onlyafter this “cosmetic surgery” did he start his series of self-portraits. Standingaside, wearing a hat, is probably Arnold Koning, who had just finished hisexhibition with the painters of the Petit Boulevard.

This intimate and moving collodion, found in the archive of a Parisianbookdealer of 1920’s, reveals a group of friends in conversation.

They are bringing a revolution to the world of Art.

PG

AK

FJDVVG

ÉB

6 CHARACTERS

AA

3


PAUL GAUGUIN (1848-1903)Self-portrait with palette, 1893-1894

Oil on canvas, 71x92 cm, private collection.

Paul Gauguin meets Émile Bernard for the first time in Pont-Aven in August1886. In November 1887, after a tiring trip to Panama and the Martiniquewith Charles Laval, he returns to Paris, quite sick, and visits the exhibitionorganized by Vincent in the Restaurant du Chalet, avenue du Clichy(painters of the Petit Boulevard: Toulouse-Lautrec, Van Gogh, Bernard,Anquetin and Koning). Gauguin already has 15 years of painting under hisbelt when he visits this exhibition. Vincent proposes 2 of his paintings an inexchange for one of Gauguin’s.

Gauguin meets Vincent and Theoseveral times during the winter of1887. Theo buys a few paintingsand ceramics from Gauguin. Bythe time he leaves for Arles,Vincent has become his friend,Paul addresses him with a “mydear Vincent”. At the beginningof the new year, on January 26th,Gauguin chooses Pont-Aven topaint and recover from thismalaria he has contracted in theMartinique (he is very tired andweak).

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[ÉMILE BERNARD (1868-1941)]“Celui-ci c'est Bernard”, caricature, Paris, 1889

Ink on paper “Le synthétisme, un cauchemar !” attributed by Schuffeneckerto Paul Gauguin, probably by Émile Bernard, folio 18, in the “AlbumGauguin” (Paris ; musée du Louvre département des Arts graphiques).

The youngest of the group, he meets Paul Gauguin in Pont-Aven throughÉmile Schuffenecker during the summer of 1886 while he is touring Brittanyby foot.

He often crosses Vincent’s path at Père Tanguy’s shop (Julien Tanguy, 1825-1894) and they regularly go for walks from Montmartre to Asnières, thenan enjoyable resort where his parents had a house. Émile is the real greatfriend, the fellow of Vincent in the year 1887.

They exhibit together, first in the café Le Tambourin, managed by the formermodel Agostina Segatori ,then at the Restaurant du Chalet with the paintersof the Petit Boulevard. Toward the end of 1887, Émile will try to convinceVincent to join him on a trip to Pont-Aven where he wants to paint again.He also tries to convince him to give up his exhibition with Signac andSeurat in the rehearsal hall of André Antoine, 96, rue Blanche, in vain.

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FELIX JOBBÉ-DUVAL (1821-1889)Photographic portrait in 1879

No vintage print found, from an institutional scan.

Painter from Carhaix (Finistère), Felix has been travelling through Brittanysince the 1860’s and knows the Gloanec Hostel really well. He is also aclose friend of Père Tanguy, Breton like him, and an old Communard.

He is wearing the badge of the Legion of Honour on the left side of hisjacket, awarded in 1861. Important confirmation that the image wasreversed due to the photographic process, a direct positive image.

Gauguin subleased him a floor of his Pavilion on the rue de Carcel in 1880.Jobbé Duval also witnessed the birth of his first son, Jean-René Gauguin in1881.

Jobbé-Duval passed away on April 3rd, 1889. The Paris administration namedafter him a street opened in 1912: “La rue Jobbé-Duval est une voiepublique située dans le 15e arrondissement de Paris. Longue de 243 m, elledébute au 40 rue Dombasle et se termine au 23 rue des Morillons.”

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ARNOLD KONING (1860-1945)Photographic wedding portrait, 1893

No vintage print found, from a family website scan (wedding picture with

Maria Catharina Heeley).

The “young Koning” as Vincent nicknamed him, arrives to Paris inSeptember 1887.

He instantly exhibits with Vincent and the group of the Petit Boulevard inthe Restaurant du Chalet.

The Van Gogh brothers show sympathy to this young painter recently arrivedfrom the Netherlands. After Vincent’s departure for Arles, Theo would evenhost Koning in the rue Lepic, from March 14th to May 30th 1888, on thesame bed where his brother had slept:

“Tu rendrais sûrement service à notre ami Koning en le laissant rester avectoi... En cas que tu voudrais le prendre – et il me semble que ce serait undébrouillage pour lui, seulement il faudrait clairement s’expliquer avec lepère de façon que tu n’aies pas de responsabilités, indirectes mêmes. — Situ vois Bernard dis-lui alors que jusqu’à présent j’ai à payer plus cher qu’àPont-Aven mais qu’ici je crois qu’en restantc en garni avec les bourgeois ildoit y avoir des économies à faire, ce que je cherche, et dès que j’auraivérifié je lui écrirai ce qui me paraîtra la moyenne des dépenses.” (Vincentvan Gogh to Theo van Gogh. Arles, on or about Friday, 24 February 1888).

“Amice Koning, van Theo vernemende dat gij naar Holland terug gaat wildeik u een woordje schrijven om afscheid te nemen... [My dear friend Koning,learning from Theo that you’re going back to Holland, I wanted to drop you

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a line to say farewell. Well, old chap, I’ll often think about our being togetherin Paris, and I’m sure we’ll hear from you when you’re back in Holland. It’svery good that you’re returning hale and hearty.

If you should come back next year, come and have a look around here too.I wish you could see the colour here.]” (Vincent van Gogh to Arnold Koning,Arles, Tuesday, 29 or Wednesday, 30 May 1888).

Dear friend Koning did not answer.

7


ANDRÉ ANTOINE (1858-1942)Portrait as a Theater Director, Paris, 1893

No vintage print found, digitized by Getty Image® without original credit.

André Antoine was a clerk at the Paris Gas Utility and worked in the ArcherTheatre when he asked to produce a dramatisation of a novel by Émile Zola.The amateur group refused it, so he decided to create his own theatre torealize his vision of the proper development of dramatic art.

This adventure starts in early 1887 in Montmartre. In September, he rentshis own workshop for the rehearsals with an independent staircase at 96rue Blanche:

“We have a headquarter and it is an honest admiration of the authors andyoung ones who took on the habit of going upstairs to chat…” AndréAntoine, Mes souvenirs sur le Théâtre Libre. An inn, with the beautiful nameof “Auberge Blanche” is on the ground floor, the entrance is from the interiorof the porch.

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“Théâtre-Libre was a théâtre d'essai, a workshop theatre, where plays wereproduced whether they would perform at the box office or not. It was alsoa stage for new writing, the subject matter or form of which had beenrejected in other theatres.

Over a 7-year period, until 1894, the Théâtre-Libre staged some 111 plays.His work had enormous influence on the French stage, as well as on similarcompanies elsewhere in Europe, such as the Independent Theatre Societyin London and the Freie Bühne in Germany” (Wikipedia).Courtyard, 96, rue Blanche today

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André Antoine (1858-1942)Call in the Cri du Peuple, Paris, 7 septembre 1887

Original newspaper printed on acid paper, one copy survived at BHVP.

About 4 September 1887, André Antoine writes to Paul Alexis, reporter forthe Cri du Peuple, a revolutionary newspaper born during the ParisCommune, and run by Séverine since the death of Jules Vallès.

“My dear Trublot, I have a wall of sixty or eighty square meters to decoratein the rehearsal hall. I have also been thinking about the young ones, thosewho paint or sculpt marvels sometimes and keep them in their attics. Couldyou please make a call for them in your Cri ? They’ll hang their paintings onthe walls and as there’ll be an ebb and flow of chic people, it will be a verymodest but useful exhibition. Think about it, I have princes and millionaireson my member’s list. They would instantly buy a painting if it catches theirattention. The artists can take them off whenever they wish to do so. Isn’tthis a good idea ? And it could be useful for everyone. We don’t needframes, I’d like to keep a purely artistic atmosphere – not at all bourgeois —in the head office of the Théâtre-Libre. We would make art in all manners.Could these young people get in touch with me? Yours ” A. Antoine.

Alexis published this appeal with his useful approval : “It’s done, boy! Afighter for sure this Antoine, deserves to make it. And he will, I say it!Amazing ideas, an extraordinary organisational spirit and a will , what elseto say! Since its foundation, the secretary of the theatre wrote somethinglike 1.500 babbles. Yes, the painters — and the sculptors too — will surelycome to embellish the headquarters of our Théâtre-Libre. Méziguesguarantees the presence of the impressionnisses (sic)”.

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JULES ANTOINE (1800-1800)[Self-]portrait as an artist or art critic, Paris, 1888[Self-]portrait as a Paris city planner, circa 1898

Tintype, 75x50 mm and modern silver print from a collodion on glass squarenegative (both still in the family collection).

Jules, André Antoine’s younger brother, is close to Parisian Anarchists,Maximilien Luce, Firmin Gémier, and also to Theo Van Gogh and the neo-impressionists, he has written articles about them in the magazine Art etCritique, he is passionate about photographic processes.

The family keep some of his autochromes, tintypes, collodion glassnegatives.

In september 2009, his great-grandson, Daniel Danzon, openedan exhibition of autochromes,negatives and new silver prints inhis framer shop, cadrexquis, 31,rue Doudeauville.

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10


John Peter Russell (1858-1930)Portrait of Vincent Van Gogh, Paris, November 1886

Oil on canvas, 60.1 cm x 45.6 cm, Van Gogh Museum, Amsterdam (Vincent

van Gogh Foundation)

The Australia-born painter John Peter Russell got to know Vincent at FernandCormon’s studio. He painted this portrait of his friend in a conventional,realistic style. It is clearly influenced by photography, although the face andthe hand still show Impressionist touches. In Hartrick’s view, this was themost accurate portrait of Van Gogh – more realistic than the likenesses doneby other artists or any of Vincent’s self-portraits. Van Gogh was very attachedto it. Years later, he wrote to Theo: ‘take good care of my portrait by Russell,which means a lot to me”. “In Paris, on 8th February 1888 Russel marriedAuguste Rodin's beautiful Italian model Marianna Antoinetta Mattiocco.

Van Gogh appearance, a “cowboy (bouvier) with a fur toque” as describedby Gauguin, is in contrast with his incredible erudition. His kindness andwittiness will make him a friend of the whole clique very fast. Vincent is aregular of Père Tanguy’s shop, where he meets many avant-garde painters.Long and animated conversations with all these painters were taking placein Montmartre in the different ateliers, cafés and lodges.

An artistic movement was agitating Paris: the divisionism of Georges Seuratand his friend Paul Signac. Vincent is won over: “Seurat is the master”, hesays, facing the criticism of Bernard who loathed the Divisionists. Vincentwas dreaming of an association of artists and didn’t understand these“disastrous civil wars”.

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11


Vincent Van Gogh (1853–1890)Self-portrait with Bandaged Ear, Arles, January 1889

Oil on canvas, 51×45 cm, Leigh B. Block collection, Chicago (reversed).

Preliminary note: six men around the table, three carry a hat, another (ÉmileBernard) has a hat placed on his knees.

The curious fur cap casually placed in the middle of the table can onlycorrespond to the last two characters. Could the white-haired mandecorated with the Legion of Honour (Jobbé-Duval) have such a badeducation ?

The two pipes with their metal ring also seem to fit. Finally, both coats arebuttoned by one button only.

“Without a mirror, the great self-portraits by Dürer, Frida Kahlo,Rembrandt, and Van Gogh could not have been painted”

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Vincent Van Gogh (1853-1890)Jardin avec amoureux, Asnières, June-July 1887

Oil on canvas, 75 X 112.5cm, Van Gogh Museum

The exhibition at the Théâtre-Libre marks the end of his stay in Paris. It wouldbe the third and last exhibition which Vincent took part in. He presented asingle painting, “Parc Voyer d’Argenson”, which he used to call “le tableaudu Jardin avec amoureux” and which stayed on the wall for 3 months afterhe had left for Arles on 21st February 1888, in search of colours.

“The Parc Voyer d'Argenson was an ambitious undertaking for Van Gogh. Itexudes confidence with its modern use of colour, new type of brushworkand subject matter, all of which Van Gogh explored during his sojourn inParis. It also exemplifies his aspirations for a career as an avant-garde artist.He presented it in a small exhibition in the foyer of the Théâtre-Libre,together with works by Seurat and Signac.

While the general public would not have known this small venue, it wasrecognised in art circles as a showplace for the avant-garde, and offered anopportunity for the initiated to see the newest developments in painting.For Van Gogh this installation was the first occasion on which he coulddemonstrate his assimilation of the latest ideas in painting and it served toassociate him publicly with prominent members of the avant-garde. He musthave considered this venue as a decided step upward from the restaurantexhibitions he himself had organised in 1887, even though those displayshad included many more canvases. Van Gogh's inclusion in the Théâtre-Libre show indicates that he had gained access to the neo-impressionistsand was, at least to a certain extent, accepted by their leaders.

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While we do not know if he showed other paintings at the same time, ParcVoyer d'Argenson was undoubtedly a prominent example of his latest work.

The size and finish of the composition would have suggested artisticconfidence, while the deliberate use of new stylistic elements would haveproclaimed the artist's avant-garde leanings. Van Gogh must haveconsidered this presentation a fitting conclusion to his sojourn in Paris. Withhis departure for Arles he began to develop his own artistic identity, onethat he hoped would not only allow him to join the ranks but make himstand out among his contemporaries.”

(Van Gogh Museum Journal, 2002, extracts)

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Vincent Van Gogh (1853–1890)Letter to Émile Bernard, Paris, about December 1887

Manuscript letter, 4 pages, 205x133 mm, Thaw Collection, Morgan Library

The presence of his painting Jardin avec des amoureux in a competingexhibition at the Restaurant du Chalet, Grand Bouillon, 43 avenue de Clichycaused a dispute with Émile Bernard. The remembrance of this disputereached us through a long and beautiful letter written in French by Vincent:

“Mon cher copain Bernard, je sens le besoin de te demander pardon det’avoir lâché si brusquement l’autre jour. Ce que par la présente je fais doncsans tarder. Je te recommande de lire les Légendes russes de Tolstoï et jet’aurai aussi l’article sur Eug. Delacroix dont je t’ai parlé.

Je suis moi tout de même allé chez Guillaumin, mais dans la soirée, et j’aipensé que peut-être toi ne sais pas son adresse qui est 13 Quai d’Anjou. Jecrois que comme homme Guillaumin a les idées mieux en place que lesautres et que si tous étaient comme lui on produirait davantage de bonneschoses et aurait moins de temps et d’envie de se manger le nez.

Je persiste à croire que, non pas parceque moi je t’ai engueulé maisparceque cela deviendra ta propre conviction, je persiste à croire que tut’apercevras que dans les ateliers non seulement on n’apprend pas grandchose quant à la peinture mais encore pas grand chôse de bien en tant quesavoir vivre. Et qu’on se trouve obligé d’apprendre à vivre comme à peindresans avoir recours aux vieux trucs et trompe l’oeil d’intrigants.

Je ne pense pas que ton portrait de toi-meme sera ton dernier ni ton meilleur– quoique en somme ce soit terriblement toi.

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Dites donc — en somme ce que je cherchais l’autre jour à t’expliquer revientà ceci.— Pour eviter les généralités permets moi de prendre un exemple surle vif.— Si tu es brouillé avec un peintre, par exemple avec Signac et qu’enconsequence de cela tu dis — si Signac expose là où j’expose je retire mestoiles — et si tu le dénigres, alors il me semble que tu agis pas aussi bienque tu pourrais agir.

Car il est mieux d’y regarder longtemps avant de juger si categoriquementet de refléchir, la réflection nous faisant apercevoir à nous-même, en cas debrouille, pour notre propre compte autant de torts que notre adversaire età celui ci autant de raison d’être que nous puissions en desirer pour nous.—

Si donc tu as deja réflechi que Signac et les autres qui font du pointillé fontavec cela assez souvent de très belles choses —Au lieu de dénigrer celles-là il faut surtout en cas de brouille les estimer et en parler avec sympathie.

Sans cela on devient sectaire étroit soi-même et l’équivalent de ceux quin’estiment pour rien les autres et se croient les seuls justes.— Ceci s’étendmême aux académiciens car prends par exemple un tableau de FantinLatour — surtout l’ensemble de son oeuvre.— Eh bien — voila quelqu’unqui ne s’est pas insurgé et est-ce que cela l’empêche, ce je ne sais quoi decalme et de juste qu’il a, d’etre un des caracteres les plus indépendantsexistants (...)

Volontiers je ferai mon possible pour faire que ce que l’on a commencédans la salle reussisse mais je crois que la premiere condition pour reussirc’est de laisser là les petites jalousies, il n’y a que l’union qui fait la force.L’interêt commun vaut bien qu’on y sacrifie l’égoisme, le chacun pour soi.Je te serre bien la main. Vincent”.

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Vincent Van Gogh (1853–1890)Letter to Émile Bernard, Paris, about December 1887

Translation made by the Van Gogh Museum, we propose to read theimportant word “salle” (room) as the “salle de répétitions” (rehearsal room),and not as a “salle de restaurant” (dining room):

“My dear old Bernard, I feel the need to beg your pardon for leaving youso abruptly the other day. Which I therefore do herewith, without delay. Irecommend that you read Tolstoy's Les Légendes Russes, and I'll also letyou have the article on E. Delacroix that I've spoken to you about.

I, for my part, did go to Guillaumin's anyway, but in the evening, and Ithought that perhaps you didn't know his address, which is 13 quai d'Anjou.I believe that, as a man, Guillaumin has sounder ideas than the others, andthat if we were all like him we'd produce more good things and would haveless time and inclination to be at each other's throats.

I persist in believing that—not because I gave you a rocket but because itwill become your own conviction—I persist in believing that you'll realizethat in the studios not only does one not learn very much as far as paintinggoes, but not much that's good in terms of savoir vivre, either. And that onefinds oneself obliged to learn to live, as one does to paint, without resortingto the old tricks and trompe l'oeil of schemers.

I don't think your portrait of yourself will be your last, or your best—although all in all it is frightfully you. Look here—briefly, what I was tryingto explain to you the other day comes down to this. In order to avoidgeneralities, let me take an example from life.

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If you've fallen out with a painter, with Signac, for example, and if as a resultyou say: I'll withdraw my canvases if Signac exhibits where I exhibit—andif you run him down, then it seems to me that you are not behaving as wellas you could.

Because it's better to take a long look at it before judging so categoricallyand to reflect, reflection making us see in ourselves, when there's a fallingout, as many faults on our own side as in our adversary, and in him as manyjustifications as we might desire for ourselves.

If, therefore, you have already considered that Signac and the others whoare doing pointillism often make very beautiful things with it— Instead ofrunning those things down, one should respect them and speak of themsympathetically, especially when there's a falling out.

Otherwise one becomes a narrow sectarian oneself and the equivalent ofthose who think nothing of others and believe themselves to be the onlyrighteous ones.

This extends even to the academicians, because take, for example, apainting by Fantin-Latour —and above all his entire oeuvre. Well then—there's someone who hasn't rebelled, and does that prevent him, thatindefinable calm and righteousness that he has, being one of the mostindependent characters in existence? (...)

I 'll gladly do all I can to make a success of what was started in the room,but I believe that the first condition for success is to put aside pettyjealousies; it's only unity that makes strength. It's well worth sacrificingselfishness, the "each man for himself," in the common interest. I shakeyour hand firmly. Vincent”.

15


Attrib. Jules Antoine (1863-1948)Possibly Paul SignacParis, 96 rue Blanche, 1887

Melanotype, collodion on waterproofedcardboard, 118x159 mm, stamped“Gautier Martin breveté”, recto.

Portrait of a person with a top hat foundin the same archive of Ronal Davis. It isthe only other example of this exactprocess know until now.

We notice that it is the same table, thesame photographic technique, directpositive collodion on cardboard with thesame seal “Gautier Martin” on the upperright corner, and the same provenance.The top hat isn’t innocuous.

We can compare this portrait to thecaricature of Paul Signac made by ÉmileBernard shortly before their dispute.

We carry on our research on the Portraitsof Paul Signac dating from the years 1887– 1888. Here’s the drawing which waspublished in the magazine Les Hommesd’aujourd’hui.

“Compare the table with the Auberge Blanche conversation”

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Ronald Davis (1886-1931)On the Doorsep of his new elegant shop, Paris, 1929

Vintage silver print on postcard size paper, same provenance.

“Ronald Davis was a small, independent publisher who published morethan thirty books in small editions between 1920 and 1931. They weremostly literary works by Claudel, Jarry, Rimbaud, Baudelaire and Valéry, andit is due to those Valéry editions that Davis wasn't completely forgotten andthat his life story was researched. An enthusiastic American librarian andValéry enthusiast, Roger Stoddard, was intrigued by this enigmatic publisher,and started investigating.

During World War I, the Jewish-born Englishman Ronal Davis wound up inFrance as a soldier, fell in love with a Frenchwoman and settled down inParis, where he opened a little bookstore in 1920. One day Miriam deRothschild walked into the store: a stubborn, dominant and extremelywealthy lady, and a member of the famous family of bankers. She becamea regular customer, and Davis purchased important acquisitions for heralready impressive collection...” (Roger E. Stoddard, À Ronald Davis quiVend le Pire et Garde le Meilleur pour soi, Gazette of the Grolier club, 1991.

Librairie Ronald Davis, 160 Rue du Faubourg Saint-Honoré

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Printer’s proof for a Toulouse-Lautrec programm, Valery ironic dedication

The covers you have missed

Transmission

18-2015


Uploaded at 3.15 pm Monday 4th May 2015Studios Robespierre

The covers you have missed

Transmission

18-2015


Uploaded at 3.15 pm Monday 4th May 2015Studios Robespierre

btp 18-2015 (may)

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