Lithograph on grand vélin des Papeteries de Lana paper. Unsigned and unnumbered. Paper Size: 15 x 22 inches. Excellent condition, with centerfold, as issued. Notes: From the folio, Au Temps de Paris Seine, 1964. Published by Pierre de Tartas, Éditeur, Paris-Bièvres; printed by L'Ateliers Guillard Gourdon et Cie, Paris, 1964. Excerpted from the folio (translated from French), A unique example on Japon nacre, including original works by three painters as well as a study file, a suite of original lithographs on vélin de Lana, a suite of original lithographs in the margins of prints signed by the artists. Ten examples on Japon nacre, containing an original work by one of the painters, a voucher to be drawn from one of the plates, a continuation of the original lithographs on vélin de Lana, numbered from A to J. Thirty examples on Japon nacre with a suite of original lithographs on vélin de Lana. Numbered from 1 to 30. All the above copies have been signed by several painters. Fifty examples on vélin de Lana with a suite of original lithographs. Numbered from 31 to 80. One hundred eighty examples on grand vélin de Lana with the final state of the illustrations. Numbered from 81 to 260. ISIS KISCHKA (1908-1974) spent his childhood in Paris, where his parents had settled two years before his birth. His father, who was originally from Poland, first owned a restaurant and later opened a grocery store in the 15th arrondissement. Isis Kishka attended the infant school in rue Vigée-Lebrun, and later studied at high schools in Dreux and Mayence, and finally at the Ecole commerciale in Paris (business school). When he was nineteen, he took an interest in painting and in literature. His first job was to design patterns for a factory that produced medals. He met Jacques Copeau, Michel Saint-Denis, Charles Dullin, and Georges Pitoëff, and planned to set up a theater company, but instead turned to painting in 1927 and attended the Académie de la Grande Chaumiere. Parisian critics, notably Waldermar George, noticed his paintings. The Gestapo arrested Kischka in 1941. He was interned in a camp in Romainville, and later in Compiegne. He was transferred to Drancy, where he stayed for two years until the German army left it in August 1944. In the camps, he became friends with other interned painters, including Jacques Gotko, Savely Schleifer, and David Hoychman. They improvised exhibitions of their work. His friends died in deportation. He promised himself to dedicate himself solely to art when the war was over. He considered that he painted 200 paintings before 1940, which were destroyed by the Nazis. Back in Paris in 1945, he faced up to financial difficulties right away and took over his father’s store. He painted before going to work and had these two jobs on the go. In 1946, he participated in the creation of the Salon des Peintres témoins de leur temps (literally: Association of painters witnesses of their time) with Jean Cassou, Yvon Bizardel, Raymond Cogniat, and Georges Recio.