The binding, which is of the most famous and splendid type of Bonet-bindings, is described in the "Carnets" of Paul Bonet, nr. 1.032. "En 1942 j'avais, pour relier un exemplaire du "Cirque", établi un décor géométrique régulier. Cette composition était demeurée unique. C'est seulement pour cette nouvelle série que j'ai songé utiliser cette forme beaucoup plus libre. Troisième reliure sur cette ouvrage" (i.e. In 1942, to bind a copy of the "Cirque", I established a regular geometric decoration. This composition remained unique. It was only for this new series that I thought about using this much freer form. Third binding on this work).  

The pioneering expressionist painter Georges Rouault was not only one of the major figures of 20th century painting, but also a major figure in modern printmaking.

One of Rouault’s favoured themes is that of the circus, where his interest dwelled on the contrast of the brightness and seeming happiness with the sadness of circus life.  Best known for his  thick black brushstrokes that outline their subjects and the bright and colourful works that mimic the technique of stained glass, with Rouault, the theme of the circus came to take on a form that is like none other in the history of art, revealing the “reflection of paradise lost”.

Fascinated by Rouault’s unique techniques and use of colour, the famous publisher and art dealer Ambroise Vollard bought Rouault's entire production in 1913 and became his exclusive dealer. He later commissioned Rouault to do series of prints and book illustrations, of which the “Cirque” became the most impressive and most important, his printed magnum opus. Rouault’s unorthodox use of the etching and aquatint mediums resulted in a work of unprecedented color harmonies and expressive power.

The project of “Cirque” (i.e “The Shooting Star Circus”) was undertaken in 1926 and was originally intended as a collaboration between Georges Rouault and the poet André Suarès. Rouault drew the pictures from about October 1931 through March 1932, at which time he sent the drawings to the wood carver Georges Aubert.

Vollard, however, who had commissioned the work, objected to the text that Suares had written. It was filled with virulent polemics against many important figures in the art world, including Cocteau, Gide, and many others. Thus, Vollard compelled Rouault to write the text himself, delaying the project.

Meanwhile, master printer Roger Lacourière introduced Rouault to the so-called lift-ground or sugar-lift aquatint process, which imbued the plates with a more painterly effect. Rouault made the black-and-white proofs, which he then hand-coloured; Lacourière then inked the plates in colour, using two or more colours in the same range and altering the values and tones as suggested by Rouault. A very difficult procedure that required the greatest mastering of the technique and possible only if the colours did not run in inking and wiping. As each plate was proofed, it was submitted to Rouault for approval or correction before the final printing.

The result is one of the most splendid and impressive books ever produced, here in one of only 35 copies in which all 17 plates of the extra suite are signed in hand by Rouault.