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19179 results
  1. Adolescence tropicale
    Enéas FERRAZ
    Adolescence tropicale
    Albin Michel|Paris 1931|12 x 18 cm|relié
    First edition in French, of which there were no deluxe copies.
    Half caramel sheep binding, spine with two raised bands decorated with a central gilt fleuron, double gilt fillets and gilt date at foot, traces of rubbing to spine, citron shagreen title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Inscribed by the translator to the poet Jean Ott: "... au poète de l'Effort des races, ce livre où ne se retrouvent guère les couleurs de notre "adolescence boréale". Mais le maître n'a-t-il pas écrit : j'en lis qui sont du Nord et qui sont du Midi..." ["...to the poet of l'Effort des races, this book where one can hardly find the colors of our 'boreal adolescence'. But did not the master write: I read some who are from the North and some who are from the South..."]
    €80
  4. La route du bagne
    Francis CARCO
    La route du bagne
    Ferenczi|Paris 1935|12 x 19 cm|broché
    First edition on ordinary paper, from which only 5 Holland and 20 vellum deluxe copies were printed.
    Precious signed autograph inscription from Francis Carco to his friend the Montmartre painter (André) Dignimont: " à mon vieil ami André Dignimont en souvenir de la chanson des Bat' d'Af' / très affectueusement / Francis Carco." ["to my old friend André Dignimont in memory of the song of the Bat' d'Af' / most affectionately / Francis Carco."]
    Spine lightly sunned without gravity.
    €450
  5. Leçons de physique expérimentale.
    Abbé NOLLET
    Leçons de physique expérimentale.
    Chez Durand|à Paris 1749 - 1764|9 x 16 cm|6 volumes reliés
    New edition, the volumes comprising three different editions (1749, 1753 and 1764), as is very often the case for this work when it is in a uniform binding, with editions and reprints spread over time. Illustrated with a frontispiece and 116 folding plates; particularly appreciated illustrations, especially astronomy plates.

    End-of-18th century half calf binding. Spines richly decorated in gilt. First volume with a 2 cm split at the upper edge. A tear with missing spine-end on volume 2. Worm damage to tail of volume 3. Title pages of volumes 2 to 6 with two pieces of paper pasted, probably to conceal stamps. Page 102 of volume V cut at the bottom of the page (not affecting the text). A good copy, particularly fresh and attractively decorated.

    Along with Le Spectacle de la nature, Leçons de physique expérimentale is undoubtedly the most famous work of scientific popularization of the French monarchy; both works are evidence of public interest in science and its achievements in the second half of the 18th century. The first three volumes are about mechanics, hydrostatics and the properties of air, the fourth water and fire, the fifth light and optics, and the last astronomy, magnetism and electricity. In each of these fields, Nollet describes numerous physics experiments.
    €1,300
  12. Contes en prose et en vers, suivis de Pièces fugitives, du poème d'Erminie, et de Metastase à Naples
    Étienne François de LANTIER
    Contes en prose et en vers, suivis de Pièces fugitives, du poème d'Erminie, et de Metastase à Naples
    Chez F. Buisson|à Paris 1806|12 x 20 cm|2 volumes reliés
    Statement of second edition, illustrated with three figures engraved by Tardieu. The first edition appeared in 3 vols. 18mo, the same year.
    Full marbled brown sheep binding. Decorated spine with raised bands. Red long grain morocco title-label and volume labels. A tear with loss at head of first volume. Rubbing. 2 corners slightly bumped. Headcap of volume II partly worn away.
    Collection of light and gallant tales by François de Lantier. Verses he wrote for Madame du Barry earned him a pension from Choiseul and a position in Dresden. He is the author of the voyages d'Anténor. Of his tales, he himself wrote in his preface: "it is better to write fairy tales than political dreams and to have a small clandestine commerce with the Muses, than to bear the burden of public affairs on one's back."
    Viollet Le Duc bookplate; from the library of Laurent de Crozet; Laurent de Crozet bookplate. Jules Bobin manuscript ownership inscription. (Interesting provenance chain...)
    €350
  14. Les conquérants des forêts
    Stewart Edward WHITE, Léon BOCQUET
    Les conquérants des forêts
    Albin Michel|Paris 1927|11.50 x 18.50 cm|relié
    First edition in French translation for which no deluxe copies are mentioned.
    Half marbled caramel sheep binding, spine with two raised bands decorated with central gilt fleuron, gilt date and double fillet at foot, traces of rubbing to spine, chocolate shagreen title-label, joints rubbed, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Autograph inscription signed by the translator, Léon Bocquet, to the poet Jean Ott.
    €50
  15. Théâtre complet : 4 fois 7, 28. - L'enfant chérie
    Romain COOLUS
    Théâtre complet : 4 fois 7, 28. - L'enfant chérie
    Albin Michel|Paris 1923|11.50 x 18.50 cm|relié
    New edition.
    Half marbled caramel sheep binding, spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, traces of rubbing to spine, chocolate shagreen title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Autograph inscription signed by Romain Coolus to the poet Jean Ott: "... en sympathie - sans le connaître - puisqu'il est ami d'Acremant..." ["... in sympathy - without knowing him - since he is a friend of Acremant..."]
    €50
  16. Le père Terroir, roman du sol
    Émile POITEAU
    Le père Terroir, roman du sol
    Eugène Figuière|Paris 1927|11.50 x 18 cm|relié
    First edition on ordinary paper.
    Half brown shagreen binding, spine lightly with five raised bands set with double black fillets, gilt date at foot, traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, contemporary binding.
    Autograph inscription signed by Emile Poiteau to the poet Jean Ott and his wife: "... aimé de tous... les Félibres du Nord..." ["... loved by all... the Félibres of the North..."]
    €50
  17. Dans la clarté des âmes
    Jacques de CHASTELLUS, Émile POITEAU
    Dans la clarté des âmes
    Edition de la Revue des indépendants • Nouvelle société anonyme du Pas-de-Calais|Paris • & Arras 1926|14 x 22.50 cm|relié
    Second edition.
    Half fir green shagreen binding, spine faded with five raised bands set with black double fillets, gilt date at foot, traces of rubbing to spine, one restored tear at foot, joints rubbed, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Very fine full-page autograph inscription signed by the author to the poet Jean Ott.
    Work illustrated by Jacques de Chastellus.
    €50
  18. Le vertige de l'or
    Stewart Edward WHITE, Léon BOCQUET
    Le vertige de l'or
    Albin Michel|Paris 1930|11.50 x 18.50 cm|relié
    First edition in French of which there were no deluxe copies, a Service de Presse (advance) copy.
    Half caramel marbled sheep binding, spine faded with two raised bands decorated with a central gilt fleuron, gilt date and double fillet at foot, traces of rubbing to spine, lemon shagreen title-label, joints rubbed, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Autograph inscription signed by the translator, Léon Bocquet, to the poet Jean Ott.
    €50
  19. René Mongeot
    Emile JOUVENEL
    René Mongeot
    Eugène Figuière & Cie|Paris 1913|12 x 19 cm|relié
    First edition on ordinary paper.
    Half mauve cloth binding, smooth spine faded, decorated with a central gilt fleuron, gilt date and double fillet at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Autograph inscription signed by Emile Jouvenel to poet Jean Ott: "... à mon maître et à l'ami dont l'âme noble me console des lâches, si nombreux dans les lettres..." ["... to my master and to the friend whose noble soul consoles me for the cowards, so numerous in letters..."]
    €50
  20. Chez les marsouins. Mémoires. - Journal de bord. - Lettres et nouvelles
    Emile JOUVENEL
    Chez les marsouins. Mémoires. - Journal de bord. - Lettres et nouvelles
    Eugène Figuière & Cie|Paris 1914|13 x 19 cm|relié
    First edition printed on laid paper.
    Half mauve cloth binding, smooth spine faded decorated with a central gilt fleuron, double gilt fillet at tail, marbled paper boards, marbled endpapers and pastedowns, covers preserved, top edge gilt, contemporary binding.
    Autograph inscription signed by Emile Jouvenel to his friend the poet Jean Ott which has been slightly trimmed at head.
    €50
  21. Les journées amusantes
    Madeleine-Angélique de GOMEZ
    Les journées amusantes
    Par la compagnie|à Amsterdam 1766|9.50 x 16.50 cm|8 tomes reliés en 4 volumes

    Eighth edition statement, illustrated with eight unsigned frontispieces. Les journées amusantes were originally published from 1722 to 1731. Title pages in red and black.


    Contemporary full blonde sheep binding. Decorated spine with raised bands. Lacks to upper joints at head of volumes I and IV. Lack to headcap of volume III. Tail headcap of volume IV split. Some corners slightly bumped. Despite the noted defects, the set is in good condition overall.


    A prolific author, Madame de Gomez achieved great favor in Europe with Les journées amusantes, which were undoubtedly one of the bestsellers of the period. These journées are similar in structure to Boccaccio's Decameron and to Marguerite de Navarre's Heptameron. Composed of 18 days within which six narrators tell stories. What characterizes the writing of the Journées amusantes is the encyclopedic and erudite richness, characteristic of the work, which ultimately worked against it over time; it aimed, with a certain deliberate archaism, to pay homage to 17th-century French gallant literature.

    €400
  23. Les vingt et un jours d'un neurasthénique
    Octave MIRBEAU
    Les vingt et un jours d'un neurasthénique
    Charpentier|Paris 1901|12 x 18.50 cm|relié
    First edition on ordinary paper.
    Contemporary half shagreen over marbled paper boards, spine with a gilt cartouche with gilt decorative motifs, gilt date to foot of spine, a frame of gilt fillets to covers, marbled endpapers and pastedowns, covers preserved, top edge gilt.
    Handsome autograph inscription from Octave Mirbeau to Lucien Guitry : "... bonjour... mais chut... ne lisez pas ça... Avec toute mon amitié...[hello…but damn it…don't read this…With all friendship…]"
    Tiny tears with occasional miniscule lacks (not significant) to head of the final few pages.
    €1,500
  25. Ambassade du Mareschal de Bassompierre en Espagne l'an 1621 ; en suisse l'an 1625 ; en Angleterre l'an 1626
    François Maréchal de BASSOMPIERRE
    Ambassade du Mareschal de Bassompierre en Espagne l'an 1621 ; en suisse l'an 1625 ; en Angleterre l'an 1626
    [ Elsevier] • Chez Pierre du Marteau|à Cologne • [Amsterdam] 1668|7.50 x 13.50 cm|4 parties reliées en 2 volumes
    First edition, printed by the Elsevier press. 4 title pages with the sphere, two of which for L'Ambassade en Suisse.
    Contemporary full brown speckled sheep binding. Spine with raised bands, decorated. Brown morocco title and volume labels, decorated with roll tools. A slight lack to the joint at the head of each volume. Good copy.
    Important diplomatic relations by one who was a great lord and great military man concerning the Valtellina affair with Spain and Switzerland, and that of the projected marriage of the king's sister and the Prince of Wales in England. A collection of articles and letters that allow one to realistically follow the progress of diplomatic missions (a historical introduction each time allows one to grasp the stakes of each embassy): these missions which greatly interested France prove Bassompierre's position with Louis XIII. Upon his return and after having taken part in the siege of La Rochelle, he was imprisoned in the Bastille for 12 years for intrigues by Richelieu. It is traditionally accepted that, like his Mémoires, these Ambassades were also written in prison, but it is difficult to see how, from such a place, Bassompierre could have realized such a work which required numerous researches and access to archives, especially as the work appears greatly to be that of a historian; it bears the mark in its writing and structure; but it could have been initiated, realized in collaboration to complete the work of the memoirs.
    €550
  27. Le serment d'un breton, les réfractaires de 1832. - L'élève badin. - Dans la peau du docteur. - Un roman maritime
    Jules GRINGOIRE
    Le serment d'un breton, les réfractaires de 1832. - L'élève badin. - Dans la peau du docteur. - Un roman maritime
    Imprimerie Centrale • Librairie Veau-Besnardeau • Librairie René Leclerc • Imprimerie Chantreau & Cie|Nantes • & Château-Gontier 1893 & 1912 & 1919 & 1927|13.50 x 20 cm|4 volumes reliés en 1
    Reprint for the first play, hors commerce first editions for the three others.
    Half marbled caramel sheep binding, faded spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, olive sheep title label, traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved for each of the 4 volumes, top edge gilt, contemporary binding.
    Signed autograph inscription from Jules Gringoire to the poet Jean Ott on each of the plays.
    Rare collection of these plays not distributed in trade
    €120
  28. Jehan Bodel avec des commentaires sur le "Congé de Baude Fastoul"
    Émile LANGLADE
    Jehan Bodel avec des commentaires sur le "Congé de Baude Fastoul"
    F.R. de Rudeval|Paris 1909|16 x 25 cm|relié
    First edition, of which no deluxe copies were issued.
    Half brown shagreen binding, spine with five raised bands set with double black fillets, gilt date at foot, traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Signed autograph inscription from Emile Langlade to the poet Jean Ott.
    €60
  29. Pèlerinage en Artois
    Arthur MAYEUR, Émile POITEAU
    Pèlerinage en Artois
    Editions Maurice d'Hartoy|Paris 1933|18 x 24 cm|relié
    First edition, one of 100 service de presse copies on colored paper.
    Half marbled caramel sheep binding, spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, some light rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, one upper corner bumped, top edge gilt, contemporary binding.
    Very fine signed autograph inscription from Emile Poiteau to the poet Jean Ott ending in verse.
    Illustrated with wood engravings and drawings by Arthur Mayeur.
    €60
  30. L'Hexagramme. Revue adamite, tête de collection du N°1 de la 1ère année au N°76 de la 7ème année
    COLLECTIF
    L'Hexagramme. Revue adamite, tête de collection du N°1 de la 1ère année au N°76 de la 7ème année
    L'Hexagramme|Paris Janvier 1907 - Novembre-Décembre 1913|15.50 x 24 cm|76 fascicules reliés en 6 volumes
    First edition of this rare review blending poetry and esotericism.
    Half black cloth bindings, smooth spines decorated with gilt double fillets, gilt dates, marbled paper boards, one board with a scratch, marbled endpapers and pastedowns, some rare original covers preserved, contemporary bindings.
    Contributions by Camille de Sainte-Croix, Victor-Emile Michelet, Jean Ott, Han Ryner, Georges & Edmond Simon-Savigny, Charles Delmont, Manoel Gahisto...
    We include 7 autograph letters signed by Georges Simon-Savigny to Jean Ott relating to the review's activity.

    Rare cornerstone of this curious Adamite review.

    Provenance: from the personal archives of the poet Jean Ott.
    €700
  31. L'enfant d'Austerlitz
    Paul ADAM
    L'enfant d'Austerlitz
    Paul Ollendorff|Paris 1902|12 x 18.50 cm|relié
    First edition on ordinary paper.
    Half pink cloth binding, smooth faded spine decorated with gilt floral motif, gilt double fillet and date at foot, marbled paper boards, original wrappers preserved, top edge gilt, binding signed by A. Mertens.
    Signed autograph inscription from Paul Adam to the poet Jean Ott.
    Our copy is enhanced with a signed autograph postcard from the author addressed to the same.
    We also include the funeral announcement for the requiem mass for the repose of Paul Adam.
    Work illustrated with plates.


    €80
  32. Vue d'optique - Vue du palais royal à Bruxelles.
    Vue d'optique - Vue du palais royal à Bruxelles.
    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the Royal Palace of Brussels.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €180
  33. Vue d'optique - Vue perspective du pont de la Trinité de Florence.
    Vue d'optique - Vue perspective du pont de la Trinité de Florence.
    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the Trinity Bridge in Florence.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €150
  34. Vue d'optique - Vue intérieure de Saint Pierre de Rome.
    Vue d'optique - Vue intérieure de Saint Pierre de Rome.
    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolour, depicting an interior view of St. Peter's Basilica in Rome.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    A fine impression with very fresh colours.
    €150
  35. Vue d'optique - Vue du fameux théâtre de Marcellus à Rome.
    Vue d'optique - Vue du fameux théâtre de Marcellus à Rome.
    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolour, depicting a view of the Theatre of Marcellus in Rome.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    A fine impression with very fresh colours.
    €180
  36. Vue d'optique - Vue intérieure de la cathédrale de Dorth.
    Vue d'optique - Vue intérieure de la cathédrale de Dorth.
    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting an interior view of Dorth Cathedral.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €150
  37. Vue d'optique - Vue de l'église St Giles à Édimbourg.
    Vue d'optique - Vue de l'église St Giles à Édimbourg.
    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of St Giles Church in Edinburgh.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €180
  38. Vue d'optique - Vue de la chapelle St Paul à Édimbourg prise de la place d'Yorck.
    Vue d'optique - Vue de la chapelle St Paul à Édimbourg prise de la place d'Yorck.
    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Hand-colored aquatint optical view, depicting a view of St Paul's chapel, taken from York Place in Edinburgh.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Some very light dampstaining, otherwise a fine impression with very fresh colors.
    €180
  39. Vue d'optique - La grande rue et l'église Ste Marie de Londres.
    Vue d'optique - La grande rue et l'église Ste Marie de Londres.
    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Hand-colored aquatint optical view, depicting a view of the high street and St Mary's church in London.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Lack to lower margin not touching the image, otherwise a fine impression with very fresh colors.
    €150
  40. Vue d'optique - La grande procession de Florence, le jour de la fête de Dieu.
    Vue d'optique - La grande procession de Florence, le jour de la fête de Dieu.
    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the procession of Florence on the feast day of Corpus Christi.
    Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onward. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process developed first in Paris, then London and finally in Germany, and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Small tears of no consequence to lower margin, otherwise a fine impression with very fresh colors.
    €180
  41. Vue d'optique - Vue de la fontaine des eaux chaudes et de la place d'Aix la Chapelle.
    Vue d'optique - Vue de la fontaine des eaux chaudes et de la place d'Aix la Chapelle.
    Chez Jacques Chereau|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the hot springs fountain and the square of Aix-la-Chapelle.
    Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onward. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process developed first in Paris, then London and finally in Germany, and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    A fine impression with very fresh colors.
    €200
  42. Vue d'optique - Le marché aux chevaux à Francfort sur le Mein.
    Vue d'optique - Le marché aux chevaux à Francfort sur le Mein.
    Chez Daumont et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the horse market in Frankfurt am Main.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and beginning of the 19th century. They were intended to be observed through a set of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Some minor dampstaining, otherwise a fine impression with very fresh colors.
    €200
  43. Vue d'optique - Vue du pont de Vienne en Autriche.
    Vue d'optique - Vue du pont de Vienne en Autriche.
    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the bridge of Vienna.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and beginning of the 19th century. They were intended to be observed through a set of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €150
  44. Vue d'optique - L'hôtel des ambassadeurs, à la Cour de Vienne, prise côté du jardin.
    Vue d'optique - L'hôtel des ambassadeurs, à la Cour de Vienne, prise côté du jardin.
    Chez Jacques Chereau|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view enhanced with watercolor, depicting a view of the ambassadors' hotel in Vienna, taken from the garden side.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and are salon entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €150
  46. Vue d'optique - Vue de la place et des casernes de Top-Hané à l'entrée du port de Constantinople.
    Vue d'optique - Vue de la place et des casernes de Top-Hané à l'entrée du port de Constantinople.
    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view enhanced with watercolor, depicting a view of the square and barracks of Top-Hané at the entrance to the port of Constantinople.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and are salon entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Minimal traces of dust, otherwise a fine impression with very fresh colors.
    €300
  50. Oeuvres choisies précédées d'un essai sur sa vie et ses écrits par M. Campenon
    Jean-Baptiste-Louis GRESSET
    Oeuvres choisies précédées d'un essai sur sa vie et ses écrits par M. Campenon
    Janet & Cotelle|Paris 1823|13.50 x 22 cm|relié
    New edition.
    Full green calf binding, faded spine with five raised bands decorated with gilt wavy fillets ornamented with gilt floral friezes, gilt roulettes on headcaps, traces of rubbing on headcaps and joints, frame of gilt floral frieze and another stamped in blind on boards, three small stains on second board, frame of gilt floral dentelle on pastedowns, marbled endpapers and pastedowns, all edges gilt, gilt fillet on leading edges, elegant contemporary Romantic binding signed by Bibolet.
    Work illustrated with an engraving as frontispiece.
    Scattered foxing.
    €80
  52. La Marne
    Georges BLOND
    La Marne
    Presses de la Cité|Paris 1962|13.50 x 21.50 cm|relié
    First edition printed on ordinary paper.
    Publisher's binding in full boards, with the illustrated dust jacket.
    Signed autograph inscription from Georges Blond to Marcel Aymé's daughter, Colette Magne, and to her husband, Raymond: "A Colette Magne avec qui j'ai livré la bataille de l'hôtel Continental et à Raymond, en souvenir d'autres combats plus dramatiques" ["To Colette Magne with whom I fought the battle of the Continental Hotel and to Raymond, in memory of other more dramatic battles"].
    Iconography, handsome copy.
    €50
  60. La femme et le pantin
    Pierre LOUŸS
    La femme et le pantin
    Mercure de France|Paris 1898|11 x 18 cm|relié
    First edition printed on ordinary paper, with statement of second edition.
    Half dark green sheep binding, spine sunned with four raised bands decorated with gilt fleurons, marbled paper boards, minor tears without consequence to top edges, top corners slightly bumped, marbled endpapers and pastedowns, original wrappers preserved with a small library shelf label pasted on bearing the printed mention "Paul Reboux", contemporary binding.
    Precious autograph inscription from the author to Paul Reboux.
    Some pages dog-eared at head by the dedicatee as reading markers, some marginal annotations in red colored pencil, a small marginal tear with minimal lack at head of the final pages of the volume.
    €380
  66. Madame de Pompadour
    DUJARDIN, QUINSAC
    Madame de Pompadour
    Firmin-Didot|Paris 1888|22 x 28.50 cm|relié
    First illustrated edition, with some parts in first edition as it was revised and expanded with unpublished letters and documents.
    Half morocco binding with red corners, spine with five raised bands set with gilt dots decorated with double gilt compartments enhanced with gilt decorative motifs, double gilt fillets framing the marbled paper boards, marbled endpapers and pastedowns, light scuffs to corners, top edge gilt, binding signed by the publisher.
    Work illustrated with 55 copperplate reproductions by Dujardin and 2 color plates by Quinsac.
    A handsome copy elegantly bound.
    €250
  69. Lettres inédites publiées avec une introduction et des commentaires de Louis Gillet
    Charles-Augustin SAINTE-BEUVE, Alfred de VIGNY
    Lettres inédites publiées avec une introduction et des commentaires de Louis Gillet
    Kra|Paris 1929|15 x 20.50 cm|broché
    First edition, one of 600 numbered copies on laid paper, ours unnumbered, the only deluxe copies.
    Fine signed autograph inscription from Louis Gillet to the poet Armand Godoy mentioning Charles Baudelaire and Edgar Allan Poe
    As frontispiece, a facsimile of an autograph letter from Sainte-Beuve to Vigny.
    Spine and boards marginally sunned, handsome interior condition.
    €50
  70. Peinture d'histoire
    Henri PILLE
    Peinture d'histoire
    (circa 1880)|21.50 x 35 cm|Encre|une feuille sous marie-louise et cadre
    Original ink by Henri Pille depicting a historical scene, preserved under mat and gilt wood frame.
    An appreciated figure in the Montmartre artistic milieu, whose work developed through history paintings and genre scenes often tinged with humor, Pille is especially renowned as a pen and ink artist. He executed numerous illustrations for publishing, notably for publisher Alphonse Lemerre, and contributed to reviews and newspapers such as Le Courrier Français, Le Rire, Le Monde illustré, Le Procope, journal parlé, Le Journal Amusant, La Vie moderne, Le Voleur and Le Petit Français illustré. He published drawings in the review of the Le Chat Noir cabaret and participated in creating silhouettes for its shadow theater performances. In his letters to his brother Theo, Vincent van Gogh expressed his admiration several times for the work of Henri Pille, whom he met during his Parisian stay between May 1875 and March 1876.
    €500
  71. Deux petits dessins à l'encre
    Pierre-François-Eugène GIRAUD
    Deux petits dessins à l'encre
    S. n.|s. l. (circa 1870)|12.50 x 17.50 cm|une feuille
    Two original inks on heavy paper, each depicting two men conversing, in two different styles. Giraud sale stamp at bottom right of the sheet. Three tiny tears at head of sheet and some very minor foxing.

    Giraud is a painter, watercolorist, pastellist and engraver. His father obtained a study scholarship from Empress Marie-Louise of Austria, which allowed the young boy to enter an Orléans lycée. Subsequently Eugène Giraud became a pupil in the studio of the history painter and portraitist, Louis Hersent and also frequented the studio of engraver Joseph-Théodore Richomme, then in late 1821, entered the Paris École des Beaux-Arts. In 1826, the young artist won the grand prix de Rome in the engraving section. Giraud met Princess Mathilde, who became a friend; the painter gave her painting lessons and became her protégé for 15 years, even obtaining a studio in the Saint-Gratien residence, where he created the portrait of the imperial prince. Eugène Giraud debuted at the Salon in 1833, with portraits, then presented his pastels the following year. These were very well received and the artist, who had good knowledge of costumes, received commissions for designs, notably for Alexandre Dumas and Victor Hugo.

    €200
  76. L'argent suite
    Charles PÉGUY
    L'argent suite
    Cahiers de la Quinzaine|Paris 1913|12.50 x 19.50 cm|relié
    First edition on ordinary paper
    Half cream-colored cloth Bradel binding over marbled paper boards by Gauché, dark brown morocco title piece (one scratch), covers lined and preserved
    Rare autograph inscription from Charles Péguy over two pages, to Gounelle : " Mardi 29 Avril 1913, cher monsieur Gounelle voici encore un cahier emporté dans les présentes tempêtes
    Je suis votre affectueusement dévoué Péguy [Tuesday 29 April 1913, dear monsieur Gounelle here is another notebook caught up in the present storms
    I remain your affectionately devoted Péguy]."
    €3,000
  77. L'argent
    Charles PÉGUY
    L'argent
    Cahiers de la Quinzaine|Paris 1913|12.50 x 19 cm|relié
    First edition on ordinary paper
    Contemporary half mint-green cloth Bradel binding over marbled paper boards, spine with gilt floral motif, dark brown morocco titlepiece (lightly rubbed), double gilt fillet to foot, covers (with slight angular lacks) preserved
    Rare autograph inscription by Charles Péguy to Monsieur Saffrey : "Mardi 4 Mars 1913, je suis votre fidèle dévoué Péguy [Tuesday 4 March 1913, I am your faithfully devoted Péguy]." Paper yellowed as usual.
    €3,000
  80. Histoire des paysans. Première partie : Le servage. - Deuxième partie : Les jacqueries
    Eugène BONNEMÈRE
    Histoire des paysans. Première partie : Le servage. - Deuxième partie : Les jacqueries
    Librairie Fischbacher|Paris 1886|11 x 18 cm|2 volumes reliés
    Fourth edition, largely original as it was revised and considerably expanded.
    Half brown shagreen bindings, spines with four raised bands set with black fillets, a tear to the spine of the first volume, marbled paper boards with very light surface wear, marbled endpapers and pastedowns, minor rubbing to leading edges, bindings signed by Cabry.
    Some minor foxing of no consequence.
    €80
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