Latest Acquisitions

First edition of this score titled "Les Nouveaux Succès de Maurice Chevalier en plus grand", illustrated on the first page with a beautiful polychrome illustration consisting of a photo montage of the singer striding across the Seine - Eiffel Tower under his arm - reaching the Statue of Liberty and New York skyscrapers.
Very fine condition.

First edition of this vocal and piano score illustrated on the first cover with a color drawing by Roger de Valerio.
Although created by a French artist in an expressionist vein, the cover reproduces the stereotypical imagery of African Americans that had been conveyed since the Civil War through American racist caricature.
Yet in 1923, this violent, degrading and essentializing stigmatization based on the ideology of ethnic hierarchy was facetiously subverted by Black Americans, notably through Jazz and Blues culture and by several major artistic figures including Josephine Baker. Thus, in her Revue Nègre, she humorously and sensually reappropriated the degrading representation of which Black people were victims. It was then sometimes difficult in the representations of blackness during these roaring twenties to distinguish the boundary between racist caricature and its modern reinterpretation mocking racial myth.

However, this new fox trot by Frank Silver and Irving Cohn, which was then a huge hit in the United States and which Billboard magazine would place in 1948 on its list of Fifty Years of Song Hits, had no connection to blackness. It was inspired by a remark from a Greek grocer following the shortage due to banana blight.
Completely inadequate, Valerio's image was inspired by the simple evocation of the banana associated with Africa for the French public and thus with the fantasized "savagery" of the Black African. This colonialist reinterpretation of the racial cliché differs from American imagery, notably through the nakedness of the characters, the children's earrings and their disheveled hair. This same iconography would be found in Franco-Belgian comics, including Tintin in the Congo a few years later.

A very handsome copy of this original French score of one of the great Fox-Trot successes, of great graphic quality despite its racist theme.

First edition of this voice and piano score illustrated on the first cover with a color illustration by Roger de Valerio.
Very handsome copy.

First edition of this piano score, first cover illustrated by an unknown artist.
Very handsome copy.

First edition of this vocal and piano score, first cover illustrated by an anonymous artist. Apart from the title piece, this set comprises five other scores.
Fine copy despite some marginal creases.

First edition of this vocal and piano score, first cover illustrated by an anonymous artist.
Very fine copy of this score from the American musical comedy entitled "Life of the party".

First edition of this piano score, first cover illustrated in color by Roger de Valerio.
Very fine copy.

First edition of this piano score, first cover illustrated in color by Debeck.
Handsome copy despite some soiling and a small marginal tear.

First edition of this piano score, first cover illustrated in colors by Léon Pousthomis.
Handsome copy.

First edition of this vocal and piano score illustrated on the first cover by an unknown artist.
Handsome copy.

First edition of this vocal and piano score illustrated on the front cover in colors by Jean-Dominique Van Caulaert.
Handsome copy of this title performed by Georges Milton.

The first edition, of which there were no deluxe copies.
Some traces of rubbing to the joints and to the back cover.
Iconography.
Autograph inscription signed by André Lajoinie to a woman named Annick.

First edition of this vocal score (bilingual) and piano, with illustrated front cover, "The great success of the famous Cotton Club of New York in the revue 'Cotton Club Parade' presented by Edmond Sayag and which triumphs at the Ambassadeurs and the Moulin Rouge."
Very handsome copy.

First edition on ordinary paper.
Handsome copy.
Beautiful autograph inscription dated and signed by Pierre Béarn to Nadine Nimier, wife and widow of Roger Nimier: "Pour Nadine Nimier dont la gentillesse m'émeut - sans doute qu'elle a su garder en elle la lumineuse clarté de l'âme - en la remerciant" ["For Nadine Nimier whose kindness moves me - no doubt she has been able to keep within herself the luminous clarity of the soul - with thanks"]

First edition of this piano and vocal score, first cover illustrated with a photographic montage by Jan-Mich depicting Edith Piaf in profile looking at an airplane.
A very handsome copy.

The first edition, of which there were no deluxe copies.
Work illustrated with drawings by Georges Wolinski.
Nostalgic signed autograph inscription from Claude Confortès to a friend named Matilda: "... ce livre rare et épuisé des folles années. Grâce à toi je suis redevenu dingue. Vive l'EPROUVETTE ! Claude Confortès." ["... this rare and out-of-print book from the crazy years. Thanks to you I've gone crazy again. Long live L'EPROUVETTE! Claude Confortès."]

First edition on ordinary paper.
Handsome copy despite two small stains in the margin of the back cover and on an inner flap.
Fine autograph inscription dated and signed by Yves Peyré to Nadine Nimier, wife and widow of Roger Nimier.

First edition, one of 109 numbered copies on laid paper and reimposed in Tellière quarto format, deluxe copy.
Handsome copy despite some light rubbing to the joints and a light discoloration to the upper right corner of the front cover.
Half tawny morocco binding, smooth spine, boards covered with cream vellum-style cardboard, wood-grain paper endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed by Alain Lobstein.

First edition of the French translation, of which there were no deluxe copies.
A handsome copy despite the spine being slightly sunned.

First edition of this vocal score (bilingual) and piano illustrated on the front cover with a large color illustration by Roger de Valerio. La Madelon was created by Maurice Chevalier at the Casino de Paris.
Very handsome copy.

First edition of this album containing 25 piano sheet music pieces performed notably at the Casino de Paris, the Moulin Rouge, the Folies Bergères and interpreted by Mistinguett, Josephine Baker and Maurice Chevalier.
51 pages of sheet music in total, several advertisements at the end featuring photographic reproductions of stars of the era, notably Maurice Chevalier.
Cover illustrated with a color illustration by Jack Roberts.
Spine slightly split with some minor lacks. Pleasant interior condition except for a dampstain to the lower margin of a few leaves at the end.

First edition, one of 37 numbered copies on Vizille laid paper, the only deluxe copies.
A very handsome copy of this work which earned its author the Robert Walser Prize for first novel.

First edition of this piano score illustrated on the first cover with a large illustration by V. Valery.
Handsome copy.

The first edition, of which there were no deluxe copies.
Publisher's full grey cloth binding, smooth spine, with the illustrated dust jacket which has some minor marginal tears and tiny corner chips of no consequence.
Signed autograph inscription from André Dhôtel to Monsieur Pittner.

First edition of this piano score illustrated on the first cover with a color drawing by an anonymous artist. Tribute to Louis Reynaud, inventor of a whitening product for laundry...
Central fold without consequence, otherwise handsome copy.

The cover reproduces the essentializing imagery of blacks, derived from colonialist stereotypes but also inspired by the recent discovery of the African population after the requisition of sub-Saharan contingents for the 1914 war. These images convey a stigmatizing and terribly racist vision towards Africans but paradoxically betray a beginning of acceptance of difference and a gaze that aims to be affectionate though paternalistic towards blackness.
Very handsome copy of this original score, of great graphic quality despite its racist theme.

First edition of this voice and piano score illustrated on the first cover with an illustration by H. Rousseau.
Adaptation of a poem by François Delcourt, miner in Béthune.
Handsome copy.

First edition of this piano score illustrated on the first cover with a large color illustration by Clérice Frères.
Superb copy.

First edition of this vocal and piano score illustrated on the first cover with a color illustration by Würth.
Handsome copy despite minimal marginal tears.

First edition, one of 100 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

First edition of this piano score illustrated on the first cover with a color illustration by Roger de Valerio.
Superb copy.

New edition, a Service de Presse (advance) copy.
A handsome copy.
Warm and amusing autograph inscription dated and signed by Daniel Boulanger to Ulrike Bergweiler who was Antoine Gallimard's secretary: "En prime pour Ulrike Bergweiler, le gouverneur polygame te salue, mais tiens-toi loin de lui et près de moi..." ["As a bonus for Ulrike Bergweiler, the polygamous governor greets you, but stay away from him and close to me..."]

First edition of this vocal and piano score illustrated on the front cover with a color illustration by Roger de Valerio.
A very handsome copy despite some traces of creasing.

First edition.
Name of a former owner inscribed in pen at the head of the half-title page.
Handsome copy.

First edition of this voice (bilingual) and piano score illustrated on the front cover with a color illustration by Charles Roussel.
Superb copy.

First edition of this vocal (bilingual) and piano score, with illustrated first cover, "La nouvelle danse américine de la "Coloured Revue" Cotton Club Parade de New York présentée par Henri Varna dans la Revue du Casino de Paris "Paris en Joie" avec Maurice Chevalier."
A very handsome copy.

First edition of this vocal (bilingual) and piano score, first cover illustrated by Roger de Valerio.
A very handsome copy.

First edition of this piano score with a large color illustration by Clérice Frères on the front cover.
A very fine copy.

First edition, one of 125 numbered copies on Ingres paper, the only deluxe copies after 25 on Hollande paper.
A handsome copy.

First edition of this voice and piano score illustrated on the first cover with a color illustration by Würth.
Handsome copy despite tiny marginal tears.

First edition of this piano score, first cover illustrated in colors by Léon Pousthomis.
Handsome copy.

First edition of this issue of the magazine consisting of two folded sheets.
Handsome copy.
On the first, a color woodcut depicting Alphonse Karr by Emile Cohl.
On the following, text by Pierre and Paul in first edition titled "Alphonse Karr".

First edition of this issue of the magazine founded by writer Félicien Champsaur and illustrator Alfred Le Petit, consisting of two folded sheets.
Handsome copy.
On the first, a color woodcut depicting Albert Robida by Alfred Le Petit.
On the following, text by Félicien Champsaur in first edition titled "Albert Robida".

First edition of this issue of the magazine consisting of two folded sheets.
Handsome copy.
On the first, a color lithograph representing Daubray by Emile Cohl.
On the following ones, text by Pierre et Paul in first edition entitled "Daubray".

First edition of this issue of the magazine consisting of two folded sheets.
Handsome copy despite some minor worming.
On the first, a color woodcut representing Paul Bourget by Emile Cohl.
On the following ones, text by Jules Laforgue in first edition entitled "Paul Bourget".

First edition.
Handsome copy, iconography.
Signed autograph inscription from Charles Tillon, leader of the Francs-Tireurs et Partisans during the Resistance and later minister, to Jean-Luc Robin.

First edition on ordinary paper, stated as fourth edition.
Handsome copy.
Autograph inscription signed by Claude Roy to Jean Claval.

First edition, of which there were no deluxe copies.
Handsome copy.
Dated autograph inscription signed by Pierre Courtade to Jean Claval.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Jean-Noël Jeannerey to Françoise Templaire.

First edition on ordinary paper.
Boards soiled, important coffee stain on the second board and at the foot of the first leaves, foxing on the edges.
Precious autograph inscription signed by Kléber Haedens to Nadine Nimier, wife and widow of Roger Nimier, leader, with Antoine Blondin, of the Hussards, literary movement of which Kléber Haedens was a member: "Pour toi Nadine, je pense à toi et je t'embrasse. Kléber" ["For you Nadine, I think of you and I embrace you. Kléber"].
Moving provenance: from the library of Nadine Nimier, wife and widow of Roger Nimier.

First edition, one of 250 numbered copies on pure rag Lana laid paper, the only deluxe copies.
Very handsome copy.

Original engraving. Optical view heightened in watercolour, depicting a view of the review of the King's Household, "infantry which takes place every year in the plain of Sablons one league from Paris". Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in fashion 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 were salon 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. A small trace of angular fold. Fine impression with very fresh colours.

Original color lithograph executed especially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper, publisher's blind stamp in lower margin.
Artist's signature in the plate. Fine copy in the artist's Belle Époque style.
Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created especially for the journal by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.

First edition, one of 944 numbered copies on wove paper, the only deluxe copies after 111 reimposed.
Handsome copy.

First edition, one of 150 numbered copies on wove paper, deluxe copies after 50 on Holland paper.
Handsome copy.
Marcel Prévost's manuscript signature on the half-title page.

First edition, one of 300 numbered copies on alfa laid paper, the only deluxe copies after 5 on Holland paper.
Some foxing to boards.
Autograph inscription signed by Jean Dorsenne: "A mon ami le sergent Muzereau de la classe !!! Cé témoignage d'affection d'un simple pékin ! Jean Dorsennus." ["To my friend sergeant Muzereau of the class!!! This token of affection from a simple civilian! Jean Dorsennus."]

First edition of the French translation, one of 25 numbered copies on vélin dap-cau, the only deluxe copies.
Spine and boards lightly and marginally lightened as usual.

First edition.
Fine copy.
Rare autograph inscription signed by Henri Laborit to Madame Lachatrape.

The first edition, of which there were no deluxe copies.
Handsome copy, illustrated.
Autograph inscription signed by Hugues Panassié: "A M. Denis, 'satchmo-ingly yours' Hugues Panassié."

First edition on ordinary paper.
Handsome copy.

First edition, one of 10 numbered copies on Holland paper, deluxe issue.
Very handsome copy.

First edition printed on ordinary paper.
Handsome copy.
Dated and signed autograph inscription, in pencil, from Pierre Alechinsky to Jacques Bertin

First edition, one of 1300 numbered copies on sunburst white alfa.
Fine copy.

First edition of the French translation, one of 325 numbered copies on vélin d'Artois, the only deluxe copies.
Handsome copy.

First edition printed on alfa paper.
Small tears to the margins of the covers which is inevitable given the fragility of this work.

First edition, one of 15 numbered copies on Japan Imperial paper, deluxe issue.
Handsome full-margined copy despite the spine and covers being slightly and marginally lightened, a light stain in the margin of one deckled edge.
Work illustrated with drawings in the text.
Our copy is enriched with an autograph letter signed by Charles Léger about works he has already written on Balzac.

First edition.
Publisher's binding in full boards, smooth spine, complete with its translucent paper dust jacket with marginal yellowing.
Manuscript signature of Thomas Hechtte on the half-title page.
Provenance: from the library of Ulrike Bergweiler.

First edition printed on ordinary paper.
Handsome copy with illustrated cover.
Signed autograph inscription from Pierre Daix to Jean Claval.

First edition of the French translation, one of 10 numbered copies on Lana laid paper, the only deluxe copies after 5 on Rives laid paper.
Restoration to the slipcase split at foot along its entire length, otherwise handsome copy.

First edition.
Work illustrated with photographs.
Autograph inscription signed by Serge Lifar to Maryelle Krempff who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the National Regional Conservatory of Saint-Maur des Fossés from 1969 to 1989: "A Maryelle Krempff 'l'étoile de la danse' en souvenir de ce jour mémorable. Amicalement Serge Lifar." ["To Maryelle Krempff 'the star of dance' in memory of this memorable day. Cordially Serge Lifar."]

First edition.
Small stains on covers, two tears to margin of half-title page and at foot of rear cover, handsome copy.

First edition illustrated with photographs, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated 1944 and signed by Serge Lifar to Maryelle Krempff, who completed her brilliant career as a dancer as principal dancer at the Opéra Comique before teaching dance at the Conservatoire National de région de Saint-Maur des Fossés from 1969 to 1989: "A mademoiselle Maryelle Krempff qui aime la Danse et la sert la grace (sic). Serge Lifar." ["To Miss Maryelle Krempff who loves Dance and serves it with grace. Serge Lifar."]

First edition.
Some light foxing to margins of certain leaves.
Iconography.
About the industrial disaster that occurred in Bhopal, India, which cost the lives of approximately 25,000-30,000 people according to victims' associations and only 7,575 according to Indian authorities.
Autograph inscription dated and signed by Dominique Lapierre probably to Régine Deforges: "A la bellissime Régine, de tout coeur. D. Lapierre 1.10.2001" ["To the most beautiful Régine, wholeheartedly. D. Lapierre 1.10.2001"]

The first edition, of which there were no deluxe copies.
Some foxing on the covers, paper yellowed.
Work illustrated with two portraits of Louis Pergaud.
Beautiful and touching autograph inscription dated and signed by Edmond Rocher: "A Léon Bocquet l'ami et le premier éditeur de Louis Pergaud en affectueuse communion en la pensée du cher disparu. Edmond Rocher. Nbre 1923." ["To Léon Bocquet the friend and first publisher of Louis Pergaud in affectionate communion in memory of the dear departed. Edmond Rocher. November 1923."]

First edition of this unpublished text presented by Claude Debon, one of 50 numbered copies on laid paper, ours one of 26 lettered copies, deluxe printing.
Pleasant copy, bookplate pasted facing the title page.

First edition, one of 500 numbered copies on Holland paper, ours unnumbered, the only printing after 20 copies on antique paper and 5 hors commerce.
The first volume contains the commentary on Giovanni Battista Bracelli by Tristan Tzara, followed by "L'aventure d'un livre et notes bibliographiques" ["The adventure of a book and bibliographical notes"] by publisher Alain Brieux.
The second volume is a facsimile reproduction of Bracelli's book, "Bizzarie", illustrated with 50 engravings created in 1624.
The facsimile was printed from the only complete and known copy, that of American bibliophile Mr. Lessing Rosenwald.
This illustration volume is bound in full boards in imitation of medieval vellum with ties.
Slipcase and chemise in full brown boards, smooth spine unlettered, title label pasted on the slipcase.
Handsome copy.

First edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Claude Lévi-Strauss to Nadine Nimier: "Pour Nadine avec les amitiés de Lévi-Strauss." ["For Nadine with friendship from Lévi-Strauss."]

First edition, a Service de Presse (advance) copy.
Spine lightly yellowed, foxing to front cover.
Autograph inscription signed by Michel Tournier to Ulrike Bergweiler who was Antoine Gallimard's secretary: "Pour Ulrike Bergweiler. En toute amitié. Michel Tournier." ["For Ulrike Bergweiler. In friendship. Michel Tournier."]

First edition on ordinary paper.
Spine sunned, a pink stain on the front cover.
Autograph inscription signed by Félicien Marceau to Ulrike Bergweiler who was Antoine Gallimard's secretary: "Pour Ulrike de son ami Félicien. Le 17 mars 89." ["For Ulrike from her friend Félicien. March 17, 89."]

First edition, one of 120 numbered copies on pur fil paper, the only printing after 20 copies on san francisco paper.
Handsome copy.
Illustrated with 6 drawings by R. Berton and a photographic portrait of Tristan Derème by Mertens-Auradon.
Fine autograph inscription signed by Tristan Derème to Professor Lereboullet: "... et voici, dans ces feuillets, qu'on évoque le port et le refuge au milieu des tempêtes de la vie - et c'est le seuil fleuri de la vieille maison. On y rêve à Paris, dans le vacarme et la course de la vie quotidienne ! En très cordial hommage.Tristan Derème. 29 -XI - 30." ["... and here, in these pages, one evokes the harbor and refuge in the midst of life's storms - and it is the flowered threshold of the old house. One dreams of it in Paris, in the din and rush of daily life! With very cordial homage. Tristan Derème. 29 -XI - 30."]

The first edition, of which there were no deluxe copies.
Handsome copy complete with dust jacket.
Fine signed autograph inscription by Michel Albertini to a friend named Anne-Rose: "... ces merdicoles qui n'auraient jamais été si drôles et émouvants sans elle... Alors, avec un gros morceau de soleil de Marseille en plus, et que pour vous... chère Anne... ma première..." ["... these merdicoles which would never have been so funny and moving without her... So, with a big piece of Marseille sunshine in addition, and just for you... dear Anne... my first..."]

First edition on ordinary paper.
A tear repaired at foot of spine.
Illustrated with 26 reproductions of works by Georges Grosz.
Precious signed autograph inscription by Léon Bazalgette: "A J. E. Laboureur, très cordialement. LBazalgette." ["To J. E. Laboureur, very cordially. LBazalgette."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Dated and signed autograph inscription from Jean-Claude Renard to Nadine Nimier, wife and widow of Roger Nimier.

First edition in French, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy despite two light stains on the spine.
Dated and signed autograph inscription from Carlos Fuentes to Bernard Sesé, translator into French of the principal Spanish-speaking writers of the 20th century.

The first edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Claude Mossé to Patrice de Plunkett.

First edition, one of 112 numbered copies on laid paper, the only deluxe copies.
A handsome copy.

First edition on ordinary paper.
Light foxing to left margin of front cover, otherwise a handsome copy

Edition with some parts in first edition, of which there were no deluxe copies.
Handsome copy.
Fine autograph inscription dated and signed by René Depestre to Jean Orizet: "... ces chants d'adieu à quelques chimères du siècle..." ["... these farewell songs to some chimeras of the century..."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Julia Kristeva to Ulrike (Bergweiler): "... qui fait partie de l'esprit des samouraïs..." ["... which is part of the spirit of the samurai..."]

First edition, of which there were no deluxe copies.
Handsome copy retaining publisher's wraparound band.
Signed and inscribed by Régis Debray to Ulrike Bergweiler.