Latest Acquisitions

First edition in French, one of 26 numbered copies on pure rag paper, the only deluxe copies.
Spine and boards slightly and marginally lightened as usual, otherwise handsome copy.

First edition.
Preface by André Maurois, preliminary remarks by Georges Rozet, historiographer of the Confrérie du Tastevin.
Handsome copy of this work crowned with the Prize of the International Wine Office.
Dedicatee's bookplate pasted on endpaper.
Amusing autograph inscription dated and signed by Louis Orizet to Henri Roquefort: "... dont le nom prédestiné, prédestinait à l'amour du bon vin." ["... whose predestined name, predestined him to the love of good wine."]

First edition, one of 12 nominative copies numbered and justified on pink paper by the publisher, ours printed for the wife of historian Jean Longnon, deluxe issue after 12 Japan copies expanded with a suite of illustrations.
Spine of slipcase slightly browned.
Work illustrated with 4 facsimiles.
Handsome copy of No. 4 of the "Cahiers balzaciens".

First edition of which only 25 deluxe copies were printed, one of the Service de Presse (advance) copies.
Spine and boards slightly and marginally yellowed, otherwise handsome copy considering the poor quality of this wartime paper.

Manuscript entitled “Mémoires pour servir à l'histoire du publicanisme moderne
contenant l'origine, les noms, qualités, le portrait et l'histoire abrégée de nosseigneurs
les fermiers généraux du Roy qui se sont succédés depuis l'année 1720 jusqu'à la
présente année 1750” [with] “Mémoires pour servir à l'histoire du publicanisme
ou l'Origine des receveurs généraux des finances du royaume”
Important and long manuscript composed of two parts written by two different hands retracing in total 160 biographies of the Fermiers Généraux active between 1720 and 1750, lavish and unpopular collectors of indirect taxes in the Ancien Régime. Each of the parts also contains a very useful index.

The entries – with the exception of 19 of them – are all decorated with a coat of arms drawn in pencil, painted by hand in colour and sometimes enhanced with gold or silver. Some modern notes (some juicy) in pencil in the margin of certain leaves. These memoirs have never been the object of a publication and we know of only a few handwritten copies with varying texts. The other examples that we have been able to find, including the one digitised by the French National Library, contain fewer biographies that ours and are not illustrated.

Contemporary binding in full blond marbled calf, title pieces in black and red morocco. Joints, top of the first board and spine head repaired, joints of the first board split but solid, scratches on the boards, corners damaged.
A very beautiful manuscript, richly painted, retracing the history of the most despised institution of the Ancien Régime.

Provenance: library of Count Chandon de Briailles, descendent of the founders of the famous house of Champagne, then of the Michel de Bry library with its motto ”Pro captu lectoris” with their ex-libris glued to the first endpapers.

First edition printed with 440 numbered copies.
Work illustrated with 7 wood engravings by Frans Masereel.
Pubslisher's binding in half wove-style paper boards with small corners, top edge gilt, ex-libris glued to a paste-down endpaper.
Rare handwritten presentation signed by Stefan Zweig to writer Max Spanier who disappeared during the hell of the Holocaust: “Im herzlicher Erkenntlichkeit” (“With sincere gratitude”).

Invitation card to the private viewing of the exhibition of Jean Dubuffet's work produced from 1942 to 1954 at the Galerie René Drouin
Galerie René Drouin, Paris 17 April 1954, 21 x 27.5 cm, one leaf
Invitation card to the private viewing of Jean Dubuffet's retrospective exhibition at the Cercle Volney, organised at the René Drouin Gallery from 17 March to 17 April 1954.
On the recto, a superb and large original photolithograph in black and white of Jean Dubuffet, printed by Mourlot. (Webel 389).
We attached the exhibition catalogue illustrated with reproductions of Jean Dubuffet's works.
Rare and large photolithograph that is unusual as it has not been folded.

First edition, a Service de Presse (advance) copy.
Two small lacks at foot of spine.
Autograph inscription signed by Henri Pourrat to Franc-Nohain.

Autograph card signed by Pierre Puvis de Chavannes addressed to an unknown recipient, written in black ink, with the painter's monogram and address at the head. Some minor soiling and traces of glue on the verso. One perforation on the monogram.
"Madame, j'accepte avec infiniment de reconnaissance et de plaisir votre si aimable invitation pour mercredi et vous prie d'agréer l'hommage de mes sentiments respectueux et dévoués." ["Madam, I accept with infinite gratitude and pleasure your kind invitation for Wednesday and beg you to accept the tribute of my respectful and devoted sentiments."]

First edition of this invitation card for the exhibition "Watercolors by Lucie Cousturier" at the E. Druet gallery.
Card very slightly lightened in margins, otherwise handsome copy.

Postcard colour montage featuring Cléo de Mérode dancing in four different costumes against a rural background.
A copy of this rare postcard edited by Charles Reutlinger has been digitised by Gallica.
A very beautiful image of one of the very first popular icons.

First edition, one of 50 numbered copies on Lafuma paper, deluxe copies after 15 on Rives vellum.
Handsome copy.

First edition on ordinary paper.
Bradel binding in half almond green cloth, smooth spine decorated with gilt fleuron, date and double gilt fillet at foot, brown shagreen title-label, marbled paper boards, covers and spine preserved, contemporary binding signed in blind by Stroobants.
Handsome copy attractively bound.

First edition on ordinary paper.
Bradel binding in half almond green cloth, smooth spine decorated with gilt fleuron, date and double gilt fillet at foot, brown shagreen title-label, marbled paper boards, original wrappers preserved, contemporary binding signed in blind by Carayon.
Endpapers partially shaded.
Handsome copy attractively bound.

First edition on ordinary paper.
Bradel binding in half almond green cloth, smooth spine decorated with gilt fleuron, double gilt fillet at foot, brown shagreen title-label, marbled paper boards, original wrappers preserved, contemporary binding signed in blind by Carayon.
Minor foxing to endpapers.
Handsome copy attractively bound.

Third edition of "Emaux et Camées", with some parts in first edition as it features 11 additional pieces compared to the second edition and contains the two unpublished works from 1853 (cf Clouzot).
Half chocolate brown Russia morocco binding, spine with five raised bands set with black fillets, minor rubbing traces without significance to one joint, combed paper boards, marbled stone endpapers and pastedowns, marbled edges, contemporary binding.
Occasional foxing.
Handsome copy attractively bound.

First edition printed in 100 copies.
Bradel binding in half green Russian morocco, smooth spine, date and place gilt at foot, pebbled paper boards, marbled paper endpapers and pastedowns.
One restoration to the margin of the title page using an adhesive piece.
Rare and precious signed autograph inscription from Antoine de Latour "A monsieur Victor Hugo, hommage de tendre dévouement" ["To Monsieur Victor Hugo, tribute of tender devotion"]
The inscription has been slightly trimmed, missing the last letter of the word dévouement.

Autograph card by Pierre Louÿs signed with his initial, addressed to Georges Louis and written in violet ink on both sides.
Note addressed to his brother Georges Louis with whom Pierre Louÿs maintained a very intimate relationship and whom he considered as his own father.
The question of Pierre Louÿs's real paternal identity still fascinates biographers today: "His father, Pierre Philippe Louis, [...] had married in 1842 Jeanne Constance Blanchin, who died ten years later after giving him two children, Lucie and Georges. In 1855, he remarried Claire Céline Maldan, and from this union was born, in 1857, a son, Paul; then, in 1870, our writer, who received the given names Pierre Félix. This late birth, the differences in character between father and son, the former's disaffection toward the latter, the profound intimacy that always reigned between Louÿs and his brother Georges, all this has led certain biographers and critics to suspect that the latter was in reality the writer's father. The exceptionally intimate and constant relationship that Pierre and Georges maintained between themselves throughout their lives, could be an argument in this direction. Of course, no irrefutable proof has been discovered, and probably never will be. Nevertheless, certain letters [...] are quite troubling. In 1895, for example, Louÿs writes seriously to his brother that he knows the answer to 'the most poignant question' he could ask him, a question he has had 'on his lips for ten years.' The following year, in the full triumph of Aphrodite, he thanks Georges effusively and ends his letter with this sentence: 'Not one of my friends has a FATHER who is for him what you are for me.' Arguing from the close intimacy of Georges and Claire Céline during the year 1870, and the jealousy that the father never ceased to show toward his younger son, Claude Farrère did not hesitate to conclude in favor of Georges Louis. And what to think of this dedication by Louÿs to his brother on a Japan paper copy of the first edition of Pausole: To Georges, his eldest son / Pierre." (Jean-Paul Goujon, Pierre Louÿs)
Pierre Louÿs revolutionizes his living conditions: "I am taking serious care of myself. For two days now I have been going to bed at half past midnight to wake up between 9 and 10. Today, after a day that has already lasted 11 hours I have only smoked half a pack of cigarettes. That's a quarter of my usual consumption during the same time. Moreover I walked more than a league on foot, I took the air as much as I could...Well with all that I feel quite unwell, or rather as if I were the day after a long and serious illness. Neither strength nor nerves. I have trouble listening, speaking, following an idea. Should this be attributed to my cigarette rationing? It's possible. But honestly I don't think I have felt so low since '97, since the month when you came to see me in Algiers."
Amusing note from the most tobacco-addicted of writers (nearly 60 cigarettes per day...!) who wrote in Une volupté nouvelle: "One night, as I found myself there, in silent conversation with two blue porcelain cats crouched on a white table, I hesitated to choose between two pastimes of solitude: write a regular sonnet while smoking cigarettes, or smoke cigarettes while looking at the ceiling carpet. The important thing is to always have a cigarette in hand; one must envelop objects in a celestial and fine cloud that bathes lights and shadows, erases material angles, and, by a perfumed spell, imposes on the agitated mind a variable balance from which it can fall into reverie."

Autograph letter signed by Pierre Louÿs, addressed to Georges Louis. Four pages written in blue ink on four sheets.
Handsome letter addressed to his brother Georges Louis with whom Pierre Louÿs maintained a very intimate relationship and whom he considered as his own father.
The question of Pierre Louÿs's real father's identity still fascinates biographers today: "His father, Pierre Philippe Louis, [...] had married in 1842 Jeanne Constance Blanchin, who died ten years later after having given him two children, Lucie and Georges. In 1855, he remarried Claire Céline Maldan, and from this union was born, in 1857, a son, Paul; then, in 1870, our writer, who received the first names Pierre Félix. This late birth, the differences in character between father and son, the former's disaffection toward the latter, the profound intimacy that always reigned between Louÿs and his brother Georges, all this has led certain biographers and critics to suspect that the latter was in reality the writer's father. The exceptionally intimate and constant relationship that Pierre and Georges maintained between them throughout their lives could be an argument in this sense. Of course, no irrefutable proof has been discovered, and probably never will be. Nevertheless, certain letters [...] are quite troubling. In 1895, for example, Louÿs writes gravely to his brother that he knows the answer to 'the most poignant question' he could ask him, a question he has had 'on his lips for ten years.' The following year, at the height of Aphrodite's triumph, he thanks Georges effusively and ends his letter with this sentence: 'Not one of my friends has a FATHER who is to him what you are to me.' Arguing from the close intimacy between Georges and Claire Céline during the year 1870, and from the jealousy that the father never ceased to show toward his younger son, Claude Farrère did not hesitate to conclude in favor of Georges Louis. And what to think of this dedication by Louÿs to his brother on a deluxe copy of the first edition of Pausole: To Georges, his eldest son / Pierre." (Jean-Paul Goujon, Pierre Louÿs)
This letter was written after the First World War: "The project to open the Panthéon to heroes who offered everything to the Fatherland, even losing their name for her, is excellent. And it would be, for the archbishopric of Paris, an unhoped-for opportunity to spontaneously render to our great dead of the crypt the respects that it alone in the world denies them. It would thus repair an error that has lasted too long for its glory. Cemeteries are deconsecrated. No theological reason can attribute to them a more religious character than to the basement of a monument surmounted by a colossal cross and sanctified by ashes." Indeed, in November 1920, Charles Dumont, the general budget reporter, expressed his wish to bring the unknown soldier into the Panthéon. Finally, only the ceremony took place there and the remains of the most famous of the combatants remained, as everyone knows, under the Arc de Triomphe. The only soldier to join the Panthéon, Maurice Genevoix, would not enter until a hundred years later, on November 11, 2020.
Louÿs concludes his letter with a very handsome tribute to the writer he has always admired: "One is ill-advised to forbid the faithful such a pilgrimage. They do it. For immense humanity, the earth where Hugo's corpse lay down is holy ground."

Very long autograph letter signed by Pierre Louÿs, addressed to Georges Louis. Twenty pages written in blue ink on five double sheets of graph paper. Enclosed is an envelope on which is written in pencil in Pierre Louÿs's hand: "Letter of 20 pages about my stay in Limé"
Amusing letter addressed to his brother Georges Louis with whom Pierre Louÿs maintained a very intimate relationship and whom he considered as his own father.
The question of Pierre Louÿs's real father's identity still fascinates biographers today: "His father, Pierre Philippe Louis, [...] had married in 1842 Jeanne Constance Blanchin, who died ten years later after having given him two children, Lucie and Georges. In 1855, he remarried Claire Céline Maldan, and from this union was born, in 1857, a son, Paul; then, in 1870, our writer, who received the first names Pierre Félix. This late birth, the differences in character between father and son, the former's disaffection toward the latter, the profound intimacy that always reigned between Louÿs and his brother Georges, all this has led certain biographers and critics to suspect that the latter was in reality the writer's father. The exceptionally intimate and constant relationship that Pierre and Georges maintained between them throughout their lives could be an argument in this sense. Of course, no irrefutable proof has been discovered, and probably never will be. Nevertheless, certain letters [...] are quite troubling. In 1895, for example, Louÿs writes gravely to his brother that he knows the answer to 'the most poignant question' he could ask him, a question he has had 'on his lips for ten years.' The following year, at the height of Aphrodite's triumph, he thanks Georges effusively and ends his letter with this sentence: 'Not one of my friends has a FATHER who is to him what you are to me.' Arguing from the close intimacy between Georges and Claire Céline during the year 1870, and from the jealousy that the father never ceased to show toward his younger son, Claude Farrère did not hesitate to conclude in favor of Georges Louis. And what to think of this dedication by Louÿs to his brother on a deluxe copy of the first edition of Pausole: To Georges, his eldest son / Pierre." (Jean-Paul Goujon, Pierre Louÿs)
In this titillating letter bearing at the top the mention "Papa doesn't know I'm writing you this letter" underlined three times, young Pierre Louÿs (eighteen years old) tells his elder about his vacation in Limé (Aisne) with the Glatron family. Visibly very excited, he announces to his brother after some brief family news: "And I have great news to announce to you, which will decide the happiness of my life: I'm getting married. Don't look for a match for me anymore: I've found one." In order to keep his reader in suspense, he first tells him at length about his stay in Limé and paints a portrait of the Glatron family: "Here first is the introduction to the little work I'm sending you by way of a letter, and which may be very boring. It's the tableau of the Glatron family; it amused me to study them a bit while I was there. I wanted to find for each of them three or four words to paint them completely but I soon realized that I couldn't do so for any of them." Far from being "boring," this very long passage allows Pierre Louÿs to deploy his talents as storyteller and caricaturist. Each member receives a colorful description ("the queen mother," "a nonentity," "a very special character," "petrified phlegm," "a repetitive Paulus," "the little invalid"...) and Louÿs also gives pride of place to dialogues which he deliberately exaggerates: "'I tell you that you took her by the waist! I saw you! Don't say no, I saw you!'" These humorous observations continue with the quasi-anthropological description of a village festival in Limé: "I arrived in Limé the day before the patron saint's festival. [...] For orchestra, two good pig merchants with big chins and black mustaches, who blow outrageously into a cornet and a clarinet. [...] The lighting consists of the good Lord's stars, and six Venetian lanterns trembling on two wires. It was there that I developed [...] the notions of choreography that good Madame Gendron instilled in me last year. [...] For I must tell you that the Limé women have a way of dancing which, while being less elegant, is nonetheless very attractive." Then come the first emotions produced by this local dance: "The female dancer grips her two hands (without gloves naturally) on the dancer's shoulders, while he places his hands around her waist [...] I bet you think me capable of having danced with just anyone? Undeceive yourself. I had only three dancing partners [...] Or else we go to 'suck a quadrille.' This picturesque expression which is missing from the Academy dictionary, means that one 'pays' one's dancing partner a barley sugar worth a sou and...that each sucks it from one end as a sign of union and good understanding." He confides to his brother his first kiss with his fiancée, a certain Jeanne Bécret: "One of my dancing partners (the one I kissed) is a little jewel. She is tall, well-made, with a Louis XV face, exactly like the sanguine drawing in the salon. (Pay close attention, it's my wife I'm describing to you)." The young man then relates at length his marriage proposal before concluding with assurance: "And thus we are getting married, in the second half of December. That will make a young couple, won't it?" The marriage will never take place and even in the author's biography, this vacation romance will only be very briefly mentioned.

Photographic portrait of Eleonora Duse called "La Duse", period albumen print of large format.
Handsome portrait of this great actress who embodied Cosette, Thérèse Raquin, Cleopatra and was the mistress of Gabriele d'Annunzio.

The first edition, of which there were no deluxe copies.
Spine slightly sunned.
Precious autograph inscription dated 1976 and signed by Germaine Tillion to the sociologist and feminist activist Evelyn Sullerot: "... courageuse combattante, cette préhistoire d'un "front" qu'elle a bien connu." ["... courageous fighter, this prehistory of a "front" that she knew well."]

Photographic portrait of Salvador Dalí Photographic portrait of Salvador Dalí, contemporary silver print in black and white. Interpress stamp at the bottom of the photograph and handwritten annotations in pencil. Roneotyped sticker: « Service spécial page radio TV FR3, Dimanche 6 avril 20 heures. Une certaine idée de la Correra avec Salvador Dalí » (Special service radio TV page FR3, Sunday 6 April 8 pm, "A certain idea of the Correra with Salvador Dalí").

A very beautiful photograph taken at a press conference given by Salvador Dali at the Gustave Moreau Museum in Paris on 1^st April 1970 about the creation of the Dalí Theatre-Museum in Figueras. The artist poses, cane in hand, behind a wax reproduction of his head placed on a giant chocolate bar. It was indeed at this time that the painter advertised for Lanvin chocolates.

First edition of the French translation established by André Gide and printed in 300 numbered copies on Rives paper.
As is generally the case, some light black spots affecting certain leaves in the margins.
Rare and fine copy with unfaded blue covers.

First edition, one of 106 numbered copies on Holland, the “tirage de tête”.
A beautiful copy of this important text in the work of Albert Camus: although published posthumously, it is indeed his first novel which is considered a first “draft” of L'Etranger.

Pléiade library edition printed on Bible paper.
Publisher's binding in full green grained sheep, smooth spine decorated with gilt fillets, blue top edge.
Fine copy complete with its slipcase and cellophane wrapper.

First edition.
Publisher's full cardboard binding, smooth spine, illustrated front cover.
Handsome copy.
Signed autograph inscription by Enki Bilal to a couple enhanced with an original pencil drawing depicting the head of a puma with open jaws.

First edition of this program for a recital given by Italian soprano Mirella Freni on Thursday, May 29, 1980 at the Paris Opera.
Photographic cover.
Handsome copy.
Manuscript signature by Mirella Freni on the front cover.

First edition of this program from a recital that Italian soprano Katia Ricciarelli gave on Thursday, May 22, 1980 at the Paris Opera.
Photographic cover.
Fine copy.
Manuscript signature of Katia Ricciarelli on the first page.

The first edition, of which there were no deluxe copies.
Handsome copy despite three light stains on the lower edge without any damage to the text.
Autograph inscription signed by Bertrand Delanoë to a close collaborator named Cécile: "A toi, chère Cécile, au nom des valeurs et des combats partagés. De l'amour de la vie ; de la ville. Amicalement." ["To you, dear Cécile, in the name of shared values and struggles. For the love of life; of the city. With friendship."]

Original photograph, likely unique and unpublished, of Pablo Picasso at the Casa di Marco Lucrezio, Pompeii spring 1917
Original photograph depicting Pablo Picasso in the spring of 1917 at the Casa di Marco Lucrezio in Pompeii, holding a twig, in front of a wall on which there is a Pompeian fresco.

Contemporary silver print, perhaps unique, from Jean Cocteau's personal archives then the Maurice Sachs collection.
Exceptional almost undiscovered and probably unpublished photograph taken by Jean Cocteau during the stay.

On 16 April 1917, Picasso visits Pompeii accompanied by Jean Cocteau and Léonide Massine to prepare the ballet Parade, the first work described as “surrealist” by Guillaume Apollinaire, for the new season of Serge de Diaghilev's Ballets Russes. On his return, this initiatory journey inspired his monumental painting: the Parade stage curtain, a real visual signature of the ballet, marking the beginnings of Picasso's neo-classical period, and today preserved at the Musée national d'Art Moderne Georges Pompidou. Pierre Daix, in his bibliography dedicated to the painter, recounts the aesthetic shock caused by the discovery of the Pompeian frescoes:
“Giovanni Carandente, to whom we owe the best studies on this trip, highlights that Picasso “was strongly struck by the animation and the sensuality that the cataclysm of the year 79 AD had brutally destroyed. If it is true, as he wrote to Gertrude Stein, that he immediately drew “many Pompeian fantasies which are a little daring”, attracted as he was by the erotic elation that emerges from these licentious paintings, [...] these memories settled in him to emerge with force thereafter. [...] Everything that had made up the Pompeian universe was preserved on the site as well as in the National Archaeological Museum of Naples [...].

In its singularity, this universe contributed to enriching Picasso's cultural heritage with something more alive, more trembling than he had gained from his museum visits until then. He particularly loved the conciseness of the paintings: two or three years later, the impressions felt in Pompeii were to translate into a real creative explosion, a series of paintings which all bore traces of these never buried memories. This source was to remain alive until La Danse of 1925.” (Pierre Daix, Picasso).

Unique and early original photograph of Picasso, taken and printed by his friend Jean Cocteau, in a mythical place that will influence his aesthetic for the long-term.

Provenance: Jean Cocteau's personal archives then the Maurice Sachs collection and Max-Philippe Delatte.

Original photograph likely unique taken by Jean Cocteau showing Pablo Picasso and C^o in Montparnasse in front of the café La Rotonde, the 12 August 1916
Original photograph by Jean Cocteau taken on 12 August 1916, showing Manuel Ortiz de Zárate, Moïse Kisling, Max Jacob, Pablo Picasso and the model Pâquerette, his girlfriend at the time, posing in front of the famous café La Rotonde on Boulevard du Montparnasse in Paris.

Contemporary silver print, probably unique, from Jean Cocteau's personal archives then the Maurice Sachs collection.

This image was published in Billy Klüver's book entitled A day with Picasso: twenty-four photographs by Jean Cocteau (1997). However, Klüver states that he didn't know the original photograph and used a modern reprint from the negative in the Cocteau archives for his work. We have not found any other copy of our original photograph in international public collections.
Billy Klüver has assembled and commented on the twenty-one photographs taken by Jean Cocteau on 12 August 1916 in Montparnasse, close to this intersection of the Boulevard Raspail and the Boulevard du Montparnasse, which was named Place Pablo-Picasso in 1994. They take us to the café La Rotonde, before which a beaming Picasso in a cap speaks with Max Jacob whose baldness shines in the sun, behind them Henri-Pierre Roché in uniform and Manuel Ortiz de Zarate, sit at a table on the terrace of the same café where Pablo is next to the glowing Pâquerette and the young Polish painter Moïse Kisling. Pâquerette, with her hair in a headband, a chic dress, is the queen of the encounter. [...] It's the relaxed life at the back. Pâquerette, or rather Émilienne Pâquerette Geslot, was then a star model of the fashion designer Poiret who was all the rage at the time. A real one-day film of Picasso outside of his studio.” (Pierre Daix, Picasso) In his book, Klüver questions the presence of all these artistic authorities in the making in a Paris that is deserted by war. The answer is, according to him, to search in the direction of the Salon d'Antin, an exhibition organized by André Salmon in July 1916, in which all the protagonists of our photograph took part, with the exception of Pâquerette. It is also on this occasion that Picasso reveals his Demoiselles d'Avignon to the public.

This extremely rare image, taken by Jean Cocteau with his mother's Kodak camera, immortalizes a moment of joy that depicts the artistic all-Montparnasse of the early 20th century.

Provenance: Jean Cocteau's personal archives then the Maurice Sachs collection and Max-Philippe Delatte.

First edition. Copy n° CXXVIII of the 100 copies on deluxe Japan paper numbered CI to CC. There were two other issues printed: one on Vélin de Hollande numbered 1 to 1000, and another on "large paper" of Japan numbered I to C. Edition handsomely decorated with numerous illustrations in black, bistre, blue and colors by Paul Avril.

Japanese style publisher's binding in a brown and polychrome (gold, silver, colors) slipcase, decorated with vegetal, floral and insects motifs in relief. Smooth spine with gilt title in Japanese style. Gilt title on the upper board. Turquoise silk endpapers with leather corners. Rubbed head of spine. Traces of rubbing on corners and edges. The binding of the pages is relatively loose and many sets of pages have come out, some of them only holding by 1 or 2 seams, due to an a manufacturing defect (the binding was made with few seams and was too distended). The leather corners of the illustrated covers made some foxing on the corners of the pages.

Although these slipcases seem to have been initially reserved for copies of large paper, they can also be found on copies of regular paper. As a result, collectors could certainly obtain them for a fee. We have listed 5 different ones, but we do not know how many copies were made, certainly not many.

In spite of the mentioned defects, a very nice and rare copy.
Uzanne's favorite book, in which he lets his thoughts on the world wander (The World and Society - Arts and Letters - Interior - Study - Love - Travel - Sports - The Table - Dream) and whose binding attains the perfection desired by Uzanne.

This book is available at the bookstore upon request within 48 hours.

First edition, one of 64 numbered copies on Lana laid paper, the only deluxe copies.
Very handsome copy of this work which won the Prix Goncourt in 1971.

First edition, one of 150 Service de Presse copies on châtaignier blanc paper.
Pleasant copy despite a small black ink mark at the head of the first cover.
Autograph inscription signed by Georges Fourest to Roger Lannes.

First Gallimard edition, a Service de Presse (advance) copy.
Handsome copy.
Work illustrated with a vignette by Jean-Emile Laboureur on the first cover.

First edition printed on ordinary paper.
Handsome copy.
Signed autograph inscription from Patrick Modiano to a woman named Marie-Françoise.
Signed autograph inscriptions by Patrick Modiano, little concerned with fame and sparing with dedication sessions, are rare.

First edition printed on ordinary paper.
Spine lightly sunned.
Rare signed autograph inscription, on this text, from Marguerite Duras to Philippe Bernheim.
This work was adapted for cinema two years later by Peter Brook with, in the leading roles, Jeanne Moreau and Jean-Paul Belmondo.

First edition, one of 697 numbered copies on pur fil paper.
Precious autograph inscription signed by the author to Geneviève Stewens, wife of Christian Sarton du Jonchay.
Son of Charles Sarton du Jonchay, then garrisoned in Algeria, Christian Sarton du Jonchay enlisted at fourteen in the Algerian Auxiliary Spahis Regiment commanded by his father. After numerous adventures, he was awarded the Croix de Guerre and became, at only fifteen, the youngest quartermaster sergeant in France. After serving in various cavalry regiments and chasseur battalions, he was wounded in July 1918 and ended the war with seven citations, as lieutenant and knight of the Legion of Honor. At the end of the First World War, he chose to continue his military career and volunteered, in 1921, to serve during the Syrian Campaign, again earning several distinctions. A serious shoulder wound that left him partially disabled forced him to turn to aviation, first as an observer, then obtaining his pilot's license on August 17, 1927. After an assignment to the 2^nd Aviation Regiment in Strasbourg, he joined the New Aircraft Group, precursor to the CEMA aerial equipment testing center, as commander of the Light Aircraft Section. However, after failing at the War College, he retired in 1933. Du Jonchay then joined Caudron-Renault, the aviation subsidiary of the major automobile company. He became, with his American wife Gene - dedicatee of this copy - a figure in the fashionable society revolving around aviation.
Fine copy.

The first edition, of which there were no deluxe copies.
Iconography, handsome copy despite the spine being slightly sunned, 6 page numbers inscribed in black ink probably by Claude Roy as reading markers at the head of the rear endpaper.
Signed and inscribed by Claude Levi-Strauss to Claude Roy.

First illustrated edition, by Bertall. Eight plates hors texte (on China paper mounted on heavy paper), including a portrait of the author, engraved by Ch. Geoffroy and numerous figures in the text engraved by Midderigh. Introduction and biography by Alphonse Karr.
Contemporary half brown shagreen binding with marbled paper boards. Spine with raised bands decorated with compartments in blind and blind fleurons. Traces of rubbing. Some pale scattered foxing. Handsome copy.
Delightful and humorous illustration.

First illustrated edition with 350 compositions by Edouard Zier. Claude Motteroz printing house. Color cover. Printed on grand velin blanc paper. A deluxe edition was produced: 75 copies on Japan paper, some with the original drawings.
Contemporary half red morocco binding with corners, glazed, signed at the top of the first endpaper A. Jonquières. Spine with raised bands decorated with 17th-century inspired tools in compartments. Gilt titles and date. Covers and spine preserved. Some pale foxing on title page, very occasional foxing thereafter. Very fresh overall.

First edition, one of 10 copies on parchment reserved for the author and on colored paper, the most restricted deluxe issue.
Handsome copy.
Autograph inscription signed by Marcel Jouhandeau quoting a passage from the work.

The first edition, of which there were no deluxe copies, one of 20 Service de Presse (advance) copies.
Small tears at head and foot of spine, complete with publisher's (advertising) slip.
Signed autograph inscription from Henry Poulaille to a lady.

The first edition, of which there were no deluxe copies.
Handsome copy illustrated with political and polemical drawings by Fawzi.
Preface by Patrick Cami.
Signed and dated autograph inscription from Fawzi to a person named Yoram accompanied by an original drawing depicting an outstretched arm brandishing a placard in the middle of which is written the name of the dedicatee.

The first edition, of which there were no deluxe copies.
Small tears with minor lacks to margins of covers and spine, some foxing mainly on edges.
Rare.

First edition.
Fine complete copy in two volumes.
On the first volume, the sale prices are inscribed in margins in pencil, some markers in blue or red colored pencils in margins of certain references.

First edition, one of 120 copies on pur fil Lafuma paper, the only deluxe copies.
Handsome copy.

First edition, one of 210 numbered copies on pur fil paper, the only deluxe copies after 36 on Hollande paper.
Handsome copy despite the spine very slightly sunned without gravity.

Edition from the same year as the first edition.
Publisher's binding in full pink cloth, smooth spine, mauve paper endpapers.
Three small light stains on the back cover, otherwise handsome copy.
Autograph inscription signed by Jacques Laurent to Dominique Paulvé: "... à qui je souhaite d'heureuses vacances sur les bords de la Loire où elle rencontrera peut-être mademoiselle Beaumon..." ["...to whom I wish happy holidays on the banks of the Loire where she may perhaps meet Miss Beaumon..."]

Original signed watercolour - Hippocrates “..saisissant le vase, buvait avidement...” “...seizing the vase, drinking avidly...”
s.ls.d(ca 1930), 24.1 x 30.4 cm, one leaf
Original watercolour signed by Joseph Kuhn-Régnier on laid paper, signed at the top left of the plate, produced for the illustration of Œuvres by Hippocrates (Paris, Javal and Bourdeaux, 1932-1934). The colours of this original drawing differ very slightly from the final version chosen for the illustration of the book. There is a caption taken from the book in pencil in the lower margin of the leaf.
A beautiful copy of this drawing by one of the masters of Art Deco illustration.

Original signed watercolour - Hippocrates “On incise la luette avec un bistouri...” “We incise the uvula with a scalpel...”
s.ls.d(ca 1930), 24.1 x 30.4 cm, one leaf
Original watercolour signed by Joseph Kuhn-Régnier on laid paper, signed at the top right of the plate, produced for the illustration of Œuvres by Hippocrates (Paris, Javal and Bourdeaux, 1932-1934). The colours of this original drawing differ very slightly from the final version chosen for the illustration of the book. There is a caption taken from the book in pencil in the lower margin of the leaf.
A beautiful copy of this drawing by one of the masters of Art Deco illustration.

Original photographic montage of Picasso
s.ls.d(ca 1973), 39.4 x 29.3 cm, other
Unique original photographic montage produced from a large photograph showing Jean-Pascal Lorriaux in Picasso's house, there are two small photographs glued to each side showing Picasso and Lorriaux, in the lower margin there are other collages of printed paper forming the title “J-P Lorriaux chez Picasso 1881-1973” “J-P Lorriaux at Picasso's house 1881-1973”.
Jean-Pascal Lorriaux was a passionate collector who had the idea of publishing a collection of lithographs presenting the hands of the great artists of his time. Thus Chagall, Picasso, Fautrier (of whom he was the assistant and close friend during the last years of his life), Foujita, Cocteau, Lurcat and Mathieu will visit his studio to engrave their hand on lithographic stone. Lorriaux will not have the time to finalise his project and only a few attempts will be carried out.

Original photographic montage of Jaime Sabartés and Picasso
s.ls.d(ca 1973), 39.4 x 29.3 cm, other
Unique original photographic montage produced from a large photograph showing Jean-Pascal Lorriaux and Jaime Sabartés, on the right-hand margin an original stamp is glued on which there is a portrait of Sabartés by Pablo Picasso, in the lower margin there are other collages of printed paper forming the title “Sabartés welcoming recevant J-P Lorriaux - 45 années de vie avec Picasso” “Sabartés welcoming receiving J-P Lorriaux - 45 years of life with Picasso”.
Jean-Pascal Lorriaux was a passionate collector who had the idea of publishing a collection of lithographs presenting the hands of the great artists of his time. Thus Chagall, Picasso, Fautrier (of whom his was the assistant and close friend during the last years of his life), Foujita, Cocteau, Lurcat and Mathieu will visit his studio to engrave their hand on lithographic stone. Lorriaux will not have the time to finalise his project and only a few attempts will be carried out.

First edition, one of 50 numbered copies on deluxe paper, the only deluxe copies.
Handsome copy presented in sheets, under double chemise and cream white slipcase.
Handsome and rare copy of the first volume of this saga about World War II and the Resistance, which comprises ten volumes.

First edition, one of 50 numbered copies on deluxe paper, the only deluxe copies.
Fine copy presented in sheets, under double chemise and cream white slipcase.
Fine and rare copy of the fourth volume of this ten-volume saga about the Second World War and the Resistance.

First edition, one of 50 numbered copies on deluxe paper, the only deluxe copies.
Fine copy presented in sheets, under double chemise and cream white slipcase.
Fine and rare copy of the fifth volume of this ten-volume saga about the Second World War and the Resistance.

First edition, one of 50 numbered copies on deluxe paper, the only deluxe copies.
Fine copy presented in sheets, under double chemise and cream white slipcase.
Fine and rare copy of the second volume of this saga on the Second World War and the Resistance which comprises ten volumes.

First edition, one of 50 numbered copies on deluxe paper, the only deluxe copies.
Fine copy presented in sheets, under double chemise and cream white slipcase.
Fine and rare copy of the sixth volume of this saga on the Second World War and the Resistance which comprises ten volumes.

First edition, one of 50 numbered copies on hollande paper, deluxe copy.
Half navy blue morocco binding with corners, spine with four raised bands, marbled paper boards, endpapers and pastedowns of combed paper, top edge gilt retaining deckled edges, light rubbing to corners, binding signed Kauffmann & Horclois.
Handsome full-margined copy bound without its original wrappers and spine.

First edition, one of 20 numbered copies on hollande van Gelder paper, the only deluxe copies.
Light foxing affecting the edges, otherwise a handsome copy.
Signed autograph inscription from Olivier Bourgois to Michel François-Poncet.

First edition, one of 100 numbered copies on vellum, deluxe copy.
Spine and covers slightly and marginally sunned, one stain in margin of front cover.
Autograph inscription signed by Jean Galtier-Boissière to Robert Laurence.

First edition, one of 75 numbered copies on Holland paper, the only deluxe copies.
Covers lightly sunned without consequence.
A full-margined copy.
Work illustrated with 11 engravings.

First edition, one of 35 numbered copies on Montfourat paper, the only deluxe copies after 20 on pur fil.
Covers lightly sunned without consequence, a tear at foot of front cover.

First edition, one of 20 numbered copies on mustard popset paper, deluxe copy.
Handsome copy.

First edition and first printing of the engravings.
Contributions by Théophile Gautier, Laurent-Jan, Léon Gozlan, Auguste Lireux and Jules Hetzel under the pseudonym P.-J. Stahl among others.
Contemporary publisher's binding in full black shagreen. Smooth spine decorated with 3 ornate compartments, blind and gilt fillets. Large rocaille composition on boards, thick triple fillet frame. Interior frieze. White watered silk endpapers. All edges gilt. Perimeter of watered silk endpapers brown-stained. Tailcap of volume 2 with a loss. Traces of rubbing. Thin scratch on the upper board of volume 1, lower board of volume 2. Some very occasional foxing on clean white paper. The binder inverted volumes 1 and 2, and volumes 3 and 4 (the error stemming from the fact that the 4 series are not numbered by volume). Very handsome copy.
Work illustrated with a general frontispiece, 14 vignettes including one repeated and 320 plates, all wood-engraved.
References: Vicaire, III, 953-955; Brivois pp.168-171; Carteret, III-260-264: "Cet ouvrage est fort rare en belle condition."
Remarkable copy of superb freshness in full contemporary Romantic binding.

First edition.
Bradel binding in red half-cloth, smooth spine lightly browned decorated with a gilt floral motif, gilt date and double fillet at foot, brown shagreen title label, pebbled paper boards.
Some minor foxing, a brown stain in the upper corner of the title and half-title pages, half-title page entirely shaded.

First edition, one of 50 copies on deluxe paper, the only deluxe copies.
Fine copy in double chemise and red cloth slipcase, spine of chemise slightly faded.

First edition, abundantly illustrated with 68 plates including 7 in colors hand-colored and gum arabic highlights (costumes in picturesque scenes), all on tinted paper.
Contemporary half light green glazed calf binding. Smooth spine decorated with rocaille tools throughout and panels. Gilt title and volume number in medallions. Small leather loss at head of volume 1, headcap present. Traces of rubbing. One corner bumped, the others slightly turned. Relatively fresh set, with pale scattered foxing mainly in margins. Good copy.
The descriptions proceed by province (Hainaut, Liège, Brabant...). In addition, current state of literature and sciences in Belgium.

First edition in volume form.
Publisher's full white cardboard binding, smooth spine, illustrated front cover.
Work illustrated with humorous drawings by Jacques Faizant.
Handsome copy despite covers slightly and partially yellowed at their margins.
Autograph inscription signed by Jacques Faizant to Jehanne Cacouault.

First edition printed with a small number of copies on laid.
Work illustrated with a cover and three engraved wooden vignettes by Remy de Gourmont.

First edition of these songs set to music by Marcel Legay.
Fine illustrated cover.
Preface by Francisque Sarcey.
One small repaired tear to verso of front board with adhesive repair, otherwise handsome copy.

First edition.
Bradel binding in half saffron cloth, smooth spine decorated with gilt floral motif, gilt date and double fillet at tail, navy blue shagreen title-label, marbled paper boards, original wrappers and spine preserved.
Handsome copy.

First edition.
Beautiful illustrated cover by Eugène Rapp.
Work adorned with illustrations by Rapp, Joanon-Mairer.
Preface by Coquelin-Cadet.
Some foxing on the first endpaper, endpapers partially darkened, otherwise handsome copy.

First edition.
Work adorned with a beautiful illustrated cover and drawings by Léonce Burret.
Preface by Maurice Lefevre.
Handsome copy despite some foxing, notably on the front cover.

New edition printed in 300 copies, ours one of 100 numbered copies on Rives paper.
Work illustrated with wood engravings by Thollière.
Light worming and a small marginal stain to the fragile parchment covers.

First edition.
Iconography.
Light dampstains to spine and board margins, handsome interior condition.
Autograph inscription signed by Léon Poirier to Madame Charles Gaumont: "... dont le souvenir est inséparable des miens..." ["...whose memory is inseparable from my own..."]

First edition, of which there were no deluxe copies.
Preface by Miriam Cendrars.
Rare two-color autograph inscription dated and signed by Zoubeïda Bittari to madame Levêque.

First edition, one of 250 numbered copies on pur fil, the only deluxe copies after 25 Holland and some hors commerce.
Light clear foxing on spine, back cover marginally and partially shadowed.
Work illustrated with drawings by Pierre Dabouis.

First edition, one of the rare copies on Holland paper of which there is no mention.
Spine slightly split at head, otherwise handsome copy with full margins.
Work illustrated with 11 engravings by Godefroy Durand.

The first edition, of which there were no deluxe copies.
Fine and rare copy of this collection of anti-Apartheid poems.
Preface by Oliver Tambo, president of the African National Congress of South Africa then in exile.
Rare autograph inscription dated and signed by Paul Dakeyo to Madeleine Lanzais: "... à la lutte de nos peuples..." ["...to the struggle of our peoples..."]

The first edition, of which there were no deluxe copies, one of 250 numbered copies reserved for subscribers.
Minor rubbing to spine without significance.
Preface by Claude Bourdet.

First edition of the French translation, one of 15 numbered copies on pure Lana rag paper, the only deluxe copies.
Handsome copy despite a tiny insignificant nick to the middle of the spine.
Signed autograph inscription from Pierre Kyria to Pierre Canavaggio: "... Là où commence le destin des héros du 'Partage des ombres' dans le tumulte de familles qui cherchent à s'exclure et d'une nation qui cherche sa voie." ["... Where begins the destiny of the heroes of 'The Sharing of Shadows' in the tumult of families seeking to exclude each other and of a nation seeking its path."]

Photographic postcard depicting the great tragedienne Sarah Bernhardt creating the role of Elizabeth I of England.
Handsome copy.
Manuscript signature of Sarah Bernhardt dated 1909 to the right of her portrait.

First edition. A frontispiece by Boulanger engraved by Lacoste. Copy extra-illustrated at the back of the half-title with an albumen photographic portrait (ca 1865), mounted and trimmed to margin.
Armorial copy of Charles de Mandre, D'or à la fasce d'azur et D'azur à une bande d'or, accompagnée de sept billettes du même, posées quatre en chef et trois en pointe. Charles Demandre had, in his youth, some literary and poetic inclinations and, throughout his life, welcomed the writers and artists of his time to La Chaudeau. His library was sold in Paris, Maison Silvestre, 28 rue des Bons-Enfants, salle n° 1, au premier, from January 31 to February 9, 1887. The catalogue was compiled by Lorédan Larchey: Catalogue des livres et autographes composant la bibliothèque de feu M. Ch. de Mandre (Paris, A. Claudin, 1887, in-12,

First edition on ordinary paper.
Spine lightly wrinkled as is often the case.
Autograph inscription dated Christmas 1974 and signed by Pierre Gripari to Pierre Kujawski: "... pour lui faire oublier a chaleur du désert, une petite bise d'hiver parisien..." ["... to help him forget the heat of the desert, a little winter kiss from Paris..."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Pierre Bourgeade to Pierre-André Boutang.