Latest Acquisitions

Photographic portrait of Léopold Sédar Senghor shown slightly in profile and wearing a pair of glasses.
Handsome copy.
Autograph inscription signed by Léopold Sédar Senghor, in blue ink on the verso of the photograph, to (Frédéric) Brion and his wife.

Signed visiting card from Margaret Thatcher when she was Prime Minister of Great Britain (position she held from 1979 to 1990) at 10 Downing Street address.
Handsome copy.
Manuscript signature of Margaret Thatcher in blue ink.

Unpublished autograph letter: “As soon as I had arrived in Tours,
I was thrown on the coasts of Brittany by the best conditioned desire
that had ever seized a man to shut off the atmosphere of Paris and its
ideas by going to run on the beautiful rocks that border the sea in Brittany”
Unpublished handwritten letter signed by Honoré de Balzac, one and a half pages written in black ink on a leaf of white paper.
Transversal folds and ink a little faded at the bottom of the first page, without making it difficult to read.

The man from Tours poetically recounts his wanderings on the Breton coast during a trip he took in the company of Madame de Berny. Together, they sailed up the Loire in a boat all the way to Le Croisic: “As soon as I had arrived in Tours, I was thrown on the coasts of Brittany by the best conditioned desire that had ever seized a man to shut off the atmosphere of Paris and its ideas by going to run on the beautiful rocks that border the sea in Brittany and there, once arrived, I stayed a fortnight, the most delicious in the
world, running on the bays, on the kelp, collecting the pucelages that are in large numbers on the sea sand, in reverse of the rue Vivienne.” The “pucelages” here are shellfish, so named because of their vulvoid shape, allowing Balzac an allusion to the prostitution – very popular at the time – that occupied the Galerie Vivienne.

This amusing letter is addressed to one of the editors of La Silhouette magazine, as evidenced in particular by the sign off at the end of the letter, mentioning the founder of the periodical: “A thousand good friendships do not forget to give a large part to our friend [Victor] Ratier.” Balzac also mentions several articles: “I am writing to give you a sign of life, proof of interest and of friendship, but I write to you briefly because I have twenty letters to answer, and I promise you a letter for...1st July which will contain, the end of the charlatan issue 2 la bella dona and, finally, the articles that will have passed through my head and with which you will be furnished so as to not ask anything of me for a month or two and so that around August you will be my publisher.”
We have not found any trace of said letter in the writer's correspondence, no more besides than the continuation of the Charlatan (the first part of which was published in the second issue of La Silhouette). No article under the title of “Bella Dona” appears in the following issues either, although Balzac emphasizes in his letter the desire to provide other texts, “given that the charms of the Loire must not make [him] forget that [he is] the poorest of those who live on a quill pen.”

A beautiful and spicy unpublished letter.

New illustrated edition with 8 etchings by Tony Johannot bearing the artist's name engraved with the point, on China paper mounted. These illustrations belong to the first illustrated edition of 1845, 2 are artist's proofs without Johannot's name added by him. Printed on laid paper.
Half old red shagreen binding with corners signed Petit at the top of the first endpaper. Spine with raised bands richly decorated with elaborately gilt compartments. Red shagreen title label. Top edge gilt. Uncut copy, full-margined, perfectly fresh. Spine slightly faded.
Handsome copy from the sale of Jacques Crépineau's library, without his bookplate but with a bookmark from L'Etude Ader reproducing the bookplate (11/10/2021). Director of the Michodière theater and theater historian, he held a famous collection of Romantic books.
List of tales: Trilby - Le songe d'or - Baptiste Montauban - La fée aux miettes - La combe de l'homme mort - Inès de las sierras - Smara - La neuvaine de la chandeleur - La légende de la soeur Béatrix.

Edition illustrated by Scott.
Publisher's full mouse-grey cloth binding, smooth spine, front cover decorated with a large plate by Paul Souze, grey-blue paper endpapers and pastedowns, all edges gilt, corners slightly bumped without significance.
Fine copy.

First edition, one of 300 numbered copies on alfa paper reserved for the press service.
Spine creased, otherwise handsome copy.
Preface by Henri Jeanson, iconography.
Signed autograph inscription from Fernand Rivers to Marcel Achard.

First edition on ordinary paper.
Two small lacks to spine, light dampstains to head of front cover which also has two small corner lacks.
Dated and signed autograph inscription from Pierre Vidal-Naquet to Jacques Panisel.

First edition of these letters selected and presented by A.H. Saxon, French translation by L.R. Dauven, one of 1000 numbered copies, the only printing with 100 hors commerce copies.
Publisher's full fawn chamois binding, smooth spine.
Iconography, handsome copy.
Signed autograph inscription from L.R. Dauven to publisher Bernard de Fallois.

First illustrated edition with 250 wood-engraved compositions by Edmond Morin. One of 50 numbered copies on Wattman paper (No. 49 in manuscript), second paper after 10 Japan copies from a total edition of 260 deluxe copies. Portrait of the author as frontispiece by Léopold Flameng. The ordinary edition contains no justification.
Contemporary half navy blue morocco with mosaic corners, signed Champs. Spine with raised bands decorated with richly ornamented compartments with a central red morocco motif. Roll tooling at head and foot, fillet on bands. Navy blue morocco title-label, date at foot. Separation fillets on boards. Top edge gilt. Covers and spine preserved. Uncut copy with full margins. Paper perfectly fresh, endpapers with some light foxing. Light rubbing, notably to corners and lower edges, otherwise very handsome copy.
A true literary phenomenon of the late 19th century, the work consists of a succession of light and humorous scenes that celebrate adolescent first emotions and love of women, then marriage and fatherhood. This results in a gentle eroticism that celebrates women through their adornments, makeup or clothing. Henry James himself praised the beauties of these light pieces, writing that he preferred an inch of Droz to a kilometer of Daudet...

First edition. Frontispiece engraved on steel depicting the château de Saint-Point.
Contemporary half dark green shagreen binding. Spine with raised bands decorated with ornate compartments. Dark green shagreen title-label, gilt initials F. C. at foot. Foxing to endpapers and first 4 leaves, light scattered foxing thereafter. Some rubbing. Tiny lack along upper joint at head. Good copy.

First edition of the English translation established by John Dos Passos and printed in 300 copies on Utopian laid paper.
Bookplate pasted to verso of front cover, spine sunned with a tear at foot with minimal lacks, a stain in margin of front cover, small adhesive paper marks at head and foot of last endpaper and inner flap.
Work illustrated with original illustrations by John Dos Passos.
Autograph signatures of B. Cendrars and J. Dos Passos on the justification page.

First edition, one of 60 numbered copies on vélin du Marais paper, ours being one of the 10 hors commerce copies justified in pencil, from the deluxe issue.
Handsome copy.

First edition, one of 1100 numbered copies on alfa paper.
Handsome copy.

First edition, one of 30 numbered copies on laid paper, deluxe issue.
Bookplate pasted on endpaper.
Handsome copy.

First edition, one of the numbered copies on Savoie vellum.
Half chocolate morocco binding, smooth spine with decorative paper boards, grey-blue paper pastedowns and endpapers, front wrapper preserved, binding signed by Goy et Vilaine.
Work illustrated with images by Pierre Monnier alias Pierre-Marie Renet.
The 0 from the year 50 in the autograph inscription has been trimmed by the binder.
Signed autograph inscription from Louis-Ferdinand Céline to Monsieur and Madame Ribierre: "... Avec tous mes voeux de bonne année 50 et mille sentiments sincères et d'amitié et de reconnaissance." ["With all my wishes for a good year 50 and a thousand sincere sentiments of friendship and gratitude."]

First edition, one of 790 numbered copies on alfa paper.
Fine copy.

Rare first edition printed in a very small number of copies and strictly hors commerce.
Light foxing to covers and very slight browning at margins.
Autograph inscription from Lucien Becker to André Fraigneau

First edition printed on laid paper.
Illustrated work, with a frontispiece drawing by the author.
Scattered foxing.
Bradel binding in half olive green cloth, smooth spine decorated with gilt fleuron, gilt double fillet at tail, brown shagreen title label, pebbled paper boards, covers and spine preserved, near-contemporary binding signed in blind Champs.

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

First edition of Jean Giraudoux's French theatrical adaptation, one of 30 numbered copies on heliotrope laid paper, the most limited deluxe paper printing after 3 Japan copies
Half tawny shagreen binding, spine with four raised bands set with black fillets, gilt fillet on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt.
Handsome copy.

First edition of the French translation, one of 300 numbered copies reserved for François Maspéro subscribers.
Handsome copy despite the spine very slightly sunned.

First edition of this poem by Georges Fragerolle set to music by himself and performed for the first time at the famous Montmartre cabaret "Le Chat noir" by Rodolphe Salis on January 21, 1896, where he was the regular pianist alongside Erik Satie.
Publisher's sand-colored paper boards, smooth spine, covers illustrated with a large design representing the Giza Pyramids site surmounted by the dream of a Pharaoh's soldiers, endpapers and pastedowns with floral-patterned paper.
Work illustrated with 17 full-page lithographs by Amédée Virola.
Some rubbing to edges and corners, copy lacking its very fragile illustrated dust jacket.
Handsome copy.

First edition of these Christmas carols set to music by Georges Fragerolle.
Publisher's full white paper boards binding, smooth spine, front cover illustrated with a large decoration representing the Nativity, endpapers and pastedowns of floral-patterned paper.
Work decorated with Art Nouveau illustrations and ornamentations by George Auriol.
Gift inscription in pen on the page facing the half-title page.
Handsome copy complete with its very fragile illustrated dust jacket.

Second edition printed on laid paper.
Full red morocco binding, spine slightly browned with five raised bands set with black fillets, gilt roulettes on the headcaps, gilt fillets on the leading edges, combed paper endpapers and pastedowns, gilt dentelle border on the pastedowns, original parchment front cover preserved, top edge gilt, light rubbing to corners, modern bibliophile's label pasted at foot of endpaper as bookplate, elegant unsigned binding.
Work illustrated with 16 hors-texte plates including the frontispiece (the folding plate placed between pages 258 and 259 with a marginal tear restored with an adhesive piece).
Autograph inscription signed by Gabriel Legué to his friend Doctor Fiaux; the latter having added below a new autograph inscription which he signed as a gift for Madame Marcelle Médard-Rouville.

Edition established by Henri Martineau and decorated with original illustrations by Tcherkessof, Cosyns, Noury, Dufour, Gandon and Jacob-Hians, one of 125 numbered copies on Holland paper, deluxe copy after 15 Japan.
Half dark blue morocco bindings with corners, faded spines with four raised bands, marbled paper boards, marbled endpapers and pastedowns, covers and spines preserved, top edges gilt.
Each volume is complete, as stipulated in the justification page, with the suite of illustrations placed at the end.
Handsome set, despite the faded spines, complete in 11 volumes and with the suite of illustrations for each volume.

First edition, one of 95 numbered copies on China paper, deluxe copy.
Work decorated with 12 maps and illustrated with 18 engravings for the first volume and 4 maps and 26 engravings for the second.
Spine and boards lightly and marginally sunned without severity, small angular tears on the boards.
Handsome full-margined copy.

Bilingual illustrated edition in first printing, translated by Charles Nodier with the English text facing. Notice by Charles Nodier. 10 plates by Johannot on heavy laid paper before letters and more than one hundred vignettes. Printed on fine tinted laid paper. A frontispiece on China paper mounted on heavy laid paper. Text within ruled borders.
Full glazed midnight blue calf binding. Smooth spine decorated with long mirror tools. Boards stamped in blind with a large Cathedral plate with foliate scrollwork (motifs that seem to reproduce the front cover). Edges gilt. Interior border. Fresh overall, but foxing on the frontispiece and title leaf. Traces of rubbing. One upper edge slightly bumped over 0.5cm. The figure p. 341 is missing. Captioned tissue guards present.
Handsome copy in a full contemporary binding. The plate used for the boards seems particularly well suited to the work (cathedral motifs softened by ornaments, foliage and other elements).

First edition with all the typographical features of the first printing: the error "capitaine" instead of "capitale", page 152, and "éphémérides" for "éphémères" on page 295.
Half green shagreen binding with corners, spine with five raised bands set with black fillets and decorated with triple blind-stamped compartments, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary binding.
Some minor foxing of no consequence.

Edition of the French translation by Desaintange (Ange-François Fariau de Saint-Ange (1747-1810)), with the French version alongside the Latin. The very famous illustration comprises a portrait of Desaintange, a frontispiece, and 139 figures by Eisen, Moreau Le Jeune, Gravelot, Monnet, Boucher and engraved by Massard, Simmonet, Née, Leveau, Ponce, Binet, De Longueil... Most by Eisen and Moreau Le Jeune. Complete with the leaf showing placement of engravings after the title of volume I.
Contemporary binding in full blonde sheep marbled in green and brown. Smooth spine decorated with 4 compartments in grotesque style (stars and small tools), with roulettes at head and foot (wide Empire-style roulette at foot). Vine-motif border frame. Title and volume labels in blonde sheep. Loss to upper joint at head of volume I with 3cm split. One cut to headcap of volume I. Loss to upper joint at head of volume 2. One gathering in vol. II p.55 largely detached, and protruding by a few millimeters. Scattered pale foxing. A good copy.

Original etching by Camille Bryen printed on Japan paper and created for the work Feuilles éparses in homage to René Crevel.
Autograph inscription signed by the artist in the lower margin of the plate: "à Louis Broder avec l'amitié. Bryen"
A very handsome copy.

Original etching by Giacometti printed on japon and created for the work Feuilles éparses in homage to René Crevel.
Handsome copy.

Original print by Jean Arp printed on japon and created for the work Feuilles éparses in homage to René Crevel.
Handsome copy.

First edition of the French translation, of which there were no deluxe copies.
Spine and covers slightly and marginally lightened, handsome copy.
Iconography.

First edition, rare. The 30 plates show views and remains of Rome, Pratolino, Naples, Vesuvius Crater, Pisa, Lake Como, Terni, Arona, Ferrara, Tivoli, Paestum, Salerno, Lake Maggiore, Cadenabbia and Florence. The plates have different dimensions but most: 15.5x21cm, 17x25cm.
Original chemise in grey-brown heavy paper with the plates loose inside. The upper cover has been used as title page. One leaf with the list of the 30 lithographs. Some pale foxing. The spine with several tears, mainly 11cm at center. Plate 12 with restorations to small marginal tears on verso. Old adhesive traces to inner joint.
Handsome copy in original condition, full-margined.
Jean-Baptiste Isabey was one of the first artists to introduce lithography into French art. (Brunet III, 460). He skillfully exploited the resources of lithography in light effects and the vaporous aspect of certain scenes.

Very rare and sought-after first edition, according to Clouzot, printed in only 300 copies.
Full red morocco binding, spine with five raised bands decorated with black fillets, gilt date at foot, gilt roulettes on headcaps, marbled endpapers and pastedowns, frame of gilt dentelle on pastedowns, double gilt fillets on edges, top edge gilt, original wrappers preserved, full marbled paper slipcase with marbled paper lining, perfect binding signed by Thivet, a binder who worked during the last quarter of the 19th century.
Bookplate pasted on one pastedown, bibliophilic notes in pencil on an endpaper by a previous owner of the work.
Handsome copy of one of the rarest "Romantics," complete with the frontispiece on China paper, drawn and engraved by Célestin Nanteuil.

First edition, one of 100 numbered copies on Montgolfier vellum, the only deluxe copies after 40 on Holland paper.
Small marginal tears to the covers, one scratch to the center of the second cover.

Bilingual Franco-Spanish edition, printed in 300 numbered copies on Arches paper, translated from Quechua by Miguel A. Mossi and Gavino Pacheco Zegarra.
Bookplate of a bibliophile pasted at the foot of the verso of the first cover of the chemise, the latter with three small tears and splits.
Handsome copy complete with its chemise and full straw-pattern paper slipcase.
Work illustrated with a frontispiece and 15 wood-engraved colored headpieces by the Argentine and Montparnos artist Pablo Curatella Manes who was a student of Antoine Bourdelle and Aristide Maillol at the "Grande Chaumière"
Our copy was printed for the Peruvian diplomat and writer Garcia Ventura Calderon.

Autograph letter signed by Emile Goudeau addressed to his dear master (Francisque Sarcey, 16 lines in black ink) thanking him for his last letter which he reads with some delay and for his support in granting an award which he has just been honored with: "l'envoi de la lettre écrite par un Labadens exaspéré. Ce camarade (?) m'a fait passer un bon quart d'heure. Enfin cet infortuné lauréat ne me pardonne peut-être pas, d'être, lui tombé dans les hypothèques." ["the sending of the letter written by an exasperated Labadens. This comrade (?) made me spend a difficult quarter of an hour. Finally this unfortunate laureate perhaps does not forgive me for having fallen into mortgages."]
Central fold inherent to the mailing.

Photographic postcard depicting the actress and tragedienne Elvire Popesco.
Three small spots of no significance in the margins of the photograph.
Manuscript signature of Elvire Popesco below her portrait.

De l'excellence et de la supériorité de la femme Very rare first edition of this 16th century text, translated and commented by Roétitg, pseudonym of François Peyrard.

Posterior binding in half red morocco, spine in five compartments decorated with gilt fillets, paste paper boards, marbled endpapers. Some rubbing and joints lightly cracked at the top, otherwise pleasant copy.

Provenance: the library of Armand Cigongne and I. Fernandez with their ex-libris glued to the first pastedown endpaper.

“The great Agrippa demonstrated, at the beginning of the fifteenth century, that woman is infinitely above man. When the treatise of this philosopher came to light, men, fearing losing the unjust supremacy which they had assumed for themselves, conspired to have this writing suppressed. They would have succeeded in annihilating this immortal work, and burning Agrippa, as an atheist and a magician, without the powerful protection of Marguerite of Austria. Fortunately, we are no longer in those times when anyone who dared to make a truth useful to the human race known was roasted without pity. Today, proclaiming one's pre-eminence is allowed without having anything to fear from the wickedness of men. The ingrates! They forget that, without you, life would be an unbearable burden. They enjoy your intoxicating favors, and they insult you! O Agrippa! of all men, we are the only ones, you and I, whose self-love has not blinded us [...] But, O Women! it is not enough that it be demonstrated to you that you are better than us; the universe still has to recognize this truth. It is a sure way to triumph your cause. Swear all, henceforth to grant your good graces only to those who will revere the great truths exposed in the sublime treatise of Agrippa, and in my modest commentary.” (preface)

An essential piece!

Complete first edition illustrated with 26 original lithographs by Edouard Chimot, one of 900 numbered copies on B.F.K. de Rives laid paper.
Spine of the chemise slightly faded.
Handsome copy.

First edition printed on laid paper.
Unlettered spine with small tears, two marginal stains on the first cover and three other small ones on the last endpaper.
Handsome interior condition.

Reprint of the so-called Keepsake edition published by Renduel in 1836. Furne had bought out the Renduel bookshop and quickly exploited its stock. The illustration contains a portrait of Victor Hugo as frontispiece, 2 title vignettes (these illustrations are new) and 11 steel engravings printed on strong paper by Johannot, Boulanger, Raffet, Rogier & Rouargue engraved by Finden, Staines... It is well printed in airy typography with large margins, and close to the original published in 1831. These two volumes that could be purchased separately formed the head of collection of the new collected edition at Furne, which explains the presence of Victor Hugo's portrait. Half-title before the titles, but which do not display, as for most copies of 1840: Oeuvres complètes de Victor Hugo.
Full straight-grained wine-colored morocco binding of the period with the cipher C.F. stamped in blind on the covers. Smooth spine decorated with long rococo tools and fillets. Gilt title and volume number. Covers with a wide border with fillets and rococo tools and the central cipher C. F. Wave fillet on the leading edges, interior frieze. White moiré endpapers. Edges gilt. Pale and yellow foxing scattered on paper that has remained white. The engravings are browned by the framing of the tissue guards, which are themselves browned. Spines have become uniformly blond. Traces of rubbing.
Fine copy. Notre-Dame de Paris, moreover like all the great novels of the period, is very rare in full contemporary binding, especially in straight-grained morocco.

The first edition, of which there were no deluxe copies.
Handsome copy, with newspaper clipping attached.
Signed autograph inscription from Eduardo Manet to René de Obaldia: "... avec une très grande admiration et une amitié qui devient fraternelle..." ["... with great admiration and a friendship that becomes fraternal..."]

First edition in French, one of 75 numbered copies on bambou paper, the only deluxe copies after 20 on Montgolfier.
Handsome copy.

The first edition, of which there were no deluxe copies.
Publisher's full red cloth binding, smooth spine, front cover stamped with the manufacturer's chevrons.
Handsome copy complete with its illustrated dust jacket, beautiful iconography.
Fine autograph inscription signed by Jacques Séguéla to a couple of friends.

First edition of which there were no deluxe copies.
Handsome copy, with preface by Eugène Frot.
Autograph inscription signed by Louis Guitard to Alfred Fabre-Luce.

New "first edition", printed in 500 copies on laid Arches paper and consisting of the second printing of this text (completed on June 20, 1911).
This edition, published less than a month after the original which appeared on May 29, 1911, is considered the first edition of this text, as the latter was almost entirely destroyed, André Gide being dissatisfied with the printing because three pages did not have the regular number of lines.
Half brown morocco binding with corners, spine with five raised bands set with black fillets, date and binder's name gilt at foot, pebbled paper boards, combed paper endpapers and pastedowns, bookplate pasted on one pastedown, blue covers and spine unfaded as generally preserved, top edge gilt, elegant contemporary binding signed Huser.
Precious autograph inscription signed by André Gide to the symbolist poet André Fontainas written at Cuverville on July 3rd.
Handsome copy perfectly established.

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Some worming to spine, preface by Albert Sarraut.
Signed and inscribed by Emile Roche to Alfred Fabre-Luce.

Rare first edition decorated with ornamental headpieces, letterheads and culs-de-lampe.

Posterior binding in full red morocco, Jansenist spine, gilt date at the foot, marbled endpapers, frame of gilt roll-tooling on the pastedown endpapers, all edges gilt.
A very beautiful copy of one of the most famous plays in the French repertoire. It was played for the first time on 13 December 1669 at the Hôtel de Bourgogne and received a mixed reception. At the head of this edition is a preface by the playwright responding to his critics:

“Of all the works that I have given to the public, there is none
that attracted more applause and nor more critics that this one. [...] What is missed by the spectators may be noticed by the readers.”

Collected edition, one of the numbered copies, the only issue.
Publisher's Bradel binding in full white cloth, smooth spine, front cover decorated with a geometric design.
Handsome copy.

First edition, one of a few numbered copies on alfa paper for the first volume, one of a few numbered copies on Japan bamboo paper for the second and one of a few numbered copies on alfa paper for the third and final volume, the only deluxe copies.
Bound in half chocolate brown shagreen with corners, spines with four raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, covers and spines preserved, top edges gilt on deckled edges.
A handsome copy handsomely bound and complete in three volumes.

The first edition, of which there were no deluxe copies.
Minor tears to spine without consequence.
Signed and inscribed by Louis Rougier to Ernest Kahan.

The first edition, of which there were no deluxe copies.
Handsome copy.
Signed and inscribed by Louis Michel to Professor Guy Degen.

The first edition, of which there were no deluxe copies, of this thesis submitted for the doctorate in letters.
Handsome copy.
Autograph inscription dated 1985 and signed by Jean Raimond to Professor Guy Degen: "... ce livre (ou péché de jeunesse) sur un romantique anglais "mineur"..." ["... this book (or sin of youth) on a 'minor' English romantic..."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription signed by Jean-Marie Turpin, grandson of Louis-Ferdinand Céline, to Professor Guy Degen.

First edition, illustrated with 21 steel plates by Rouargue and Kernot (Saint Petersburg, Moscow...), of which 8 are hand-colored (animated scenes with costumes).
Publisher's half brown shagreen binding. Spine with false raised bands decorated with compartments with multiple fillets. Series of blind frames on the boards. Gilt edges. White moiré endpapers. The present tissue guards are considerably browned. Fresh overall with some scattered foxing. Light tear at head. Rubbing traces. Good copy.
Famous travel account by journalist Charles de Saint-Julien (1802-1869), from Saint Petersburg to the Caucasus via Finland, Moscow and Nijni-Novgorod (the Volga, Crimea, Kazan...), followed by a journey from Saint Petersburg to Kamchatka, through Siberia.

First edition, illustrated with a repeated frontispiece and 30 steel-engraved plates by Gavarni engraved by Geoffroy on China paper laid down. Printed on fine white wove paper. Blue or neutral tissue guards. Illustrated orange-tinted covers preserved (spine and back covers with advertisements also preserved).
Half lavender morocco binding with corners and long grain signed Mercier (1920) at the top of the first endpaper, in Romantic style. Spine with false raised bands richly decorated with two complex mirrored tools in each compartment, blind fillets and rolls on the bands. Separation fillets on the boards. Uncut copy, full-margined. Perfect paper freshness. Light rubbing traces, impact at foot of the Parures volume with a dent of 0.8cm.
Very handsome copy, rare in this condition.
Blue leather bookplate P. Villeboeuf, with his gilt monogram also at top of pastedowns.
Méry's texts are short stories centered around a precious stone or jewel.

First edition, of exceptional rarity. According to a manuscript note by Rousseau himself in the copy offered and dedicated in his name, the print run was only 27 copies (Catalogue librairie P. Bérès 59, no. 233). This edition never appeared in commerce, all copies were given by the author with names on the title page, written by the author. Ours has unfortunately been erased (the paper seems to have been scraped at this location) and has been replaced by the author's name in grey pencil. However, a manuscript name is found in the margin of one of the leaves: Decheppe, or de Cheppe, name of a noble family whose members at this time could be Marie-Jeanne Antoinette de Cheppe, or Jean-François de Cheppe. Printed on Holland paper.
Contemporary full brown calf binding. Spine with raised bands decorated. Brown calf title label. Rubbing. A small lack of leather at head revealing the board. 3 corners bumped. The red velvet bookmark pp. 200, 201 has left yellow stains. Some occasional scattered foxing.
Gallant and gently erotic novel whose story takes place in a seraglio in Aleppo. (Dictionnaire des oeuvres érotiques, p. 26.). Grimm, in his Correspondance littéraire, writes on 6 February 1761 that he awaits "avec une impatience extrême" ["with extreme impatience"] to read this novel. In Daïra, conte à la mode orientale, the author alludes to his wife, a former actress whose adventure with the Maréchal de Richelieu, whom she joined by means of a revolving chimney, had just caused a scandal and which was the cause of the couple's separation. The fermier général Le Riche de La Popelinière (1692-1762) remained famous for his luxury, his gallant adventures and the enlightened protection he granted to Rousseau, Rameau or Marmontel. Called the cherished child of the Muses by Voltaire, he received numerous artists in his residences in Paris and Passy.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Some light worming to spine and boards.
Autograph inscription dated and signed by Vladimir Jankélévitch to Jeannine Lazard presenting his wishes for the coming year 1956.

The first edition, of which there were no deluxe copies.
Handsome copy.
Signed and inscribed by Robert d'Harcourt to Alfred Fabre-Luce.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy.
Autograph inscription signed by Marcel Barrière to Alfred Fabre-Luce.

The first edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Philippe Saint-Germain to Alfred Fabre-Luce: "... Histoire allez Gauloise de cornichons du bocal et du conserveur ! " ["... Gaulish history go pickles from the jar and the preserver!"]

First edition, one of 50 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

First edition, one of 100 numbered deluxe copies, the only deluxe copies.
Handsome copy presented unbound in double chemise and cream white slipcase.

First edition, one of 220 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.

Deluxe edition, one of 1000 numbered copies on alfa paper, the only issue after 50 on vélin crèvecoeur.
Handsome copy decorated with initials, head- and tailpieces.

First edition, one of 115 numbered deluxe copies, the only deluxe copies.
Slipcase split at the bottom.
Handsome copy presented in sheets, under double chemise and cream white slipcase.

First edition illustrated with more than 100 superb heliogravure photographs of French monuments and churches illuminated by the Mazda company.
A slight lack to foot of spine.
Handsome copy with unfaded blue covers and complete with its two tissue paper sheets protecting the very first and very last pages of this catalogue celebrating the glory of the Mazda company.

Autograph letter signed by Jean Wahl addressed to Marc Barbezat, one and a half pages written in black ink on one sheet. Envelope included. Transverse fold inherent to the mailing.
Jean Wahl was Marc Barbezat's examiner for the philosophy baccalaureate examination, and it was then that the two men became friends. In 1940, shortly after this letter was written, Barbezat would found the review L'Arbalète to which the philosopher would contribute by entrusting his very first poems to his young protégé. This review would later become a publishing house that would notably publish Jean Genet's first and scandalous texts.
Interesting letter full of bitterness, written on the eve of World War II: "J'avais l'impression qu'il n'y aurait pas de guerre. J'aurais voulu que ce fût par une reculade d'Hitler qu'elle n'eût pas lieu. Le destin ou la faiblesse des hommes en a décidé autrement. Nous avons manqué - et l'Angleterre aussi - d'hommes qui fussent à la hauteur des circonstances. C'est bien triste." ["I had the impression that there would be no war. I would have wished that it were through Hitler's retreat that it would not take place. Fate or the weakness of men decided otherwise. We lacked - and England too - men who were equal to the circumstances. It is very sad."] Wahl relates his meeting with the poet Lucien Jacques, also translator of Moby Dick: "Sans le roman traduit de Melville, les Cahiers du Contadour me paraissent de second ordre. [...] Lucien Jacques est très sympathique." ["Without Melville's translated novel, the Cahiers du Contadour seem second-rate to me. [...] Lucien Jacques is very likeable."] He ends his letter: "J'admire beaucoup le talent du conteur Panaït Istrati. Conteur qui fait surgir les émotions comme celles que fait naître la musique." ["I greatly admire the talent of the storyteller Panaït Istrati. A storyteller who brings forth emotions like those that music creates."]

Autograph letter signed by Jean Wahl addressed to Marc Barbezat, two and a quarter pages written in black ink on two sheets. Envelope included. Transverse fold inherent to the mailing.
Jean Wahl was Marc Barbezat's examiner for the philosophy baccalaureate examination, and it was then that the two men became friends. In 1940, shortly after this letter was written, Barbezat would found the review L'Arbalète to which the philosopher would contribute by entrusting his very first poems to his young protégé. This review would later become a publishing house that would notably publish Jean Genet's first and scandalous texts.
Long letter notably discussing the sculptor Agustín Cárdenas: "J'ai lu avec plaisir ce que vous disiez du témoignage de Cardenas. (Croyez-vous cependant que les animaliers d'aujourd'hui soient si méprisables ?)" ["I read with pleasure what you said about Cardenas's testimony. (Do you really think that today's animal sculptors are so contemptible?)"] He then lists some "auteurs lyonnais" ["authors from Lyon"] of his acquaintance: "Albert Marie Schmidt [...] qui vient de faire paraîtreune thèse sur la poésie scientifique au 16ème siècle. Il y parle de Maurice Scève. [...] 2° Un jeune russe Balacheff [...] 3° Boas, professeur à l'université de Glasgow, Scotland [...] 4° Marcel Raymond, l'auteur de Baudelaire au Surréalisme [...] 5° Joseph Rouault, spécialiste de Du Bellay [...] Peut-être pourriez-vous écrire à [Georges] Blin [...]" ["Albert Marie Schmidt [...] who has just published a thesis on scientific poetry in the 16th century. He speaks of Maurice Scève there. [...] 2° A young Russian Balacheff [...] 3° Boas, professor at the University of Glasgow, Scotland [...] 4° Marcel Raymond, the author of Baudelaire to Surrealism [...] 5° Joseph Rouault, specialist in Du Bellay [...] Perhaps you could write to [Georges] Blin [...]"]

Signed autograph letter from Jean Wahl addressed to Marc Barbezat, one page written in black ink on a sheet. Envelope included. Transverse fold inherent to the mailing.
Jean Wahl was Marc Barbezat's examiner for the philosophy baccalaureate examination, and it was then that the two men became friends. In 1940, shortly after writing this letter, Barbezat would found the journal L'Arbalète to which the philosopher would contribute by entrusting his very first poems to his young protégé. This journal would later become a publishing house that would notably publish the first and scandalous texts of Jean Genet.
Letter in response to a request from Marc Barbezat who had undoubtedly asked Wahl for a text: "I definitely cannot send you anything of mine." He mentions Marcel Raymond and gives Balacheff's address.

Signed autograph letter from Jean Wahl addressed to Marc Barbezat, one page written in black ink on a sheet. Envelope included. Transverse fold inherent to the mailing.
Jean Wahl was Marc Barbezat's examiner for the philosophy baccalaureate examination, and it was then that the two men became friends. In 1940, shortly after writing this letter, Barbezat would found the journal L'Arbalète to which the philosopher would contribute by entrusting his very first poems to his young protégé. This journal would later become a publishing house that would notably publish the first and scandalous texts of Jean Genet.
Wahl quotes Maurice Scève, Jacques Peletier du Mans and Ozanam in this letter.

First edition, one of 110 numbered copies on laid Lafuma Navarre paper and reimposed in Tellière quarto format, deluxe copy.
Bradel binding in half navy blue straight-grained morocco, smooth spine, gilt date at foot, marbled paper boards, covers and spine preserved, bibliophile's label pasted at foot of one pastedown as bookplate.
Handsome copy.

Autograph letter signed by Jean Wahl addressed to Marc Barbezat, one and a half pages written in black ink on a sheet. On the attached envelope, one can see that the mail was redirected to another address, as Marc Barbezat had just been mobilized. Transverse folds inherent to mailing and two corner folds.
Jean Wahl was Marc Barbezat's examiner for the philosophy baccalaureate exam, and it was then that the two men became friends. In 1940, shortly after writing this letter, Barbezat would found the magazine L'Arbalète to which the philosopher would contribute by entrusting his very first poems to his young protégé. This magazine would later become a publishing house that would notably publish Jean Genet's first and scandalous texts.
"J'ai conservé de la soirée passée avec votre amie et vous un souvenir délicieux en redonnant à ce mot un peu usé sa valeur. Ce qui prouve que, même de cette horrible époque, on peut conserver d'excellents souvenirs. [...] Et cette note pour la NRF dont vous m'aviez parlé ?" ["I have kept a delicious memory of the evening spent with your friend and you, giving this somewhat worn word back its value. Which proves that even from this horrible period, one can retain excellent memories. [...] And what about that note for the NRF you had mentioned?"]
Attached is a press clipping, evidently extracted from the Nouvelle Revue Française of December 1939.

Autograph letter signed by Reynaldo Hahn addressed to Madame Serge André and written on a blue paper letter-card in blue ink. Central fold inherent to the mailing.
Dominique André is a poetess, novelist and playwright. She notably published under the pseudonym Claude Isambert.
Charming letter of thanks: "Merci, chère amie, de m'avoir envoyé ce bouquet de fleurs épineuses et embaumées de tant d'arômes divers." ["Thank you, dear friend, for having sent me this bouquet of thorny flowers perfumed with so many diverse aromas."] The composer also mentions the collection of poems Cassandre that his friend published the same year by éditions du Divan: "Cassandre, si elle avait votre clairvoyance n'aurait pas votre philosophie triste et douce - ni votre esprit ! J'ai passé une heure mélancolique et charmante à respirer les émanations de votre pensée." ["Cassandra, if she had your clairvoyance would not have your sad and gentle philosophy - nor your wit! I spent a melancholic and charming hour breathing the emanations of your thought."]

First edition and first printing of the illustrations by Tony Johannot, Paul Gavarni and Jean Gigoux.
Half chocolate brown morocco binding with corners, spine with five raised bands set with gilt dots and decorated with gilt typographical motifs set within double gilt compartments, gilt date at foot, gilt friezes at head and foot, gilt fillet frame on pebbled paper boards, combed paper endpapers and pastedowns, top edge gilt, handsome romantic covers and spine (lined and with slight lacks of no importance at head and foot) preserved, elegant binding signed David.
Occasional foxing.
Handsome copy perfectly executed.

New edition printed in 100 numbered copies on Japan paper and consisting of the 1750 reprint.
Text by Charles de Brosses.
Work illustrated with 4 plates hors-texte.
Some light foxing, a bibliophile's label pasted at foot of endpaper as bookplate.
Handsome copy.

First edition, one of 16 numbered copies on pur fil paper, ours one of 6 hors commerce copies, the only deluxe copies.
Work illustrated with 13 photographic plates hors-texte.
Some light foxing, small marginal tears to covers, full-margined copy.
Manuscript note by Gaston Bergery on the front endpaper: "Pour donner à L. FL l'envie de partir. G." ["To give L. FL the desire to leave. G."] as an autograph inscription.

Signed autograph note by Reynaldo Hahn addressed to Madame Serge André and written on a white paper letter-card in blue ink. Central fold inherent to the mailing.
Dominique André is a poetess, novelist and playwright. She notably published under the pseudonym Claude Isambert.
Reynaldo Hahn declines an invitation from his friend: "Est-ce possible, chère Madame ! Vous m'invitez à goûter ! Hélas, je ne pense pas aller nulle part dans la journée ! Un soir à l'Escargot d'Or on avait projeté de se voir : Lacretelle devait me faire signe - que sais-je ?" ["Is it possible, dear Madame! You invite me for afternoon tea! Alas, I don't think I'm going anywhere during the day! One evening at the Escargot d'Or we had planned to see each other: Lacretelle was supposed to let me know - what do I know?"]

Signed autograph note by Reynaldo Hahn addressed to Madame Serge André and written on a white paper letter-card in blue ink. Central fold inherent to the mailing.
Dominique André is a poetess, novelist and playwright. She notably published under the pseudonym Claude Isambert.
"J'ai trop tardé, chère Madame, à vous remercier de votre livre et du plaisir qu'il m'a procuré. Plaisir amer et trouble - mais rare. Ce qui est particulièrement remarquable en ces pages, c'est leur extrême distinction..." ["I have delayed too long, dear Madame, in thanking you for your book and the pleasure it has given me. Bitter and troubled pleasure - but rare. What is particularly remarkable in these pages is their extreme distinction..."]

Correspondence of 4 autograph letters signed by Émile Le Noir, written in black ink on 16 pages and addressed to the young chartist and paleographer Paul de Fleury (1839-1923) author of several works on organs and who also made the inventory of manuscripts at the library of Poitiers. Discreet transverse folds inherent to mailing.
Interesting friendly correspondence evoking mutual acquaintances (the organists Dessane, Joseph Franck and Lefébure) and compositions by Émile Le Noir.
"M. Dessane [this is probably Léon-Auguste Dessane, chapel master, organist of the great organ of Saint-Ambroise, second organist of Saint-Sulpice, one of the sons of violinist Louis Dessane] l'organiste de Saint-Sulpice, le remplaçant de M. Franck [il s'agit de Joseph Franck, le frère cadet de César Franck], se rend à Poitiers pour les affaires de famille à la suite de la mort de son père." ["M. Dessane, the organist of Saint-Sulpice, M. Franck's replacement [this is Joseph Franck, César Franck's younger brother], is going to Poitiers for family business following his father's death."] Émile Le Noir had a copy of his Cantiques delivered to him. He has not received the report on the reception of the Saint-Louis organ, asks Paul de Fleury to send him the composition of the choir organ of the Madeleine in Paris which must be in Georges as well as that of Notre-Dame de Vitré which is by Ducroquet.
"L'affaire de mes cantiques est loin d'être terminée (...) quant au Libera de Monsieur d'Aubigny [un ami du père de Paul de Fleury], j'aime mieux attendre à être à Paris pour traiter cette affaire de vive voix avec Monsieur Franck (...) J'ai eu à apprendre à la gent enfantine une messe de Monsieur Franck pour la Saint-Jean" ["The matter of my cantiques is far from finished (...) as for Monsieur d'Aubigny's Libera [a friend of Paul de Fleury's father], I prefer to wait until I'm in Paris to deal with this matter in person with Monsieur Franck (...) I had to teach the children a mass by Monsieur Franck for Saint John's Day"]. He then evokes the Libera composed by Monsieur d'Aubigny: "J'ai porté le susdit Libera à M. Franck qui l'a trouvé à son goût, mais engage M. d'Aubigny à le faire chanter par 4 voix d'hommes. Je n'ai pas eu l'occasion de le montrer à M. Dubois [l'organiste et compositeur Théodore Dubois], mais je sais qu'il fait chanter des Libera en musique, je ne sais à quel moment de l'office à Saint-Sulpice" ["I brought the aforesaid Libera to M. Franck who found it to his taste, but advises M. d'Aubigny to have it sung by 4 men's voices. I haven't had the opportunity to show it to M. Dubois [the organist and composer Théodore Dubois], but I know he has musical Libera sung, I don't know at what moment of the service at Saint-Sulpice"]. He then gives details about this chant. "Monsieur Lefébure [Lefébure-Wely, organiste] est en vacances depuis plusieurs semaines, c'est M. Dessane qui le remplace. Dimanche dernier, il a fait un orage involontaire, les deux coudes sont tombés sur le clavier (...) Monsieur Franck n'est plus à Saint-Sulpice, on lui propose une très bonne place en province qu'il a accepté, c'est M. Dessane un de ses concurrents du mois d'octobre et un protégé de celui d'en haut qui a eu la place" ["Monsieur Lefébure [Lefébure-Wely, organist] has been on vacation for several weeks, it's M. Dessane who replaces him. Last Sunday, he made an involuntary storm, both elbows fell on the keyboard (...) Monsieur Franck is no longer at Saint-Sulpice, he was offered a very good position in the provinces which he accepted, it's M. Dessane one of his competitors from October and a protégé of the one above who got the position"]. He evokes a mass at Saint-Augustin during which he heard Barker's electric organ: "il est bon ? l'inauguration n'a pas eu lieu, je ne sais pas encore quand ce sera (...) Je dois aller dimanche prochain en remplacement orguener à notre Saint-Sulpice" ["is it good? the inauguration hasn't taken place, I don't yet know when it will be (...) I must go next Sunday as a replacement to play organ at our Saint-Sulpice"] and gives the description of the instrument.

First edition consisting of 26 full-page drawing plates by Ferdinand Bac.
Preface by Marcel Prévost.
Bradel binding in half red cloth with corners, smooth spine, black shagreen title-label, gilt date at foot, gilt fillet frame on marbled paper boards, speckled endpapers and pastedowns, original wrappers preserved, corners slightly bumped, contemporary binding.
First wrapper preserved but tending to come loose, light superficial scuffing to boards without significance.

First edition, one of 80 numbered copies on pur fil du Marais paper, the only deluxe copies along with a few other pur fil du Marais hors commerce copies.
Handsome copy.
Volume II only.
Provenance: from the family library of Alfred Fabre-Luce.

First edition, one of 50 numbered copies on pur fil du Marais paper, the only deluxe copies along with a few other pur fil du Marais hors commerce copies.
Handsome copy.
Volume III only.
Provenance: from the family library of Alfred Fabre-Luce.

First edition, a Service de Presse (advance) copy.
Spine slightly browned and rubbed at foot.
Autograph inscription signed by Henri de Kerillis to Alfred Fabre-Luce enriched with the signature of Raymond Cartier.

First edition.
Handsome copy.
Dated autograph inscription signed by an official of the association of friends of Fernand de Brinon to Alfred Fabre-Luce: "... ce dernier effort de l'auteur qui n'est plus pour se faire entendre vivant." ["... this final effort of the author who is no more to make himself heard while living."]