Latest Acquisitions

First edition of this issue dedicated to Pierre Boujut.
Handsome copy.
Preface by Pierre Chabert.
Texts by Pierre Boujut.
Cover illustrated with a drawing by Louis Mésonnier.

First edition.
Handsome copy.
Signed and inscribed by Pierre Lartigue to Charles Dobzynski.

First edition.
Stained covers, handsome interior condition.
Contributions by Edmond Humeau, Albert l'Ons, Pierre Boujut, Abélard de Kernako, Adrian Miatlev, Emmanuel Eydoux...

First edition.
Our copy is presented in temporary full marbled paper covers, with handwritten title label pasted at head of first cover.
Small gift inscription in pen at head of title page, occasional foxing, one small hole not affecting text at head of table of contents page.
Rare and handsome copy complete with its folding plate at rear illustrated with 8 figures.

New edition. Limited to 150 copies, numbered and initialed by the publisher in manuscript. Copy no. 82. All pages with Renaissance-style chromotypography borders. Initial letters and rules, titles in gold. Preliminary notice by Albert de Rochas.

Modern full raspberry morocco binding signed by Christiane Pesquet. Smooth spine with title along length. Boards with wide bands of fleur-de-lis paper. The same paper is found on the endpapers, the second endpapers with gold paper. Spine uniformly lightened, otherwise handsome copy.

Copy with covers and spine preserved, uncut, full-margined, as issued.

This tale was written at the beginning of the 16th century and had several editions, the last of which seems to date back to 1555. The attribution to Jeanne de Flore is not certain but probable.

First edition.
Handsome copy.
Cover illustrated by Jacques Monory.
Fine autograph inscription dated and signed by André Velter to Charles Dobzynski.

First edition.
Contributions by Herman Melville "Le campanile", Georges Bataille "La discorde", Michel Leiris "Divisé", Tristan Tzara "Avoir le temps", Julien Gracq "La barrière de Ross", Clément Pansaers "Comment le père Pansa faillit devenir bio-chimiste", Raymond Queneau "Un poème"...
Spine with two small lacks at head and foot, small corner lacks to second cover

Complete collection of 24 issues and 18 fascicules of this literary review animated by numerous poets.
Contributions by Paul Fort, Léon Vérane, Paul Jamot, Gaston Foubert, Germaine Lepage, René Duart, René Maublanc, Mercutio, Roger Vailland, Vincent Muselli, Georges Delaw, Touny-Léris, Paul Neveux, Max Buffenoir, Adolphe Willette, A.M. Gossez, Marcel Sézanne, Emile Sedeyn, Roger Lecomte, Théotime...
Illustrations by Georges Delaw, Auguste Lepère, André-Edouard Marty, Adolphe Willette, Léon Bellot, Maurice Louvet, Edmond Chauvet, Eugène Bourgouin, Robert Coutin, Claude Renard, Pierre Subtil, Denise Hubrecht-Petitjean,
Handsome and rare complete set including issue N°10-11 entirely devoted to French Haïkaï.
We include a visiting card from René Druart on which he has added a few manuscript words as well as an autograph letter signed and dated January 4, 1924 on letterhead of the review "Le Pampre" also by René Druart.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by André Comte-Sponville to Françoise Garçin.

Original ink drawing heightened with blue pencil, signed "G.B." and titled "Rallye-Paper".
A light shadow around the subject, vestige of a frame as well as some fold marks.
Numbered stamp on verso as well as a manuscript indication for printing probably in a newspaper: "à la largeur de la page" ["to the width of the page"].

First edition, one of 100 numbered copies on deluxe paper, the only deluxe copies.
Handsome copy presented in sheets, under double chemise and wine-colored slipcase.
A tear with split to one joint of the slipcase, handsome copy.
Beautiful autograph inscription dated and signed by Henri Queffelec to Doctor Henri Moreau: "... grand connaisseur et grand ami de la mer, en espérant qu'il trouve ici un peu d'aliment pour la nostalgie maritime dont il doit souffrir à Paris - bien qu'il soit docteur !..." ["...great connoisseur and great friend of the sea, hoping that he finds here some nourishment for the maritime nostalgia from which he must suffer in Paris - although he is a doctor!..."]

First edition, one of 35 numbered copies on pur fil paper, the only deluxe copies.
A handsome copy despite minor worming to the top edge and at the head of the spine.

Handwritten signed postcard addressed to Juan Luis Buñuel
s.d(ca 1967), 15.7 x 10.8 cm, a postcard
Handwritten postcard signed by Alexander Calder addressed to Juan Luis Buñuel on the back of a reproduction of his work On the High Wire.
Two small perforations in the upper margin of the card, as is usual in Juan Luis Buñuel's collection.
”What an incredible face Luis had, I was glad to see “Belle de Jour” for the first time.”

In 1939, Luis Buñuel, who had just received an offer to work in Hollywood, decided, with his wife and child, to leave the chaotic situation in Europe to go and live the American Dream. The penniless Buñuels initially spent a few precarious months living in New York. Luis Buñuel found himself forced to ask Dali—his longstanding friend in exile, along with Gala, during these years—to lend him some money.
His request was refused in no uncertain terms, putting an end to the two men's friendship. Thus it was Calder, whom Luis had perhaps already met in Paris in the 1920s, who put the whole family up in his Upper Side apartment. Juan Luis Buñuel, the artist's godson, sensed that his interest in sculpture began in this same period: “When Dali told my father he would not lend him any money, he contacted him [Calder]. He offered his house to us and we lived with his family for a time. I can only vaguely remember it, but it was then that I started to become interested in sculpture and he encouraged me” (Anton Casto, Juan Luis una entrevista).
Despite the geographical distance that would come to separate them, Alexander Calder would remain a friend of the Buñuel family. The relationship between the artist and the film-maker is, however, almost entirely absent from the biographies, and this correspondence is a rare testimony to the profound connection between the sculptor and the Buñuel family.

First edition, illustrated with 44 wood-engraved plates and numerous wood-engraved vignettes in the text (the title page announcing 300 drawings) after Nanteuil, Gavarni... A handsome Romantic illustrated work. 2 frontispieces, the first by Nanteuil, the second by Edouard de Beaumont.
Contemporary half dark green shagreen binding. Spine with flat false raised bands decorated with compartmentalized Romantic tools, gilt and blind fillets. Boards rubbed, corners turned over and bumped. Light scattered foxing. A good copy, with attractive decorative spines.
Historical texts on the streets of Paris by Jules Janin, Eugène Briffault, Louis Huart... under the direction of Lurine. The work traces the history of certain streets of Paris, squares, districts... the most famous of the capital.

New edition.
Half wine-red cloth with corners, smooth spine, marbled paper boards, endpapers and pastedowns, covers and spine preserved.
Handsome copy.

First edition, one of 150 numbered copies on Holland paper and reimposed in Tellière quarto format, deluxe copy.
Half khaki green shagreen binding, spine with four raised bands, gilt date at foot, boards with abstract decorative pattern paper, marbled endpapers and pastedowns, original wrappers preserved.
Trace of removed bookplate on one pastedown.
Handsome copy of the author's first work.

Edition illustrated with original watercolors by Camis, one of 50 numbered copies on Japan paper, deluxe copy.
Handsome copy.
Our copy does include, at the end of the volume, a duplicate suite in violet of the illustrations but is not complete with its original watercolor contrary to what is indicated in the justification page.

Third edition with some parts in first edition.
Rare and handsome copy

First edition, one of 444 numbered copies on green cider paper.
Handsome copy

First edition, one of 399 numbered copies on bis paper.
Handsome copy

First edition, one of 529 numbered copies on ordinary paper.
Handsome copy illustrated with photographs and complete with its illustrated dust jacket showing clear dampstains to the margins of the back cover.

First edition, one of 333 numbered copies under pink flower wrappers.
Covers slightly and marginally sunned without significance, a tiny lack at head of second cover.

First edition, one of 320 numbered copies on Annonay laid paper, the only deluxe copies after 50 on Holland paper.
A tiny lack at foot of spine at the deckled edges, three small discoloration spots on the spine, handsome copy.

First edition, one of 20 numbered copies on Japan paper, deluxe issue.
Texts by Francis Carco, Odette Pannetier, Georges de La Fouchardière, Jacques de Lacretelle and Jean Sennep.
Each text in order is illustrated by André Galland (for Carco), Auguste Roubille (Odette Pannetier), Joseph Hémard (Georges de la Fouchardière), Hellé Hamon (Jacques de Lacretelle) and Jean Sennep (Jean Sennep).
Handsome copy complete with its slipcase.

Large photographic portrait of Jean Cocteau inscribed by Cocteau to Willy Michel Extremely rare photographic portrait of Jean Cocteau, in contemporary silver print, produced during the shooting of Serge de Pologny's film Le Baron fantôme for which he wrote the dialogues.
Beautiful, signed autograph inscription, in the upper margin of the photo, to which Cocteau has added his famous little star: “à mon cher willy Michel. Souvenir très amical de nos complicités cinématographiques. Le Baron fantôme, Jean Cocteau. 1943” “To my dear Willy Michel. Very fond memory of our film-making complicity. Le Baron fantôme, Jean Cocteau. 1943”
Some tiny lacks in the left margin of the photograph.
Magnificent large photographic portrait offered to the photographer Willy Michel, who installed the first photo booth in France in his studio and became famous for his “selfies” with all the artists, actors and writers of his time.
With this superb, highly expressive, photograph in costume, Cocteau offers this bibliophile, patron of artists and accustomed to cinema sets, an item of choice for his famous collection of portraits and artists' signatures.

A wonderful highly expressive portrait of which we have not found any other copy in international public collections.

First edition of the French translation, one of 25 numbered copies on Annam vellum, deluxe copy.
Work illustrated with a frontispiece by Guillaume Monin.
Handsome copy retaining its publisher's wraparound band.

First edition, one of 33 numbered copies on handmade paper, the only deluxe copies.
A handsome copy.

Illustrated edition with drawings by Piem.
Publisher's full white cardboard binding, smooth spine, illustrated front cover.
Handsome copy.
Amusing signed autograph inscription by Piem enriched with a drawing showing Piem watching a television whose screen is replaced by the two figures to whom this copy is dedicated: "Georges et Gilles, ça me change un peu. Amicalement. Piem." ["Georges and Gilles, this is a nice change for me. With friendship. Piem."]

Illustrated edition with 120 original drawings by Daniel Vierge, one of 100 numbered copies on China paper.
Half tawny morocco binding with corners, spine with five raised bands set with double gilt fillets decorated with double gilt compartments, the compartments enriched with mosaic morocco pieces in red, blue, brown and green, gilt fillet frame on marbled paper boards, combed paper endpapers and pastedowns, covers and spine preserved (front cover entirely sunned), top edge gilt, contemporary binding signed Stroobants.
Handsome copy in perfect condition.
The work is complete with the portrait of Daniel Vierge as frontispiece, engraved in mezzotint, and the "remarque" by Daniel Vierge on the half-title page.
Our copy includes a suite of four unpublished original watercolors by Daniel Vierge engraved as etchings by G. Noyon, here in three states including pure etching and proof with remarque.
At the end of the volume and following, the prospectus written by Edouard Pelletan is included.
Manuscript signature of Daniel Vierge below the justification page.

Edition decorated with color illustrations by Lucien Boucher, one of 50 numbered copies on Japan paper, deluxe issue after 3 old Japan copies.
Full chocolate brown morocco binding, spine with four raised bands, gilt date at foot, endpapers and pastedowns of marbled paper, gilt fillet frame and double hazelnut brown mosaicked morocco fillet on pastedowns, covers and spine preserved, top edge gilt retaining deckled edges, slipcase with chocolate brown morocco entry, marbled paper boards, hazelnut brown felt lining, contemporary binding signed J. Van West.
Handsome copy beautifully bound in full morocco by J. Van West.
Our copy is exceptionally expanded with three original signed watercolors by Lucien Boucher (with manuscript notes in pencil) that served for the illustrations on pages 29, 140 and 261.

Illustrated edition with 31 original color compositions by Marianne Clouzot, one of the numbered copies on handmade rag paper.
Half turquoise blue morocco with corners, smooth spine decorated with a floral frieze made of blue and red mosaicked morocco pieces, marbled paper boards, endpapers and pastedowns of the same paper, covers and spine preserved, top edge gilt.
Handsome copy beautifully bound.

First edition published anonymously and decorated with original illustrations in red chalk by Joseph Roy, one of 25 numbered copies on Japan paper, the only deluxe copies.
Bradel binding in half brown morocco with corners, faded spine with five raised bands set with gilt dots decorated with double gilt compartments richly decorated, date gilt at foot, frame of gilt fillets on pebbled paper boards, combed paper endpapers and pastedowns, covers preserved, light rubbing to corners, binding signed Carayon.
Some light foxing affecting essentially the endpapers.
Rare.
Manuscript signature of the publisher below the edition statement.

First edition, one of the rare copies on laid paper of which no mention is made.
Full black morocco binding, spine with five raised bands, place and date gilt at foot, cold-stamped roulettes on headcaps, marbled paper endpapers and pastedowns, frame of double gilt fillets and gilt fleurons in corners of pastedowns, covers and spine preserved, small tear on second cover, top edge gilt, contemporary binding signed René Kieffer.
Preface by Edmond Frank, work illustrated with a portrait of the author as frontispiece drawn and engraved by H. Danger.
Our copy is enriched with a double portrait of Paul Marrot as frontispiece and bears an autograph inscription signed by H. Danger to the preface writer of the work, Edmond Frank.
Fine and rare deluxe copy established in a full morocco binding signed René Kieffer.

First edition, one of 100 named copies reserved for friends of the author on vellum, no other deluxe copies are mentioned.
Rare and handsome full-margined copy in black sheepskin-effect covers.

Invitation card to the Quat'z'Arts Ball - “L'Entrée de Cyrus dans Babylone”
PMarmy, Paris 1925, 22.5 x 32 cm, one leaf
Invitation card to the Quat'z'Arts Ball - “L'Entrée de Cyrus dans Babylone” which took place on 22 June 1925 in Wagram. Very beautiful colour illustration by Théo Sardnal depicting Cyrus the Great.
This rare document presents the tickets in the lower margin and solemnly specifies: “Le comité sera impitoyable pour tout costume qui ne sera pas de l'époque” “The committee will be ruthless with all costumes that are not of the era”.
The first Quat'z'Arts ball, a great celebration organised by the students of the École nationale des beaux-arts in Paris, took place on 23 April 1892. This tradition continued until 1966.
A superb copy in bright colours and in new condition.

Definitive edition illustrated with 24 original etchings by Edouard Chimot, one of 355 numbered copies on Arches vellum.
Full black morocco binding, smooth spine decorated with horizontal palladium bands heightened with horizontal lines of red and brown mosaic morocco, cold-stamped roulettes on headcaps, traces of rubbing on one weakened joint, covers decorated with a large interlacing design in palladium set with pieces of red and green mosaic morocco, endpapers and pastedowns of moiré-effect paper, frame of palladium fillet and palladium fleurons in corner-pieces of pastedowns, covers and spine preserved, cold fillet on edges, top edge gilt, slipcase bordered with black morocco, marbled paper boards, beige felt interior, contemporary binding signed René Kieffer.
Handsome copy in a spectacular Art Deco binding in full mosaic morocco signed René Kieffer.

First edition, one of 50 numbered copies printed on Japon impérial, the deluxe copies after 1 unique Japon and 19 vieux Japon.
Handsome copy.
Work illustrated with original etchings by Camille Roche.
Handsome copy complete with the double state of the etchings, with a proof of the cancelled plate as stipulated in the justification page.
Our copy lacks its slipcase, bookplate pasted on an endpaper.

First edition, one of 26 numbered copies on Japan paper, deluxe issue after 25 on China paper.
Half green morocco with corners, smooth spine decorated with two turquoise mosaic morocco cartouches adorned with a scattering of gilt stars as well as gilt ink pot, life buoy and sailor's beret, gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, elegant contemporary binding signed Affolter.
Spine and boards marginally lightened.
A handsome, perfectly established copy.
Provenance: from the library of the Duke of Massa with his engraved bookplate mounted on an endpaper.

First edition, one of 950 numbered copies on pure rag Johannot paper, the only deluxe copies after 50 on Renage vellum.
A handsome copy despite the spine and boards very slightly and marginally sunned.

Edition illustrated with 30 original compositions, 19 lithographs and 11 drawings printed in sanguine, by Edouard Chimot, one of 75 numbered copies on Annonay laid paper.
Full red shagreen binding, smooth spine, pebbled paper endpapers and pastedowns, covers preserved, top edge gilt.
Handsome copy well complete as indicated in the justification page with its original drypoint, the compositions finished in colors and a suite in black of the illustrations.

First edition printed on alfa paper.
Half purple morocco binding with corners, spine slightly faded with four raised bands decorated with a gilt and watercolored compartment representing la Bechellerie, moiré-effect paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, bookplate pasted on a pastedown.
Handsome copy attractively bound.

First edition.
Publisher's full navy blue boards, smooth spine, blue edges.
Handsome copy.

First edition, one of 250 numbered copies on Holland paper, deluxe copies.
Iconography.

First edition.
Abundant iconography.
Fine copy of this guide for collectors of illustrated books printed in Belgium before the 18th century.

First edition, one of 1010 numbered copies on Johannot paper, the only printing with 140 on Japan paper.
Work illustrated with heliotype plates.
Minor scuffs to the joints of the board chemise, a shadow on the endpaper, otherwise handsome interior condition.

Rare period photograph of Fernand Destouches (1865-1932), father of Louis-Ferdinand Céline, carte-de-visite format albumen print mounted on card from studio A. Émile.
Two small adhesive marks to lower margin of the print, also showing two tiny lacks to upper corners. Manuscript caption on verso.

One of the principal protagonists of Death on the Installment Plan, the petit-bourgeois Fernand Destouches from Le Havre is transformed by his son into a formidable belching and irascible character:
« Mon père Auguste, il tripotait, sacrait, jurait, déglinguait chaque fois la douille et le manchon. C'était un gros blond, mon père, furieux pour des riens, avec un nez comme un bébé tout rond, au-dessus de moustaches énormes. Il roulait des yeux féroces quand la colère lui montait. Il se souvenait que des contrariétés. Il en avait eu des centaines. Au bureau des Assurances, il gagnait cent dix francs par mois. » ["My father Auguste, he fiddled, swore, cursed, broke the socket and sleeve every time. He was a big blond, my father, furious over nothing, with a nose like a baby's all round, above enormous mustaches. He rolled fierce eyes when anger rose in him. He only remembered annoyances. He'd had hundreds of them. At the Insurance office, he earned a hundred and ten francs a month."] (Death on the Installment Plan, Denoël & Steele, 1936)
Throughout his life Céline maintained an atmosphere of fictional romance around his father's life and claimed that he held a baccalaureate and a degree in letters. The family's financial failures as well as his father's aborted ambitions, amplified by Céline into sordid proletarian dramas, served as the cornerstone for Death on the Installment Plan, which he forbade his mother to read.

Of utmost rarity.

Second edition.
Publisher's full blue cloth binding, smooth spine, with the illustrated dust jacket
Iconography.
Handsome copy.

First edition, on ordinary paper, of the French translation by Philippe Jaccottet.
Spine and boards marginally sunned as often.
Rare complete copy in 4 volumes.

First edition, one of 175 numbered copies on vellum, deluxe copy.
Handsome copy

Important first edition.
Half havana sheep binding, smooth spine decorated with gilt fillets, two light dampstains on spine which also shows some scuffs, marbled paper boards, contemporary binding.
Some foxing, one dampstain in margins of final leaves not touching text.
Rare autograph inscription signed by Etienne Jean Georget: "L'auteur à son confrère le Dr Moulin. Georget." ["The author to his colleague Dr. Moulin. Georget."]

New edition of the French translation illustrated with 30 original etchings by Maurice de Becque, one of 250 numbered copies on handmade Rives laid paper.
Half tawny morocco binding with bands, spine with five raised bands alternately set with red and brown mosaic morocco fillets, wood-grain paper boards framed with red and green mosaic morocco fillets, brown paper endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, contemporary Art Deco binding.
Handsome copy skillfully bound.

First edition in volume, one of 50 numbered copies reimposed on Japon impérial, deluxe issue after 1 unique Japon and 19 vieux Japon.
Handsome copy despite the spine and covers slightly and marginally lightened as usual.
Work illustrated with a portrait of the author engraved with dry-point by Lucien Madrassi and original woodcuts by Paul de Pidoll.
Handsome copy complete with the double state of the dry-point, the proof of the cancelled copper plate and the suite of color illustrations as stipulated in the justification page.
Our copy lacks its slipcase.

First edition, one of 150 copies on B.F.K. de Rives, the only issue after 50 other deluxe copies.
Some discreet restorations to spine and covers.
At the colophon, our copy is exceptionally enriched with the very rare manuscript signature of Louis-Ferdinand Céline, then in exile in Denmark.
The publisher, Pierre Lanauve de Tartas, specified, just above Céline's signature, "Author's copy".
This very rare copy indeed bears, printed on the front cover, the initial title of the work: Lettre à J. B. Sartre. We include the flying slip bearing the final title "à l'agité du bocal" which was glued onto the entirety of the print run subsequently distributed.

Precious author's copy of Céline's scathing response to Jean-Paul Sartre, who, in Réflexions sur la question juive, had accused him of having been paid by the Germans under the Occupation for having held such indefensible antisemitic positions.

First French edition, one of the few named copies on Japan paper for each of the volumes, the recipient's name having been neatly erased.
Spine and covers slightly and marginally lightened.

First French edition, one of the few named copies on Japan paper, the recipient's name having been neatly erased.
Spine and covers slightly and marginally lightened, a small tear at the foot of the spine.

Edition with some parts in first edition for which no deluxe copies were printed, one of the advance copies.
Precious signed autograph inscription from Henri Michaux to his schoolmate and friend Robert Guiette.
Handsome rare copy with signed autograph inscription.

Edition ornamented with original color illustrations by Jean-Marie Camus, one of 40 numbered copies on Arches vellum with wide margins, deluxe issue after 10 other Arches copies.
Our copy includes, as indicated in the print justification, a complete color suite of all illustrations.
The slipcase and chemise are missing.
Handsome copy.

First edition, one of the copies on Japon.
Texts by Jules Renard, Anatole France, Sully-Prudhomme, Gustave Geffroy, Louis Tynaire, Gabriel Séailles, René Binet, Georges Renard...
Lithographed or wood-engraved illustrations in red and black by Eugène Carrière, Félix Régamey, Carlos Schwabe, Georges Rochegrosse, Alfred Lenoir, Auguste and Georges Leroux, Daniel Vierge, Charles Fouqueray, Théophile-Alexandre Steinlen, Lucien Vogel, Charles Léandre, Henri Fantin-Latour, Eugène Grasset, Alexandre Lunois, Georges Scott...
Bradel binding in full paper, palladium title on smooth spine, marbled endpapers and pastedowns, covers and spine preserved, top edge palladium.
Handsome copy attractively bound.

Rare uniform set of Didot stereotype editions. The title page of each volume is preceded by an advertising and presentation leaf of the edition composed as follows: This stereotype in-18 edition is sold in Paris, by P. Didot l'Aîné and by Firmin Didot. Price in sheets: Ordinary paper, fine paper, laid paper, deluxe laid paper. All the present editions are printed on laid paper or deluxe laid paper. Let us recall that it was François Ambroise Didot who perfected the manufacture of laid paper in France in 1780, which was particularly well suited to printing Didot typefaces.
Contemporary full red Russia leather binding. Smooth spine decorated with 5 fleurons and multiple roulettes. Decorative frames on the boards. Roulette on the leading edges and interior. Gilt edges. Some rubbing.
Superb set, very rare in this condition.
Details of the editions:
Fables de La Fontaine suivies d'Adonis, poeme. An VII. (cxij, 136pp. et (4) 256pp.) Trace of dampstaining in lower margin from leaf xlix to cx. 2 volumes. Handsome set with fresh paper.
Poésies de Malherbe. An VIII. (xxiv, 202pp.). Trace of pale dampstaining in upper margin throughout the volume, fading, reappearing... 1 volume. Handsome copy.
Oeuvres de Regnard. 5 volumes. 1801. xxiij, 275pp. (1) et 268pp. (1) et 266pp. (1) et 265pp. et (2) 252pp. 2 borders rubbed over several cm. Handsome copy with fresh paper.
Oraisons funèbres de Fléchier. 2 volumes. (4) 253pp. (4) et 256pp. Trace of dampstaining in upper margin of the first 30 leaves of volume 1, and the first 4 leaves of volume 2, otherwise fresh paper. Handsome copy.
Oeuvres de Racine. 5 volumes. 1803. 267pp. et 288pp. et 290pp. (1) et 264pp. (1) et 317pp. (3). Catalogue at end of stereotype editions. Handsome copy, very fresh.
Lettres persanes par Montesquieu. 1803. 2 volumes. 234pp. et 226pp. 2p. catalogue of stereotype editions. Handsome copy, fresh.
Considérations sur les causes de la grandeur des Romains, par Montesquieu. (4) 262pp. 2p. catalogue. Trace of rubbing at head. Handsome copy, fresh.
Commentaires sur Corneille, par Voltaire. 1806. 4 volumes (4p. catalogue at beginning of volume 1). (2) 299pp. et 332pp. et 336pp. et 224pp. Scattered foxing.
In 1795, Firmin Didot perfected a stereotypy system, usable on an industrial scale. Each page was composed with hollowed matrices into which the alloy was poured directly, avoiding letter-by-letter composition. It was only after 1798 that Didot took up the classics. Let us recall that the famous Didot typeface dominated the entire 19th century, and that the stereotype edition forms a major milestone in the history of printing, as the Elsevier editions were in their time.

Autograph letter signed by Colette addressed to her friend, the man of letters and lawyer Adrien Peytel, one page written in black ink on a double sheet with letterhead from the Grand Hôtel de Noailles et Métropole in Marseille.
A central fold inherent to the mailing of the letter.
Handsome letter addressed from Marseille while Colette was conducting a lecture tour: "I'm finishing my tour. I'll be in Paris on Sunday, and we'll take care of this matter, - which I still haven't understood anything about."
"In November 1923, she dealt with (...) a subject she knew by heart, Le Théâtre vu des deux côtés de la rampe. Her very young lover Bertrand de Jouvenel joined her in Marseille, at the Grand Hôtel de Noailles et Métropole. Scandal: Bertrand de Jouvenel was none other than the son of her second husband, the diplomat Henry de Jouvenel; guaranteed uproar around the fifty-year-old writer, while her husband's son had just celebrated his twentieth birthday. Colette had, two years earlier, initiated the future economist and political scientist into love, in this scandalous liaison which provided the theme and situations for Blé en herbe (published in that same year 1923)." (Rémi Duchêne, L'Embarcadère des lettres)

Autograph letter signed by Colette addressed to her friend, the man of letters and lawyer Adrien Peytel, nine lines written in black ink.
Some folding marks inherent to the mailing of the letter.
"And then damn it, enough already. Here La Cigale is calling me for tomorrow evening, and I haven't stolen it, since I accepted, and even asked, to do the café-concert criticism on the same level as the other."

L'Anniversaire de l'infante
[The Birthday of the Infanta]Edition illustrated with paged and unpaged drawings by Alastair with 110 printed copies, ours is one of 100 copies printed on Holland Van Gelder Zone, the only grand papier (deluxe) copies after 10 Japan Imperial. Scattered foxing, most noticeable at the beginning and end of the volume.

New edition.
Bradel binding in half yellow cloth, smooth spine, navy blue shagreen title label with two small lacks, combed paper boards, endpapers and pastedowns of pebbled paper, covers preserved.
Some minor foxing without gravity.
Rare.

First edition, one of the rare copies numbered and justified by the author on Japan paper of which no mention is made, deluxe copy.
Full red morocco binding, spine with five raised bands set with black fillets, gilt roulettes on the headcaps, gilt monogram of Julia Bartet at the head of the first cover, endpapers and pastedowns of khaki watered silk, frame of quintuple gilt fillets decorated with gilt fleurons in the corners on the pastedowns, covers and spine preserved, top edge gilt on deckled edges, double gilt fillets on the leading edges, slipcase with red morocco entry, marbled paper boards, interior of watered and embroidered silk, superb contemporary full morocco binding signed by Kauffmann.
Very fine signed autograph inscription from Jean Lailler in the form of a quatrain to the actress Julia Bartet: "A Bartet qui m'appprit que la beauté délivre / A l'Amie au grand coeur dont l'appui m'est si doux / A vous par qui j'ai su qu'un seul regard enivre / Ce volume qui doit de vivre / A Bartet - à l'amie - à Vous. / Affectueux hommage. 1er Mai 1910." ["To Bartet who taught me that beauty delivers / To the Friend with the great heart whose support is so sweet to me / To you through whom I learned that a single glance intoxicates / This volume that owes its life / To Bartet - to the friend - to You. / Affectionate tribute. May 1st 1910."]
One joint with some light rubbing, otherwise a very fine and rare copy.
Copy established in a perfect contemporary full morocco binding signed Kauffmann.

Autograph letter signed by Colette addressed to her friend, the man of letters and lawyer Adrien Peytel, two pages written in black ink in hurried handwriting on a double sheet with L'Eclair newspaper letterhead.
A central fold inherent to the folding of the letter for mailing.
Fine letter from Colette, testimony to the confusion that seized France at the dawn of the Great War: "Nothing is working. I am stuck here for a piece they are asking me to write." The writer worries: "I have no news from Sidi [Henry de Jouvenel]. I am creating a whole head of worries for myself. I don't know where he is, he wrote to me that he was leaving with the 29th for the Somme. Ah! la la la la la la..."
"Colette a entendu sonner le tocsin en Bretagne, où elle passait un séjour ensoleillé avec le baron Henry de Jouvenel, et leur fille, dans sa maison de Rozven. La guerre la surprend en plein bonheur, à quarante et un ans. [...] Son mari, appelé dès le 2 août, devant rejoindre le 29e régiment d'infanterie, à Verdun, elle a aussitôt envoyé sa fille, à peine âgée d'un an, avec sa nurse, au château de Castel Novel, en Corrèze - chez sa belle-mère. Et elle est rentrée à Paris." ["Colette heard the tocsin ringing in Brittany, where she was spending a sunny stay with Baron Henry de Jouvenel, and their daughter, in her house at Rozven. The war surprised her in the midst of happiness, at forty-one years old. [...] Her husband, called up from August 2nd, having to join the 29th infantry regiment, at Verdun, she immediately sent her daughter, barely a year old, with her nurse, to the château de Castel Novel, in Corrèze - to her mother-in-law's. And she returned to Paris."] (Dominique Bona, Colette et les siennes)

First edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Claude Roy to a couple of friends named Robert and Renée.

First edition, one of 10 numbered copies on Japan paper, this copy nominative, deluxe copy.
Handsome copy despite the first cover marginally and lightly shaded.

First edition, one of 20 numbered copies on Japon super nacré, deluxe copy.
Work illustrated with in-text color illustrations by Georges Gaudion in the manner of Henri de Toulouse-Lautrec, Lucien Boucher, Maurice Vlaminck, Auguste Rodin and Othon Friesz.
Small lack at foot of the split slipcase.
Fine copy.

Illustrated edition with 30 original watercolors by Yvonne Préveraud, one of 38 numbered copies on Japon impérial.
Half old rose shagreen binding with corners, smooth spine decorated with gilt floral motif, marbled paper boards, endpapers and pastedowns of the same paper, original wrappers and spine preserved.
Handsome complete copy, as indicated in the justification page, with the full suite of illustrations.
Our copy is exceptionally enhanced with an original black ink drawing by Yvonne Préveraud depicting a seated nude woman which she dedicated to a friend named Louis.

First edition, one of 35 numbered copies on Holland paper, the only deluxe copies mentioned.
Half dark green morocco-grained shagreen binding with corners, faded spine with four raised bands set with gilt dots and decorated with double gilt compartments notably featuring a gilt Cupid drawing his bow, red shagreen title-label and author label, moiré-effect paper boards, marbled endpapers and pastedowns, original covers and spine preserved, top edge gilt retaining deckled edges.
Handsome copy despite the slightly faded spine with some rubbing to one joint and the head caps.

Edition illustrated with 17 wood-engraved vignettes by Fernand Siméon, one of 25 numbered copies on Japon Shidzuoka, deluxe copies after 15 Japon à la forme.
Handsome complete copy, as mentioned in the justification page, with the suite on China of the wood engravings.

First edition, one of 10 numbered copies on Japan imperial paper, the only deluxe copies.
Full green morocco binding, faded spine with four raised bands, black roulettes on headcaps, boards marginally faded, pastedowns in full almond green morocco set with a vegetal frieze of forest green mosaicked morocco, moiré silk and embroidered endpapers, following endpapers of marbled paper, original wrappers preserved, top edge gilt retaining deckled edges, superb full morocco doublure and mosaic binding by Marius Michel.
Cover illustrated by Alcide Théophile Robaudi.
Copy established in a full morocco doublure and mosaic binding by one of the most important binders of the 20th century.

First edition of this lyric tragedy in three acts set to music by André Gailhard, one of 20 numbered copies on Japan paper, the only deluxe copies.
Half tawny shagreen binding with corners, spine slightly darkened with four raised bands decorated with gilt fillets and compartments of brown mosaicked shagreen, gilt date at tail, moiré-effect paper boards, marbled paper endpapers and pastedowns, top edge gilt retaining deckled edges, binding signed by Saulnier.
Fine and rare full-margined copy.

Illustrated edition with 5 plates and colored vignettes by Henri Cassiers, one of 150 numbered copies on Japan paper, deluxe copy.
Fine copy, complete as specified in the colophon with its colored frontispiece and duplicate suite of illustrations.

Edition illustrated with 16 original color etchings by Edouard Chimot, one of 25 copies on Imperial Japan paper, deluxe copy after 46 other Japan copies variously enhanced.
Full red morocco binding, spine with four large raised bands set with gilt fillets, burgundy watered silk endpapers and pastedowns, frame of triple gilt fillets on the pastedowns, following endpapers of marbled paper, all edges gilt, original wrappers preserved, slipcase with red morocco entry, moiré-effect paper boards, marbled paper interior, superb full morocco binding signed Vaissière relieur castrais.
Our copy contains the three states of the 16 plates hors-texte and an original color drawing signed by Edouard Chimot as indicated in the justification page.
Fine copy perfectly established in a signed full morocco binding with an original color drawing by Edouard Chimot.

Edition illustrated with vignettes and ornaments in 2 colors by André Domin, one of 50 numbered copies on Japan paper, deluxe copy.
Fine copy enhanced at the end of the volume with a duplicate suite of the illustrations.
Music by Félicien David at the end of the volume.

Edition illustrated with 7 original wood engravings by Jules Léon Perrichon and a portrait of Denis Diderot by Bernard Naudin, one of 20 numbered copies on Japan paper, deluxe copy.
Bradel binding in full boards with overlapping flaps in vellum style, endpapers and pastedowns of gold and silver effect paper, covers and spine preserved, top edge gilt on deckled edges, contemporary binding.
Fine copy, well complete, at rear, with its duplicate suite on China paper of the original woodcuts and the double state of the frontispiece portrait.

First edition, one of 650 numbered copies on Japon impérial paper.
Work illustrated with 17 original color compositions by Charles Jouas.
Handsome copy despite light marginal foxing of no consequence on the first cover.

First edition, one of 10 numbered copies on imperial Japan paper, the only deluxe copies.
Rare and handsome copy despite small lacks to spine and traces of corner creases on boards.

First edition, one of 150 numbered copies on Japan paper, deluxe copy.
Half tan shagreen binding with corners, smooth spine faded decorated with gilt cartouche and black typographical motifs, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved.
Work illustrated with 28 original compositions by Oreste Cortazzo engraved as etchings by Abot and Clapès.
Our copy, like all copies of the deluxe edition, is complete with the double state of the etchings.
Spine and boards slightly and marginally faded.

New edition of the French translation illustrated with original compositions by Henri Deluermoz engraved by Louis-Joseph Soulas, one of 35 copies on Holland paper, the most limited deluxe paper printing after 1 unique Japan copy.
Full chocolate brown morocco binding, spine slightly faded with four raised bands, endpapers and pastedowns of moiré-effect paper, frame of triple vertical gilt fillets separated by gilt squares on the pastedowns, covers and spine preserved, a small lack at head of second cover, top edge gilt retaining its deckled edges.
A shadow on one endpaper and its facing page.
A full-margined copy handsomely bound.

New edition.
Work illustrated with a frontispiece gris-gris by Antonin Artaud.
Handsome copy complete with dust jacket
Full-page bicolored autograph inscription signed by Henri Pichette to Annie Vanpeene: "... regardez il y a un robin dans la signature." ["... look there is a robin in the signature."]

"Vade mecum" edition illustrated with 55 engravings drawn by Forest.
Full brown Russia morocco binding, spine with four raised bands set with black garlands decorated with gilt double compartments and gilt typographical motifs, gilt date and place at foot, gilt roulettes on headcaps, quintuple gilt fillet frame with gilt fleurons at corners on boards, marbled endpapers and pastedowns, gilt dentelle frame on pastedowns, all edges gilt, double gilt fillets on edges, two corners slightly bumped, covers and spine preserved, superb binding signed Mercier successor to Cuzin.
Fine copy perfectly executed in a full morocco binding by Mercier.

First edition, one of 50 numbered copies on Holland paper, the only deluxe copies after 3 on China paper and 5 on Japan paper.
Half black shagreen binding, spine with five raised bands, combed paper boards, marbled paper endpapers and pastedowns.
Handsome copy despite the top edge slightly shaded.

Edition illustrated with 11 original compositions by Alcide Théophile Robaudi engraved with burin and etching by H. Manesse, one of 100 numbered deluxe copies on Japan paper, from the deluxe issue.
Joints slightly cracked at head and foot.
Bookplate pasted to verso of front board designed by Paul Collin (sic) and engraved by Devambez.
Handsome copy with duplicate state of the etchings with remarque.

First edition of the French translation by Paul Dousdebès.
Half chocolate brown shagreen binding with corners, smooth spine decorated with gilt fillets and fleurons, gilt date at foot, double gilt fillets framing the pebbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Fine copy complete with its 4 pages of facsimile Japanese ideograms at the end of the volume.
Work illustrated with 32 wood engravings, colored in blue, black and gray, and printed on special Japanese paper containing mica powder.
Signed autograph inscription by Paul Dousdebès.

Illustrated edition with 92 original compositions engraved with burin by Albert Decaris including 38 hors-texte plates, one of 55 copies on Imperial Japan paper, deluxe copies after 30 handmade white Japan paper.
Full brown morocco binding, spine very slightly faded with three raised bands, beveled boards, front board ornamented with the large plate of the original copper that served for the illustration of the work's frontispiece, endpapers and pastedowns of Japanese paper, frame of two black and gilt morocco fillets on the pastedowns, all edges gilt, covers preserved, superb binding signed M.T. Aigner.
The subscription fascicle written by Henry de Montherlant is bound at the end of the volume.
Our copy indeed contains a suite of the large compositions on China paper and not on Rives as indicated in the printing justification.
Our copy is exceptionally enhanced with an original gouache by Albert Decaris, which is the frontispiece of the work.
Handsome copy perfectly executed in a full morocco binding by M.T. Aigner with a plate of the original copper of the frontispiece and an original gouache by Decaris.

New edition, illustrated with drawings by J. Ferrat including several polychrome plates printed by Belin Frères and appearing here for the first time. Catalogue D at the end.
Publisher's "golden globe" binding signed Engel type 1 according to Jauzac, front board plate by Blanchelande, spine with lighthouse, back board Engel type "h".
Les Indes noires deals with coal mining in India.
Le Chancellor is an adventure novel presented as the Journal du passager J.-R. Kazallon and tells the epic of the survivors of the English ship the Chancellor.
Gilt on spine and front board slightly faded. Headcaps and joints skillfully restored. Very fine original blue endpapers, the first restored at upper left corner. Scattered foxing, more pronounced at beginning and end of volume as usual.