Latest Acquisitions

First edition illustrated with 19 original lithographs by Alexandre Lunois, one of 140 numbered copies on Japan paper, the only printing with 60 other Japan copies containing separate proofs of the illustrations.
Two light halos on the first cover, small worming on the second cover.
Handsome copy.

Three autograph letters signed by Gérard de Nerval (2 pages signed « Gérard »), Théophile Gautier (1 page), and a third, unsigned letter (1 page) penned by a certain « Robert » (cf. Nerval's letter)
 
Louis Desessart, Théophile Gautier's appointed publisher, co-published Nerval’s play Léo Burckart with Barba in 1839. Following financial difficulties, he was forced to take refuge « in that sad and charming city of Brussels ».
 
The three friends wrote this letter from Paris, where they had reunited following Nerval’s long journey to the East: « I spent six months in Egypt; then three months in Syria – four months in Constantinople, and the rest en route. It’s quite beautiful. I only enjoy myself while traveling and try to live twice as much as I can. »
 
This journey deeply impressed Théophile Gautier, who would only travel to Turkey and Egypt years later: « I am in Paris and wish I were in Cairo, from where Gérard is returning. » The exoticism of distant lands starkly contrasts with the melancholy and severity of Europe: « How sad Paris is when one returns from sunlit countries. » (Nerval) And in Paris, far from dreams of escape, life means toil and melancholy:
« We are like sick people who are never comfortable anywhere. I think the good times are gone, and the golden hours of the past when we spoke such wise follies will never return. What’s the point of living if we must work and cannot see our friends or write to them or do anything we would like? » (Gautier)
The two writers express great compassion for their friend’s Belgian exile, with Brussels appearing as the capital of spleen: « What ! You’re still in that sad and charming city of Brussels ! [...] Brussels is even darker, poor fellow ! » (Nerval)
This joint letter was in fact initiated by « Robert » :
« Isn’t it true, my dear friend, that I’m quite skilled at making you forget my faults? [...] as a way of making it up to you, I’m sending you the autographs of two of your [...] comrades, your fondest memories, two men of fame who, despite all their affection and friendship for you, would never have written a word had I not trimmed their quills and handed them paper like sulky children, and told them : write at once, at once to the exile you love most. »

First edition, one of 796 numbered copies on pur fil paper, the only grands papiers (deluxe copies) after 109 reimposed.
Full green board Bradel binding, title piece in glazed yellow calf, covers and spine preserved, contemporary binding.
Presentation copy inscribed by André Breton: “à Edmond Jaloux, hommage très dévoué. André Breton” “To Edmond Jaloux, a very devoted tribute. André Breton”.
Edmond Jaloux, who was one of the earliest promoters of surrealism, wrote at the release of this atypical novel and misunderstood by most of his contemporaries, the most laudatory article of the time, concluding with this admiring admission of the impotence of criticism in the face of the modernity of Breton's work; “this examination, I can sense it, remains outside the book and in no ways gives you the feeling of intense poetry, of great, free and true poetry which absolves Nadja and which affects your mind [...] like an extremely intoxicating alcohol, with this difference that no alcohol gives you dreams that stimulate the moving prose of Monsieur André Breton.”
Precious grand papier (deluxe) copy with a handwritten inscription from the author and filled with the original article by Edmond Jaloux pasted on two loose double leaves.

Autograph letter signed by Jules Romains to André Dignimont, two pages penned in black ink on a sheet of his personal letterhead.
Folding marks from mailing.

Complete autograph manuscript of 106 pages entitled: “Mémoire de la construction et agrèz d'une galère ordinaire, avec l'explication des termes, l'usage des manœuvres, et de toutes les parties qui composent le corps de la galère et son armement”. Penned in a neat, unrubricated hand, with occasional marginal notes in another hand.
 
Contemporary full vellum binding, lightly soiled with minor wear, smooth spine without lettering.
A major and invaluable manuscript chronicling the revival of the French galley fleet, written by the most influential galley shipwright of his time: Jean-Baptiste Chabert.
We have identified only two other manuscripts bearing this same title: one belonged to Commander Noël Fourquin, a master mariner and specialist in nautical lexicography; the other was owned by Louis-Philippe himself. The latter is listed under no. 445 in the catalogue of the sale of his Palais-Royal and Neuilly libraries held in December 1852, and bears a binding identical to ours.

First edition of this exhibition catalogue held at 32, place Saint Georges in November–December 1903.
Bound in contemporary chocolate brown morocco-backed marbled boards, spine plain, corners in matching morocco, marbled endpapers, gilt top edge, original wrappers and spine preserved; signed binding by Lortic.
Pasted on the rear pastedown is the invitation card to the exhibition, illustrated by Théophile-Alexandre Steinlen.
Preface by Anatole France.
A handsome copy finely bound by Lortic, son of Charles Baudelaire’s bookbinder.

First edition illustrated with 19 original lithographs by Alexandre Lunois, one of 140 numbered copies on Japan paper, the only printing with 60 other Japan copies containing the separate suite of illustrations.
Half salmon morocco binding with corners, smooth spine decorated with gilt cartouches, gilt double fillets framing the marbled paper boards, pebbled paper endpapers and pastedowns, original wrappers preserved, bookplate pasted to one pastedown, top edge gilt, elegant contemporary binding.
Handsome copy in perfect condition.

First edition printed in 500 numbered copies on Japan paper.
Work illustrated with drawings by Job after pencil sketches.
Handsome copy despite light worming of no consequence to the boards.
Manuscript signatures of Job and Stéphen Liégeard below the justification page.

First edition. 2 volumes were added by the publisher in 1807 that the author had removed from the first edition as a precaution. Indeed, the 4 volumes of the first edition attracted severe criticism of the author because certain authors were still living, and Laharpe did not publish the following 2 out of consideration or prudence.

Contemporary full brown sheep binding. Smooth spine decorated with 2 fleurons and 2 urn stamps and roulettes. Owner's name at foot: J. Aubert. Title label and volume label in fawn calf. Garland frame on boards. Overall rubbed. 4 corners slightly bumped.
This literary correspondence, composed in the manner of Grimm's, is a series of critiques and judgments on ancient and modern authors, classics and contemporaries; it is essentially a chronicle of literary releases, theater and opera performances. Laharpe shows great severity in it.

First edition, one of 50 numbered copies on China paper, the only deluxe copies with 50 on Japan.
Work decorated with illustrations by Abel Boyé.
Half brown morocco with corners binding, smooth spine decorated with a gilt cartouche decorated with floral decorative motifs with pieces of brown mosaic morocco, gilt date at foot, some slight rubbing to the headcaps, gilt fillets frame on the marbled paper covers, endpapers and pastedowns of pebbled paper, covers in duplicate state and spine preserved, top edge gilt, elegant binding signed Canape.
Handsome copy beautifully executed.

First edition, one of 450 numbered copies on Holland paper.
Work illustrated with 35 original woodcuts by Fernand Siméon.
Full brown morocco binding, smooth spine decorated with a vertical band of black mosaic morocco, black roulettes on the headcaps, slight rubbing to the upper headcap, gilt title struck to the center of the first cover, covers decorated with a large diamond and a wide horizontal band of black mosaic morocco, endpapers and pastedowns of paper with gilt floral motifs and moiré effect, frame of vertical and horizontal bands of black mosaic morocco on the pastedowns, covers and spine preserved, top edge gilt, double black fillets on the leading edges, slipcase with brown morocco entry, covers of paper with gilt floral motifs and moiré effect, perfect Art Deco binding signed A. Pinard-Lefort.
Handsome copy perfectly executed in a beautiful Art Deco binding.

First edition, one of 50 numbered copies reimposed on Japan Imperial paper, ours being one of the few hors commerce copies, deluxe edition after 1 unique copy on Japan Imperial and 19 old Japan.
Illustrated work, as frontispiece, with a portrait of Charles Maurras consisting of an original drypoint by Edouard Chimot and original lithographs by Wassily Schoukhaeff.
Half chocolate brown morocco binding with corners, spine with five raised bands, gilt date at foot, black roulettes on headcaps, black fillet frame on wood-effect paper boards, wood-effect paper endpapers and pastedowns, covers and spine preserved, top edge gilt, perfect unsigned binding.
Very handsome copy perfectly executed and complete, as stipulated in the justification page, with the double state of Edouard Chimot's drypoint with remarques, 1 proof of the cancelled plate and 1 suite of the lithographs on Japan.