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Reprint in 12mo published the same year as the first edition in 4to. Both issued from the Elzevier press.
Pastiche binding in half light brown sheep, spine with five raised bands ruled in gilt and six compartments decorated with gilt rolls, one containing the title in gilt, marbled paper boards, sprinkled edges, shell-pattern marbled pastedowns and endpapers.
Hinges rubbed, one with a slight split at the upper right extending 2 cm, some staining and browning to the sheep, small nick to the top edge of the upper board.
A few scattered minor foxing spots, marginal dampstain to the title-page.
In Systema theologicum, ex prædamitarum hypothesi. Pars prima, the map facing p. 70 is torn 3 cm into the margin. On p. 295 of the same text, a further tear of 2.8 cm, slightly affecting the text.
Touching autograph card, dated and signed by Julio Cortázar, addressed to his friend, the writer Christiane Baroche: eight lines in black ink, thanking her for the comfort she had given to his wife Carol, then suffering from an incurable illness.
"29/11/82
je n'oublierai jamais, Christiane, ta présence près de Carol, ta bonté que - je le sais - l'encourageait tant dans sa souffrance. Je ne peux pas écrire davantage, je t'embrasse très fort, Julio. Ton poème sera toujours près de mon coeur."
Bronze cast of the Marquis de Sade's skull by the master founder Avangini. One of a unique numbered edition of 99 bearing a reproduction of Sade's signature, this one no.31.
Also included is a certificate of authenticity signed by the Comtesse de Sade, with the family's wax seal.
Provenance: family archives.
Autograph manuscript by the author, two and a half pages in-8, published in the issue of May 11, 1944 of the Journal des Débats. Complete manuscript in very dense handwriting, with numerous erasures, corrections, and additions. Literary column published on the occasion of the release of Gaston Bachelard's L'air et les songes. Accompanied by the complete typescript.
« L'homme est d'abord rêverie, puissance d'imaginer avant d'être sensibilité et raison », Blanchot’s analysis of this new essay by Bachelard provides an opportunity to confront the philosopher with the uncertainties of his theory, which tends to fragment in the plurality of its forms. « Qu'est-ce pour lui que l'image et l'imagination ? On ne le voit pas nettement ».
Yet this sometimes severe critique is above all a device to highlight the true value of Bachelard’s work, which also coincides with one of the central themes of Blanchot’s thought: the creative power of poetic language: "L'image littéraire est un fait premier; elle est la poésie même; (...) se demander s'il y à en nous une poésie d'avant les mots, d'avant les images, un en deçà poétique, une blancheur et un silence que le langage essiaerait de reproduire, c'est méconnaitre l'activité littéraire qui une activité naturelle, originelle, correspondant à une action de l'imagination - faculté de produire l'irréel qui est la conscience même - sur le langage."
Autograph manuscripts by Maurice Blanchot are of the greatest rarity.
Original and unpublished manuscript by “Jean Cocquebert de Roquelaure de Reims”, dated 1647; 1 title leaf and 216 folios numbered in ink (431 pp. of text), including 2 ff. of a “Table of Towns and Other Places Contained in this Book” at the end. The full list of towns and villages cited in the manuscript is provided at the end of this description.
Full limp vellum binding, smooth spine with a calf lettering piece. Some dampstaining; one quire detached.
During the closing years of the Thirty Years’ War, a traveller from Reims named Jean Cocquebert, set down in this exceptional manuscript the entirety of his seven‑month journey through France and Italy in the year 1647. From Lyon to Marseille, where he embarked for Genoa, Cocquebert carries us on to Rome and Venice, allowing the reader to grasp the intimate, day‑by‑day ordeal of the long journey to the Eternal City and La Serenissima.
In southern France, Cocquebert describes in detail each stage, every hamlet and every inn in the Lyonnais, Dauphiné, Comtat Venaissin, Provence, and Languedoc regions which he explores even more thoroughly on his return route to Lyon. He records in particular a visit in Aix‑en‑Provence to the cabinet of curiosities of “a good old man,” geographically identifiable from his description as that of the celebrated notary Boniface Borrilli (visited by King Louis XIII in 1622) as well as to the famed botanical garden of the Montpellier Faculty of Medicine, where he encounters “a maid in this garden who speaks Latin better than French, which makes those who hear her jargon laugh.” We follow closely his pilgrimage to the sanctuary of Mary Magdalene at Sainte‑Baume (much mutilated during the Revolution) and to the Grande Chartreuse. His adventures abound in depictions of Provençal gastronomy - on the Îles Pomègues near Marseille he eats rock samphire growing between the stones, and throughout his journey consumes quantities of olive oil, together with French and Italian wines with detailed mentions of vineyards, quality, and price.
The daily chronicle of his Italian sojourn brims with accounts of storms, pirates, processions, flagellants, carnivals, jeu de paume, horse races, visits to the masterpieces of the Vatican and to the cabinets of curiosities in the Barberini and Ludovisi palaces, to the Doge’s Palace, and to the glassworks of Murano. Faithful to his hometown of Reims, he ranks the beauties of Reims Cathedral above the marvels of the Italian churches. His connections within the clergy of his native city enabling him to travel untroubled. The manuscript contains precious comments and first‑hand testimonies on life in Italy, on the place of the Jews in the cities he visits, and on the debauchery and violence encountered along the way, particularly in Rome, where capital executions and prostitution were commonplace. In Modena, Cocquebert even turns soldier for several months, offering a rare source on the daily life of French troops posted in the duchy of Francesco I d’Este, then preparing to attack the Milanese with Mazarin’s support.
Black-and-white photograph showing Kirk Douglas smiling, facing the camera.
A handsome example.
Boldly signed by Kirk Douglas in the upper right corner of the photograph.
Provenance: from the collection of renowned autograph collector Claude Armand.
Original black and white photograph of Roger Peyrefitte.
A fine example. Photographer Rodolphe Haussaire's printed stamp to verso.
Inscribed, dated and signed by Roger Peyrefitte to the noted autograph collector Claude Armand.
Original watercolour signed with Sonia Delaunay’s initials, “S.D.” One leaf under a wooden frame with a mat, a few minor chips and small lacks to the frame. Red stamp on the verso of the leaf: "Ce projet de tissu provient de l'Atelier que dirigeait Sonia Delaunay entre 1925 et 1933. Son fils, Charles Delaunay".
Exceptional sketch of a colourful chevron dress, one of the famous "tissus simultanés" created by Sonia Delaunay. Likely to be a preparatory drawing for a dress featured in Delaunay’s portfolio Ses Peintures, Ses Objets, Ses Tissus Simultanés, Ses Modes, published on the occasion of the 1925 Exposition Internationale des Arts Décoratifs.
Edition regarded as the masterpiece of the painter and engraver Charles Eisen, and a counterfeit of the famed Fermiers généraux edition.
This edition is illustrated with 2 engraved frontispieces by Vidal, 2 title vignettes, 1 portrait after Hyacinthe Rigaud, along with 80 plates and 43 tailpieces. One engraving is unfortunately missing from our copy, which contains 79 engravings instead of 80.
A few minor spots, not affecting the text.
Bound in contemporary full green morocco, flat spines slightly sunned, decorated with double gilt fillets and gilt floral and typographic motifs, red morocco lettering-pieces and volume labels, gilt roll tooling at head and tail, light rubbing to joints, triple gilt fillet frames on boards, marbled endpapers and pastedowns, gilt borders on pastedowns, gilt fillets on board edges, all edges gilt. Roman bookseller’s labels affixed to the pastedowns. Contemporary bindings.
A handsome copy, bound in contemporary full morocco, of La Fontaine's tales superbly illustrated by Charles-Dominique-Joseph Eisen.
"Entertaining fragments of handwritten notes and reflections by Sacha Guitry on the French origins of the English language, approximately 75 lines in black ink across 6 leaves.
Sacha Guitry wittily comments on the hospitality of the English language: "Aucune langue n'a été plus accueillante que la langue anglaise..." and its deep-rooted traditions, heavily influenced by French: "J'ai pu constater (on me l'avait dit mais je ne le croyais pas ! ) que, à la chambre des Lords lorsque le Roi prend la parole un huissier s'écrie : Oyez ! oyez ! Or, le mot oyez s'écrie o - y - e - z et c'est le vieux français : oyez ! du verbe ouïr - écouter." [...] "Lorsque le Roi prend une décision, tous les lords disent en choeur : le Roi le veult !"
The playwright identifies another linguistic root of Shakespeare’s tongue—German: "dans la langue anglaise les animaux comestibles ont un nom quand ils sont vivants et un autre nom quand ils sont morts. Le boeuf se nomme beef quand il est vivant et ox quand il est mort, le cochon se nomme pig quand il est vivant et porc quand il est mort..." This allows him to underscore the predominance of the French art de vivre and the cultural ascendancy of France over her German and English cousins: "comment se fait-il que tous les animaux aient des noms français quand ils sont morts et des noms allemands quand ils sont vivants ? Parce qu'en Angleterre depuis le XIIIe siècle les gardiens de troupeau ont toujours été allemands ... et les cuisiniers français."
Sacha Guitry concludes his demonstration with inevitable and near-clichéd phrases, nonetheless awarding England a merit point (though refusing to grant it a capital letter): "mais si le mot humour vient du français humeur, l'humour vient d'angleterre comme le caviar de Russie, comme les valses viennent de Vienne..."
These patriotic and humorous handwritten musings are unfortunately incomplete, covering only the first six leaves of these reflections.
Christmas greeting card illustrated with a printed drawing by Mathurin Méheut, to which he added a few handwritten words on the verso, addressed to a couple of friends:
"Aux vieux et très bons amis Dupouy ceux du tertre et de toujours, à toute leur famille. Les voeux bien sincères de MMéheut."
Marguerite Méheut, the artist’s wife, also added a note to convey her own wishes: "Aux parents, aux enfants, tous nos meilleurs voeux de bonne et heureuse année. Toutes nos amitiés à partager. Marg. Méheut."
Two small stains on the verso of the card.
Autograph letter signed by André Malraux to Max Jacob. Two pages in black ink on a bifolium, with a drawing by Malraux.
Partially transcribed in Histoires littéraires, 2002, p. 123.
Hilarious letter by Malraux - waiting for Max Jacob to reply to his letters, he writes a false obituary announcing his correspondent's death. He added a drawing of a cat profile next to his signature.
Autograph manuscript by Juliette Drouet, entitled “General income for the year 1839” “General expenditure for the year 1839” (verso). Two pages in ink on one leaf.
Folds, blind stamp “Bath” in the upper left corner. Two small tears filled in, tiny holes barely visible.
A precious manuscript in the hand of Juliette Drouet, listing her expenses for 1839, a crucial year during which she gave up theater for good and became entirely dependent on her famous lover.
As was her custom at the end of each year, Drouet put her affairs in order, drew up columns and figures, compared her monthly income, and listed her expenses on the reverse: “food and wine,” ‘toiletries, maintenance, and perfumes,' ‘heating'... Of course, it was the ‘shared expenses of Monsieur Toto and Mme Juju, including travel' that cost her the most. From September to October, the two lovers traveled through Germany, Switzerland, and the south of France. They visited the Toulon prison, a decisive event in the genesis of Les Misérables, where Hugo noted in his notebook the first draft of the name of his future hero, “Jean Tréjean.”
After being rejected for the role of the queen in Ruy Blas the previous year, it is clear from her correspondence with Toto that Juliette still wanted to become a “great actress” and retain her independence. Hugo refused, and that year, they ended up celebrating a spiritual marriage, without a mediator or witnesses, on the night of November 17-18. Their union sealed her fate as a reclusive lover, and this account summary sums up her total dependence: apart from the meager sum she earned from “theater [...] bric-a-brac sold” (probably the sale of her costumes, since she was no longer acting), all of her income came from “money earned by my beloved.” : 7,304 francs, 3 sous, and half a liard. The calculations reveal Juliette's sad situation, ending the year with a deficit of 15 francs.
This fascinating document is a unique archive revealing the underside of this passionate relationship at the fateful moment when the prominent actress agreed to devote her life to the most famous writer of her time.
Autograph letter signed by Germaine de Staël and dated 9 January 1809 to Julie Nigris, daughter of Élisabeth Vigée Le Brun. Two pages written in black on a bifolium. Autograph address on verso, armorial wax seal traces and postmarks.
Usual folds, a tear with a small piece of paper lacking on the address page due to the opening of the seal. Published as an addendum in Souvenirs de Madame Vigée Le Brun, 1837, vol. III, pp. 264-265.
Germaine de Staël is eagerly awaiting her portrait as Corinne - her novel's heroine- she had commissioned from the famous Vigée-Lebrun. The letter is a precious link in the fascinating history of the painting the baroness would discover a few months later.
"Madam, I have given up on engraving the portrait of your mother. It is too expensive for my whim and I have just suffered a considerable lawsuit that is forcing me to make do with less. But would you be so kind as to tell me when Madam Le Brun will give me the portrait of Corinne? My intention was to send her a thousand écus upon receiving it, but as I have not heard from her, I don't know what to do. Please be so kind as to get involved and negotiate what I want in this regard. Another pleasing negotiation would be your arrival to Switzerland this summer. Prosper says he will come. Wouldn't M. de Maleteste be seduced by this reunion of all his friends? I dare to count myself among them. Seeing him once, it seemed to me that I was meeting an old acquaintance."
Germaine de Staël addresses Vigée Le Brun's daughter Julie, inviting her and her mother to brighten up her exile. She also tried to gather at her home of Coppet her lover Prosper de Barante as well as Julie's, the Marquis de Maleteste. Dreading solitude, she was determined to invite a host of interesting personalities. Two years earlier, Vigée Le Brun had begun painting a portrait of the baroness depicted as the heroine of her latest novel Corinne. In-between portrait sittings with the baroness, the artist had met the famous members of the so-called Coppet group: Frederick of Prussia, writer Benjamin Constant and salonnière Juliette Récamier. De Staël had already requested a change as soon as the painter had started the canvas and asked for a different landscape in the background. Aware of the somewhat unprepossessing appearance of her model - neither she nor the baroness denied it - Vigée Le Brun created an ambitious portrait mixing antiquity-inspired attire with a furiously romantic allure. She managed to capture the baroness's inspired gaze instead of an expected neoclassical austerity. Despite her enthusiastic initial reactions, Germaine de Staël was not pleased with it and commissioned another portrait from local artist Firmin Massot. The latter produced a poor but faithful copy of the Vigée Le Brun's composition, except for her face and expression he smoothed out and made devoid of any emotion. The baroness's reaction illustrates the irreconcilable dilemma faced by women of letters at the beginning of the 19th century: torn between their identity as intellectual figures (which Vigée Le Brun had magnificently captured in this portrait), and the normative criteria of femininity Germaine de Staël wanted to align with.A precious piece of correspondence, bringing together two illustrious women - the patron and the artist, whose visions of femininity would soon oppose on either side of the easel.
Original black and white photograph, dated and inscribed by Jacques Chirac.
A handsome copy.
Autograph inscription, dated and signed by Jacques Chirac: "Avec mes amitiés J. Chirac 24 4 74."
Provenance: from the collection of the noted autograph collector Claude Armand.
