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n. l.

n. l.

s.l. (sans lieu) est une mention bibliographique utilisée lorsqu’aucun lieu d’édition n’est indiqué dans l’ouvrage. L’abréviation provient du latin sine loco, « sans lieu », et apparaît traditionnellement dans la description des livres anciens lorsque l’imprimeur ou l’éditeur n’a pas précisé la ville d’impression.
Cette absence peut être volontaire — pour des raisons politiques, religieuses, commerciales ou de censure — ou simplement due à une omission typographique. Dans l’histoire du livre, la mention s.l. joue ainsi un rôle important : elle signale une zone d’incertitude et invite bibliographes et historiens à identifier, par comparaison typographique ou contextuelle, l’atelier ou la région d’origine réelle de l’ouvrage.
Utilisée depuis des siècles dans les catalogues et répertoires, s.l. demeure aujourd’hui une référence essentielle dans la description bibliographique des éditions anciennes ou non localisées.
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3490 results
Sans lieu d'édition
  2. Cantilènes en gelée
    Boris VIAN, Félix LABISSE

    Cantilènes en gelée

    Editions Borderie|s. l. 1978|22.50 x 28.50 cm|broché
    New edition published in the special issue of Obliques magazine devoted to Boris Vian, one of 61 numbered copies, ours unnumbered.
    Work illustrated with drawings by Christiane Alanore.
    A very small stain on the first cover.
    Our copy, like the 61 numbered copies, includes the original signed and numbered lithograph by Félix Labisse representing Boris Vian.
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  4. L'homme qui rit
    Daniel VIERGE, Victor HUGO

    L'homme qui rit

    S. n.|s. l. s. d. [1869]|18 x 28 cm|relié
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  5. Irène
    Louis ARAGON

    Irène

    S. n.|s. l. s. d. [ca 1965]|14 x 19 cm|relié
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  7. Le Penseur
    Boris VIAN

    Le PenseurRoneotype with autograph title of the complete manuscript of the short story

    S. n. • [chez l'auteur]|s. l. s. d. [1949]|21 x 27 cm|6 feuillets agrafés

    Ronéotype réalisé par Boris Vian de son manuscrit original, avec ajout autographe du titre : "Le penseur" et deux corrections autogrpahes, nouvelle initialement parue dans la revue Dans le train n°15, 1949, puis publiée dans le recueil posthume Le Loup-Garou en 1970.

    Sans doute réalisé pour conserver une copie de sa nouvelle, avant l'envoi à la revue Dans le train, ce ronéotype du manuscrit originale signé a été conservé dans les archives de l'écrivain jusqu'à sa mort. les deux corrections autogrpahes et le titre au crayon semble indiquer que Boris Vian avait prévu une nouvelle publication.

    Cette biogaphie express de la courte vie...

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  9. "Vous auriez ici une hospitalité tout à fait modeste et campagnarde ; mais, comme compensation, une paix absolue dans un recoin isolé, un petit jardin en terrasses où l'air et la vie sont incomparables, - et puis des matelots et des canots à vos ordres pour remonter la rivière."
    Pierre LOTI

    "Vous auriez ici une hospitalité tout à fait modeste et campagnarde ; mais, comme compensation, une paix absolue dans un recoin isolé, un petit jardin en terrasses où l'air et la vie sont incomparables, - et puis des matelots et des canots à vos ordres pour remonter la rivière."Autograph letter signed by Pierre Loti, probably addressed to Julia Daudet, in which he is happy to do her a favor and to welcome her perhaps soon in Hendaye

    s. l. • [Hendaye] s. d. [1892]|16 x 14 cm|une feuille
    Autograph letter signed by Pierre Loti addressed presumably to his publisher. 32 lines in black ink on a double sheet.
    Light foxing.
    "Chère madame,
    vous me demandez la chose la plus difficile du monde et j'en suis ravi, parce que cela me procurera l'occasion de vous donner une toute petite preuve d'attachement : je vais déloger quelqu'un pour vous trouver cette place. J'ai fait dernièrement une apparition de 48 heures à Paris, dans une vraie fièvre. Je vous dis cela par crainte que vous n'ayez cru que j'étais resté plus longtemps. En même temps que votre lettre, je reçois le livre "Rose et Ninette" que ma femme est en train de couper. Il porte une précieuse petite dédicace que...
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  13. The satanic verses
    Salman RUSHDIE

    The satanic verses

    Viking press|s. l. 1989|16.50 x 23.50 cm|reliure de l'éditeur
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  19. "... toute la part profonde que je prends à votre chagrin et combien j'ai partagé vos émotions douloureuses..."
    Reynaldo HAHN

    "... toute la part profonde que je prends à votre chagrin et combien j'ai partagé vos émotions douloureuses..."Autograph letter signed to Mrs. Julia Daudet about the death of her grandson Philippe at the age of 14

    S. n.|s. l. • (Paris) 1923|10 x 18 cm|une feuille
    Autograph letter signed by Reynaldo Hahn, dandy, composer and great love of Marcel Proust (20 lines in blue ink) addressed to Julia Daudet concerning the tragic death of her grandson Philippe who committed suicide at the age of 14; his father, Léon Daudet, accused anarchist circles or the police of the Third Republic of having disguised this "crime" as suicide.
    Fold marks inherent to postal dispatch.
    Reynaldo Hahn apologizes for not being as available as he would like for his friends and regrets having missed his correspondent at her home: "... à aller vous dire tout ce que je ressens si vivement..." ["to come tell you all that I feel so...
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  29. “The question of money interests me [...] because it lends itself to one of the first and most decisive applications of my system of pure political economy”
    Unique ensemble de manuscrits, tapuscrit, traduction anglaise, épreuves corrigées et tiré à part
    Léon WALRAS

    Unique ensemble de manuscrits, tapuscrit, traduction anglaise, épreuves corrigées et tiré à partEnglish manuscript and corrected proof of the french and english version of "Note on the solution of the anglo-indian monetary problem" : Note sur la solution du problème monétaire anglo-indien (Complete autograph manuscript, draft calculations, corrected typescript and offprint) [with] Note on the Solution of the Anglo-Indian Monetary Problem (Manuscript and Proofs with Autograph Corrections)"

    S. n.|s. l. 1887|divers|en feuilles dont 11 pages sur 7 feuillets pour les manuscrits + 4 feuillets pour la transcription tapuscrite

    Complete autograph manuscript dat­ed and signed of the article “Note sur la Solution du problème monétaire an­glo-indien”. 5 pages in black ink on a leaf and a bifolium; 4th page signed and dated: “Léon Walras Vers chez les Blancs sur Lausanne, 3 juillet 1887”. The 5th page was added later and includes numerous autograph corrections and added remarks.
    ◇ Autograph manuscript of the re­viewed version of the last page. A page dated and signed “Léon Walras Vers chez les Blancs sur Lausanne, juillet 1887.”
    ◇ Autograph manuscript with the economist's calculations, 4 pages on 2 leaves.
    ◇ Autograph manuscript of the English translation for the last part...

    Unavailable
  31. Bronze du crâne du divin marquis
    Donatien Alphonse François de SADE

    Bronze du crâne du divin marquisBronze Cast of the Marquis de Sade's Skull

    S. n.|s. l. 2012|20 x 13.50 cm|autre
    Bronze Cast of the Marquis de Sade's Skull
    2012 | 20 x 13.5 x 15 cm | bronze
    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.
    Also included is a certificate of authenticity signed by the Comtesse de Sade, with the family's wax seal.

    Provenance: family archives.

    On Friday 2nd December 1814, Donatien Alphonse François, Marquis de Sade died at the Charenton asylum, at the age of 74.
    Despite his final wishes, the Marquis had a religious burial in the cemetery at Charenton. In an ironic twist of fate, Sade would not stay in the...
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  32. Pétition des Femmes du Tiers-Etat au Roi
    COLLECTIF

    Pétition des Femmes du Tiers-Etat au RoiPetition of Women of the Third Estate to the King

    S. n.|s. l. • [Paris?] 1er janvier 1789|12.50 x 20 cm|cousu
    [Petition of Women of the Third Estate to the King]
    8-page pamphlet, under paper wrappers.

    “Sire, At a time when the different orders of the state are occupied with their interests; when everyone seeks to make the most of his titles and rights; when some anxiously recall the centuries of servitude and anarchy, while others make every effort to shake off the last links that still bind them to the imperious remains of feudalism; women—continual objects of the admiration and scorn of men—could they not also make their voices heard midst this general agitation?”


    A very rare letter of grievance from the women of the Third Estate addressed to Louis...
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  35. A sexy and glamour lamb
    Dessin original de Thierry Mugler - "L'Agneau Betty Boop"
    Thierry MUGLER

    Dessin original de Thierry Mugler - "L'Agneau Betty Boop"Original sketch drawing by Manfred Thierry Mugler - "L'Agneau Betty Boop"

    s. l. s. d. [ca 2008]|14.80 x 17.40 cm|en feuilles

    Original drawing by Manfred Thierry Mugler, in fine black felt pen with correction fluid alterations, on a gridded paper leaf. Next to the figure, Mugler inscribed "L'Agneau [The Lamb] (Betty Boop").


    Attached, a computer generated graphic rendering of this incredible costume, printed on thick paper, with a small tear in the lower margin, not affecting the image.


    Mugler imagined this sexy and glamorous "lamb" while working in 2008 on a production loosely based on Jean de La Fontaine's Fables. This show was never produced.

    Clear pictures...

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  38. Turn the lights on!
    Ensemble de croquis pour la création de costumes de scène de Beyoncé Knowles
    Thierry MUGLER, [BEYONCÉ ]

    Ensemble de croquis pour la création de costumes de scène de Beyoncé KnowlesOriginal drawings in pencil and felt-tip pen and working set of stage costumes sketches for Beyonce

    s. l. s. d. [ca 2009]|divers|en feuillets

    Important and unique set of stage costumes sketches by Thierry Mugler for Beyoncé's "I Am... World Tour" in 2009:

    • A large original drawing (21,6x56 cm) in pencil, brown and pink markers on two A4 pages glued with a piece of adhesive. The sheath of the model is a collage enhanced with gold felt pen and white corrector fluid by Mugler himself.
    • An original pencil drawing (21.6x27.9 cm) with several silhouettes of Beyoncé in motion, probably studies for petticoats.
    •  An original pencil drawing (21.6x27.9 cm) showing several sketches of a costume made of...
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  40. “The artist's lifelong study of the passionate interplay of figures”
    Frise constituée de 6 dessins originaux de Dorothea Tanning
    Dorothéa TANNING

    Frise constituée de 6 dessins originaux de Dorothea Tanning

    s. l. s. d. [ca 1965]|66 x 13 cm|une feuille
    "Tanning's female figures are only concerned with satisfying their very particular erotic needs. Her work is rooted in her own sexuality, which she candidly, unabashedly, proudly and brutally exposes to the viewer's discomfort and/or fascination".
     
    Exceptional frieze of 6 original erotic drawings by American Surrealist artist Dorothea Tanning, wife of Max Ernst, in pencil and watercolor on a long strip of papier japon.
     
    On the right, the word "LOVE" inscribed by the artist (close to the famous motif of Robert Indiana, created at the same time) along with her signature. Under each drawing, Tanning inscribed words...
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  43. "cette étrange foire d'empoigne à laquelle j'essayai de donner quelque grâce"
    Jean COCTEAU

    "cette étrange foire d'empoigne à laquelle j'essayai de donner quelque grâce"Autograph letter signed to his friend Carlo Rim about the 1954 Cannes Film Festival, of which Jean Cocteau chaired the jury

    S. n.|s. l. 27 avril 1954|21 x 27 cm|une feuille

    Autograph letter signed by Jean Cocteau, president of the jury of the 1954 Cannes festival which was held from March 25 to April 9, addressed to his friend Carlo Rim, 17 lines in blue ink : "this strange free-for-all to which I tried to give some grace" Jean Cocteau further praises Carlo Rim's impartiality and clairvoyance: "I must tell you my gratitude for your eye which knew how to see above the place..." and denounces the struggles of influence troubling and surrounding the awarding of prizes of which he bore the brunt  : "The funniest thing is that my last attempt at justice still disturbed some schemes - Clément's entourage" [This refers to René...

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  47. Poème autographe signé de Paul Celan sur une carte de voeu ornée d'une eau-forte originale de Gisèle Celan-Lestrange
    Paul CELAN, Gisèle CELAN-LESTRANGE

    Poème autographe signé de Paul Celan sur une carte de voeu ornée d'une eau-forte originale de Gisèle Celan-LestrangeAutograph poem on a Christmas card with an original etching by Gisele Celan-Lestrange

    s. l. noël 1955|16.50 x 12.50 cm|une carte
    Autograph poem on a Christmas card with an original etching by Gisèle Celan-Lestrange
    n.p. Christmas 1955, 16,5x12,5cm, a card.
    Signed and inscribed by Paul Celan on the first cover:
    "Gertrud und Guido Meister, mit den herzlichen Wünschen Gisèle et Paul Celan Paris, Weinachten 1955"
    With an 8-line autograph poem by Paul Celan entitled "Auch wir wollen sein":
    "Auch wir wollen sein,
    wo die Zeit das Schwellenwort spricht,
    das Tausendjahr jung aus dem Schnee steigt,
    das wandernde Aug
    ausruht im eignen Erstaunen
    und Hütte und...
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  63. Photographie originale de Pablo Picasso tenant une chouette dans son atelier du Château Grimaldi à Antibes
    (Pablo PICASSO) Michel SIMA

    Photographie originale de Pablo Picasso tenant une chouette dans son atelier du Château Grimaldi à Antibes

    s. l. • [Antibes] s. d. [1946]|23.90 x 17.70 cm|une feuille
    [Antibes] n.d. [1946], 23.9 x 17.7cm, one leaf.

    Exceptional original photograph of Pablo Picasso by Michel Sima. The artist is holding and owl in front of his painting “Nature morte à la chouette et aux trois oursins” now in the Picasso Museum in Antibes.

    Contemporary silver print. Pencil inscription on the back.

    The photographer had entrusted Picasso with a wounded owl. Named Ubu, after Alfred Jarry's literary masterpiece, the bird kept the artist company in his atelier in Antibes and served as a model in many of his paintings, including the one that features in the background of this photograph.
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  71. L'Aigle, collage original de Max Ernst - Ensemble : le dernier Album de Cartes Postales conçu par Paul Eluard encore en mains privées
    Max ERNST, Paul ÉLUARD

    L'Aigle, collage original de Max Ernst - Ensemble : le dernier Album de Cartes Postales conçu par Paul Eluard encore en mains privées

    S. n.|s. l. S.d. (Circa 1930)|34 x 31.40 cm|relié
    Original collage by Max Ernst made from different colored stamps, in the shape of a bird of prey with spread wings. The claws were drawn by the artist in pencil. Framed in a green mat, the collage in postcard format was originally placed on the twelfth plate of the enclosed album that belonged to Paul Eluard. The stamps that we were able to identify were produced between 1906 and 1913. The collage was probably made in the late 1920s or early 1930s. To our knowledge, it is the only bird of its kind made by Ernst from stamps, and it was most likely specifically created by the artist to pay tribute to his friend Eluard and his passion for cartophily. Werner Spies (Max Ernst -...
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  72. Shunga
    ANONYME

    Shunga

    S. n.|s. l. 1880|17.50 x 23.50 cm|autre
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  76. Manuscrit autographe inédit d'une version primitive non retenue pour D'un château l'autre
    Louis-Ferdinand CÉLINE

    Manuscrit autographe inédit d'une version primitive non retenue pour D'un château l'autreEarly draft of D'un chateau l'autre [Castle to Castle], unpublished autograph manuscript

    s. l. • [Meudon] 1954 (entre l'été 1954 et janvier 1955)|26.50 x 33.50 cm|24 feuillets montés sur onglets et reliés
    Early draft of D'un château l'autre [Castle to Castle], unpublished autograph manuscript, n.p. [Meudon] 1954 (summer 1954-januray 1955), 26,5x33,5cm, 24 leaves mounted on boards, bound.
    Exceptional set of 24 manuscript leaves by Louis-Ferdinand Céline from D'un château l'autre [Castle to Castle], mounted leaves under protective paper. Every page is numbered in Céline's hand in the upper left corner (from 632 to 634, 636 to 651 and 653 to 657), and written in blue ballpoint pen. They feature the usual characteristics of Céline's manuscripts: stains, traces of paper clips... important variations to the published text, crossed-out lines...
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  77. Un coeur simple
    Gustave FLAUBERT

    Un coeur simple

    La société normande du livre illustré|s. l. 1902|11.70 x 19.50 cm|relié
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