n. l.

First edition of this thesis presented to the University of Paris for the degree of doctor.
Rare.

First edition, one of 444 numbered copies on large ordinary paper.
Handsome copy.

First edition.
Handsome copy despite minor worming to the back cover.

Original print. Actor dressed as a lord carrying an umbrella (wagasa) and a lantern. Rich black, red and blue kimono. Several cartouches with inscriptions, including the artist's; the play and role performed by the actor have unfortunately remained indecipherable.
Very handsome condition with rubbing in the cream areas of the ground. The print is presented under an ivory mat. Orange varnished beech frame (41.5x52cm) with some rubbing. Under glass.
Utagawa Kunisada (1786-1865), also known by the artist name Utagawa Toyokuni III. Undisputed master of Japanese printmaking, he is one of the most popular and prolific artists of the floating world, justly celebrated for his representations of kabuki actors.

Original print. Actor dressed as a lord, in armor, holding a lance. Rich black, red and blue kimono. The scene takes place at night, with black and blue background. Several cartouches with inscriptions, including the artist's; the play and role performed by the actor have unfortunately remained indecipherable.
Very handsome condition. The print is presented under an ivory mat. Orange varnished beech frame (41.5x52cm) with some rubbing. Under glass. Oban format print.
Utagawa Kunisada (1786-1865), also known by the artist name Utagawa Toyokuni III. Undisputed master of Japanese printmaking, he is one of the most popular and prolific artists of the floating world, justly celebrated for his representations of kabuki actors.

First edition of this polemical review chiefly led by Antoine Blondin, with contributions from Pierre Boutang, Julien Guernec, and others.
Some tears affecting a few spines.
Rare complete set.

First bilingual Spanish-German edition.
Handsome copy illustrated with drawings by Guillermo Nunez.
Dated and signed autograph inscription from Guillermo Nunez to Georges Raillard and his wife Alice with an original drawing.

Rare printed acknowledgment card signed by Maurice Thorez's widow for the condolences sent to her by Charles Dobzynski, with envelope enclosed.
"Charles Dobzynski (nom et prénom ajoutés par madame thorez) ["first and last name added by Mrs. Thorez"]
Madame (mot barré) ["crossed out word"] Jeannette Thorez-Vermeersch et ses fils, très touchés de vos condoléances pour la perte cruelle qu'ils viennent d'éprouver en la personne de Maurice Thorez, vous adressent leurs remerciements fraternels (le mot a été ajouté par Jeannette Thorez-Vermeersch) ["Mrs. Thorez-Vermeersch and her sons, deeply touched by your condolences for the cruel loss they have just suffered in the person of Maurice Thorez, send you their fraternal thanks" (the word was added by Jeannette Thorez-Vermeersch)]. J Thorez-Vermeersch."
Rare document.

First edition, one of 40 copies on Rivoli paper, deluxe copies.
Handsome copy.
Our copy lacks the original work by François Féret which normally accompanies the 40 deluxe copies.
Manuscript signatures of Charles Dobzynski and François Féret on the justification page.

First edition, one of 90 numbered copies on alfa paper, the only deluxe copies after 7 Normandy.
Marginal foxing to front cover and spine, some light interior foxing.
Autograph inscription signed by André Cayatte to Carlo Suarès.

First edition, one of 40 copies on Rivoli, head print.
Pleasant copy.
Our copy includes the original work of François Féret that he signed and justified.
Handwritten signatures of Charles Dobzynski and François Féret at the justification of the print.

First edition, one of 950 numbered copies on Alfa paper.
Pleasant copy.
Autograph dedication signed by René Char to Eliane Dobzynski, wife of poet Charles Dobzynski.

First edition not distributed commercially. Iconography.
A small stain at foot of spine, fine copy.

First edition.
Illustrated cover.
Booklet decorated with illustrations depicting views of this famous theater.
Rare and handsome copy.

First edition.
Since the 16th century, there had always been a man as head of the House of Austria, and succession had been transmitted from male to male, but Emperor Charles VI had only daughters. He wanted to leave his inheritance to his eldest daughter, Marie-Thérèse, and regulated his succession by means of a solemn law, called the Pragmatic Sanction. This act decided that Marie-Thérèse would succeed her father. To be sure it would be executed, Charles VI had it recognized first by members of his family, then by his subjects of the different provinces. The Pragmatic then became the fundamental law of succession of the Austrian monarchy. It established the right of women to succeed and made the territory indivisible, as long as there would remain descendants of Marie-Thérèse. It is on this act that the existence of the Austrian monarchy still rests today. At the death of Charles VI (1740), Marie-Thérèse was recognized as heiress by all the countries of the Austrian monarchy. But the sovereigns of Europe did not allow themselves to be stopped by the treaties they had signed, it was a European war, each working to dismember Austria. The work evokes a poor interpretation of Emperor Ferdinand's testament regarding the succession of the House of Austria.
Our copy is presented under original stitching and under contemporary marbled paper covers. The leaves are folded at the upper right margin. The cover shows creases and lacks.

First edition.
This dissertation originated from three complaints filed against the general assembly of the clergy of France in 1765: the first and most important was the falsification of a text by Saint Paul. In support of the text of Saint Paul employed, there is at the end of this first part a precious bibliography of texts by Saint Paul and the Bible; the second complaint was the singular citation of a word from Malachi and the third was the accusation of having used a false word of Jesus Christ. The defense and justification regarding the first grievance occupy 3/4 of the work. The book was written by Monseigneur bishop of Grenoble.
The work, presented in original wrappers and without covers, was doubtless removed from a binding that contained several books.

first edition.
A small lack at the bottom of the back, slight foxing without gravity in the margins of the boards.
Moving autograph signed Jean Migeat: "To Mr. Father Hesse in memory of sad moments and in all sympathy".

First edition, illustrated with 3 engraved titles with borders and figures, 3 fine frontispieces and one figure repeating a frontispiece, vignettes and tailpieces designed by Moreau le jeune and engraved by Monnet, Simonon, Launay and Duclos, including one vignette with a camera obscura.
Armorial copy of President Charles de Brosses, celebrated magistrate and writer well known for his Lettres d'Italie. Azure, three sheaves of wheat (or brushes) or, tied gules.
Contemporary full marbled brown sheep binding. Smooth spine richly decorated. Red morocco title label, garnet morocco volume label. Arms stamped on covers. Headcap of volume III partly split. Lacking at foot of volume III. Traces of rubbing. Occasional foxing on the first leaves of volumes I and III.
Fine copy.
Gilt seal-form bookplate: Henri Bachimon (Henri Bresles). Born Bachimon, Henri Bresles (1864-1924) was a French operetta composer and chansonnier.
Collection of songs, which were composed for "festivities and social events" (anniversaries, births, marriages, love, old age, drunkenness...) Treating frivolous and light subjects or current events of this second half of the 18th century. The texts are accompanied by airs and refrains in musical notation.

NB: This work is available at the bookstore on request within 48 hours.

First edition.
Work illustrated with figures, sometimes humorous, in the text.
Minor soiling and a trace of marginal crease on the first cover, otherwise handsome copy.

New edition of these 2 "vaudevilles" which first appeared in London in 1781, then published by Cazin, in the characteristic reduced 18mo format. 18 figures, including 2 frontispieces by Borel, but unsigned. Text entirely engraved within borders, with tailpieces. 20 pages of music, 8 for the temptation, 12 for Loth.
Late 19th-century binding in full glazed blonde calf applied directly over the original wrappers. Spine with raised bands richly decorated. 2 black calf title-labels, date at foot on black calf. Triple fillet border on boards. Wide decorative interior border. Paper untrimmed, with full margins.
The engravings illustrate the song texts on the facing pages. 5 libertine figures accompanied by equally libertine text: "The old fisherman, in his fury to satisfy his desire, kissed her, pressed her, caressed her, then threw her down on an old bed..."

First edition.
Bradel binding covered with 18th-century style marbled paper, circa 1900. Brown morocco title label. Split headcaps. Title label rubbed and sunned. Manuscript pagination in right corner. Good copy.
Bookplate: From the library of Jean Vergnet.
Collection of 4 interdependent memoirs, the first concerning the regulations and statutes dating from Charles V regarding the royal Sainte-Chapelle of Vincennes; the second concerns the chapter of the Sainte-Chapelle, as well as its revenues and accounts; the third memoir concerns the author himself, treasurer of the chapel, regarding his duties and obligations. The last memoir has a specific title page. It is a response to the claims and grievances of the chapel staff by the treasurer.

Postcard signed by Paul Bocuse and sent from Tokyo to Jani Brun depicting the great chef standing, wearing his toque and work uniform pinned with the medal of Meilleur Ouvrier de France.

First edition, one of 26 numbered copies on Ingres d'Arches paper, ours bearing N°1, the only deluxe copies.
Very handsome copy.

Comment dire [What Is The Word]


no publisher | no place [ca 1980] | 17 x 25.5 cm | original wrappers
A curious and fascinating Lettrist publication about which we have not been able to find any publication details.
A good and very rare copy in tracing-paper covers, occasionally interlaced with leaves of flexible plastic, the whole sewn and protected with a cover of thicker tracing paper.
he text is illustrated with images that now recall the Middle Ages and now look forward into modernity.
A very good copy despite the missing initial self-adhesive sticker on silver paper at the beginning of the volume bearing the title.

First edition printed in calligraphic script on thick paper, decorated with a title-frontispiece, a plate with coat of arms, engraved titles, several vignettes, headpieces, historiated initials...
Contemporary German full dark green morocco binding. Spine with raised bands, unlettered and decorated. Floral sheaves forming decorative gilt board-edges arranged as frames around the covers. All edges gilt. Gilding much faded. Endpapers renewed in the 19th century, revealing a small window cut in the lining of the upper pastedown, concealing an inscription in gilt letters on red ground: "Am ersten communion tage eralt Juliana Kock dieses gebetbuch zum andeken von ihren vater 1823."
Fine calligraphic devotional book.

Think dirty be naughty feel happy


no publisher | no place 2010
| 16 x 24 cm | original wrappers
First edition printed in 400 copies.
Photographs by Toums.
Autograph inscription signed by Toums: «Fuck art ! Let’s act... Bisous. Toums» enriched with a little drawing representing an inverted crucifix.

Edition conforming to the first edition published in 1731 in Lille by G.E. Vroye.
Half red calf binding with corners, spine with four raised bands set with gilt dots and decorated with gilt fillets, gilt fillet frame on embossed red paper boards, marbled endpapers and pastedowns,
bookplate pasted on one pastedown, contemporary binding.
Rare.
Handsomely bound copy.

Tabula Asiae VIII
[Basel ca 1550]
| 42.1 x 33 cm | one map
Original map, titled and heightened in colors by a contemporary hand. Published for the first time in 1540 in Munster's Geographia.
Central fold. Two repairs with paper strips to verso and two little wormholes without consequence.
A very good copy of one of the most important maps of monsters from the 16th century, done by one of the most famous mapmakers of the Renaissance.
The map covers the territories of Central Asia as well as Tibet and Nepal.
One finds, at the edges of the topography, three kinds of congenital deformations (monopods, headless men, and
people with the heads of dogs) as well as a legendary bird.
All these creatures emerged from the superstitions of the Middle Ages, based on accounts by travelers who had preceded Marco Polo into Central Asia. Also worth noting is a scene showing cannibalism in the North part of the map.

First edition printed in a small number of copies of this offprint from La revue bleue of December 28, 1918 and January 11, 1919.
Small stains to corners of front cover boards marginally discolored, handsome interior condition.
Rare work presented under triple mauve wrappers.

The first edition, published in a small number of copies of this offprint from the Revue numismatique.
Covers absent, small fold marks at head of leaves, handsome interior condition.
Pamphlet with one plate.

First edition of the first text. Edition with some parts in first edition of the second work, a mazarinade composed of three distinct parts: La tutelle des rois mineurs (p.1-64); Le roy mineur ou panégyrique sur la personne et l'éducation de Louis XIV; the last part of the volume contains no title. At the bottom of p. 180, the printer pasted a two-line slip to mask the mention Fin du livre, thus allowing passage to the last part, by Montandré, while the first two are by François de Bretaigne.
Modern pastiche binding in full tan calf. Spine with raised bands, decorated. Red calf title-label. Double fillet frame on covers. Traces of rubbing to headcaps, joints and corners. Some browning to pages. Bookworm damage in the inner margin of the last gatherings. Lacking the title page of the second part: Le roy mineur, as well as some preliminary leaves. Trace of brown dampstaining in outer margin on the first 18 pages of text.
La tutelle des rois mineurs is a violent piece against Anne of Austria; Le roy mineur is a work in praise of the royal couple and the Marshal of Villeroy. The entire collection of texts concerns the minority of Louis XIV.

First edition of this Neo Lao Haksat program adopted on April 10, 1964.
Rare and handsome copy illustrated with a photographic frontispiece and a folding photograph at the end.


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First edition, one of the numbered copies on white vellum.
Handsome copy despite two small sunning marks at head and foot of spine.
Work illustrated with numerous illustrations by Yves Brayer engraved on wood and in color by Gérard Angiolini.
Fine autograph inscription signed by Henri Pourrat to Gilbert Kempf: "... cette histoire de l'homme et de la brebis dans une Auvergne plus (mot illisible) et plus ensoleillée que l'Auvergne..." ["... this story of man and sheep in an Auvergne more (illegible word) and more sunny than Auvergne..."]

First edition in French of this open letter from the Committee of Muslim Patriots dated May 15, 1896.
Boards lightly soiled, handsome interior condition.
Rare pamphlet.

Autographed letter signed by a half page in which Michel Mohrt announces his unavailability, for health reasons, to go to the management of a newspaper to modify an article he gave and in which he repressed François Mauriac .
Michel Mohrt deplores his immobility due to his state of health: "A slight flu (probably caught at the session of poetry Saturday: I will not take me over!) Forcing me to keep the room, which requires it to ask his correspondent "to modify a sentence of my article".
Article in which he attacks François Mauriac and the "Figaro" (of which he was the editorialist from 1946 to 1953) while evoking in filigree the outrages of Victor Hugo polemicist and politician : "Guernsey is a place more inspired than the fort of the" Figaro "But here there is hope.
Regretting this acid and peremptory tone, Michel Mohrt would like to temper his words and his vision of things : "It is this last sentence that I would like to change.I do indeed seem to wish François Mauriac the same mishaps - imprisonment, proscription, exile - that he wished so much for the others - I have more charity than that - anyway this sentence is a little "sharia", as they say, I would like to transform it like this: "But here everything is possible ... "

Autographed letter signed by a half page in which Michel Mohrt announces his unavailability, for health reasons, to go to the management of a newspaper to modify an article he gave and in which he repressed François Mauriac .
Michel Mohrt deplores his immobility due to his state of health: "A slight flu (probably caught at the session of poetry Saturday: I will not take me over!) Forcing me to keep the room, which requires it to ask his correspondent "to modify a sentence of my article".
Article in which he attacks François Mauriac and the "Figaro" (of which he was the editorialist from 1946 to 1953) while evoking in filigree the outrages of Victor Hugo polemicist and politician : "Guernsey is a place more inspired than the fort of the" Figaro "But here there is hope.
Regretting this acid and peremptory tone, Michel Mohrt would like to temper his words and his vision of things : "It is this last sentence that I would like to change.I do indeed seem to wish François Mauriac the same mishaps - imprisonment, proscription, exile - that he wished so much for the others - I have more charity than that - anyway this sentence is a little "sharia", as they say, I would like to transform it like this: "But here everything is possible ... "

An autograph letter signed with a page in which Jean Queval thanks Georges Raillard for his letter while gently mocking his difficulty in understanding his writing: "Delighted by your letter, as much as I could have read it. not calligraphy, it's torturing for those who value your correspondence. "
After having transmitted to him all his friendly thoughts and alluded to his intra-Héricy move (City of Seine-et-Marne where the Queval live), Jean Queval seeks the criticism of Georges Raillard for two of his books: "I would like to have your opinion on my Georges Sadoul (a true Benedictine) and on my little book . "(probably his essay on Queneau published in 1960).
Finally, Jean Queval finishes his letter on wishes of discretion: "I have things under construction, but I do not want to annoy the world with my projects, and besides I will rewrite you."

First edition.
Rare and handsome copy illustrated with 4 photographs.
One transverse fold to the front cover, light dampstain to margins of leaves.

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Greeting card addressed to Georges, Alice Raillard and their three children for the year 1974 and signed by Albert Rafols-Casamada and his wife Maria .
Nice copy of this greeting card made by Albert Rafols-Casamada that he illustrated with a drawing.

Greeting card addressed to Georges and Alice Raillard for the year 19767 and signed by Albert Rafols-Casamada and his wife Maria .
Beautiful copy of this greeting card on which Maria added these words: "A year full of joir, we wish you, your friends Maria and Albert".

First edition of the catalog of the exhibition dedicated by the Galeria Belarte in Barcelona in 1965 to the works of Daniel Argimon.
Back and flat marginally insolated and discolored, pleasant interior state.
Illustrated copy of reproductions of works by Daniel Argimon.
Texts by Carlos Antonio Arean, Juan Eduardo Cirlot, Arnaldo Puig and Cesareo Rodriguez Aguilera.
Signed autograph of Daniel Argimon to his friend the art critic Georges Raillard.

First edition of the French translation for which it was not drawn from great papers.
Nice copy decorated with illustrations.
Signed autograph dedication of Guillermo Nunez Georges Raillard and his wife Alice.

Original photograph, vintage albumen print, representing Jean de Bosschère slightly in profile posing the head leaning back.
Signed autograph dated Jean de Bosschère on the back of the photograph: "For the poet Guy Lavaud / Jean Bosschère: Photo G. ballereau 1949".

First edition of this book entirely produced, illustrated and formatted by Germaine de Coster and printed 100 copies numbered on Japan and justified by the latter .
Nice copy.
Illustrated book for each of the 14 stations of an original composition engraved on wire wood with the Japanese method.
Binding in the bradel half vellum cardboard, paper plates with gold and silver decorative motifs, guards and contreplats of the same paper, gilded head, preserved covers, flexible cardboard case, platd of silver and gold marbled paper.

Original poster inscribed by Lawrence Durrell

Original poster by Karen Horowitz numbered 145/200, dated 1974 and signed in pencil, showing a photograph with a superimposed quote from Lawrence Durrell's Justine: “The world is like a cucumber – today it's in your hand, tomorrow up your ass”.
A few tiny wormholes.

Manuscript inscription in felt tip pen by Lawrence Durrell to the left of the quote: “Buttons dear Attention! Larry Durrell. 1978”

This poster was given to a young lover of the author's who, in both Sommières and Paris, livened up his lonely days at the end of the 60s and in the 70s. Janine Brun, also known as “Buttons” in the author's letters and postcards was described thus by Durrell's biographer Ian McNiven: “She was almost thirty but she looked much younger, with a girl's small-breasted figure, as dark-haired as Claude Kiefer was blonde, and not languorous but tremendously energetic” (Lawrence Durrell: A Biography, page 591).
Their affair stretched to the end of the 1970s, Jani/Buttons appearing now and then in the works of Durrell, most notably in the poem “Vaumort” (Collected Poems: 1931-1974) and in the author's famous correspondence with Henry Miller: “that little demon Buttons [...] turned up for a New Year TRINC and stayed the night with me finally, in my eternal little Room 13 at the Royal.” (letter from Durrell to Miller, 6 January 1979). She also got postcards and letters full of solicitude, intimate allusions and suggestions for reading from Durrell and his great friend Henry Miller, as well as works of art signed by Durrell himself.

First edition presented in plain interim wrappers.
Handsome copy despite some corner chips to the interim wrapper boards.

First Edition printed with 108 numbered copies on vellum "pur-fil" paper Johannot.
Illustrated book of 7 original engravings by Diane de Montbron.
Signatures of Michel Croce-Spinelli and Diane de Montbron below the justification of the draw.
We add an original engraving of Diane de Montbron on which it is split an autograph autograph dedication of the author a good year 1987 to a close.

First edition of the French translation by Georges Raillard, one of 26 numbered copies on pure Rives cloth, head print.
Beautiful complete copy, as it is stipulated to the justification of the drawing of its original drawing enhanced by an engraving and signed by Virgilije Nevjestic, a suite on old Japan of 5 etchings signed and not published in the book , from a suite on Auvergne of the 8 signed engravings of the book .
Signed autograph Virgilije Nevjestic Georges and Alice Raillard.
Signature of Virgilije Nevjestic.

First edition printed to any small number of this pacifist and anti-nuclear poem whose "price is indexed on the price of gold".
Small marginal tears without gravity on the boards, pleasant interior state.
Paul Comban's handwritten directions in pencil, indicating his address at the foot of the second plate.

Original black and white photograph of André Breton in profile with other people including Max Morise
[ca 1920] | 5 x 8 cm | one photograph
Original black and white photograph of André Breton in profile with other people including Max Morise. Contemporary print probably unique.
Provenance: Destribats collection.

Photograph depicting actor Claude Dauphin in front, a pipe in the mouth and wearing a cap.
Autograph signed by Claude Dauphin Micheline Coppia.

6 and 9 of Clubs
[France c. 1860] | 5.5 x 8.6 cm
In the light, the transparent cards reveal humorous erotic scenes:
– 6 of Clubs: a lapping dog pleasures a lady stretched out with her dresses lifted up.
– 9 of Clubs: foreplay of a naked couple sitting on the edge of a bed.

Secret erotic playing cards - Three of Clubs
[France] s.d(circa 1860), 5.5 x 8.6 cm, one playing card
Secret erotic playing card, unknown manufacturer, produced in France around the 1860s. Lithograph coloured by stencil, white verso.
In the light, the transparent card reveals an erotic scene: a chimney sweep in a hat and clogs, hard like a stag, assaults a lady sitting on a chair, dressed hitched up, who tries to withstand him.
A curiosity!

Photographic postcard depicting frontman and actor Paul Mounet from the front.
Nice copy.
Handwritten signature of Paul Mounet at the top right of his portrait.

Photographic postcard depicting three-quarter actor Albert Préjean.
Handwritten signature of Albert Préjean on his portrait.

Original photography taken around 1925 at Piaz studio.
Silver print with a crease in the head.
Handwritten signature of Renée Saint-Cyr on the left of her portrait.

Photographic postcard depicting the Belgian actor Jean Servais slightly opposite the cigarette lips.
Handwritten signature Jean Servais at the foot of his portrait.

Photographic postcard depicting the actor and actor Paul Mounet in the costume of Monseigneur de Bolène in Henri Lavedan's "Le duel", played in 1905.
Nice copy.
Handwritten signature of Paul Mounet on the right of his portrait.

Photographic postcard depicting singer and actress Mistinguett sitting and three-quarter.
Signed autograph Mistinguett, at the foot of his portrait, to Mr. Humbert Oberlé.

Photographic postcard depicting Madeleine Renaud profile joined hands taken in the studio Pathé Natan movies.
Nice copy.
Handwritten signature of Madeleine renaud on her portrait.

Photographic postcard representing Yvonne Printemps, three-quarter and holding a hat board, taken in the studio Reutlinger.
Nice copy.
Handwritten signature of Yvonne Printemps above her portrait.

Photographic postcard of Elvire Popesco, front view, taken in Pathé Natan's photographic studio.
Nice copy.
Handwritten and dated 1935 signature of Elvire Popesco below her portrait.

Photographic postcard of Marie Bell, slightly in front, taken in studio Lorelle.
Nice copy.
Handwritten signature of Marie Bell below her portrait.

Photographic postcard depicting Marguerite Moreno from the front taken in Pathé Natan's photographic studio.
Nice copy.
Dated and signed autograph of Marguerite Moreno, at the foot of her portrait, to Micheline Coppio.

Photographic postcard signed by Polaire
S.n., s.l1919, 9.5 x 13.5 cm, one verso sheet
Photographic postcard depicting the singer and actress Polaire, facing her two dogs in her arms, taken in the A.Bert studio.
A beautiful copy.
Handwritten signature dated 1919 by Polaire above and to the right of her portrait.
Handwritten presentation from Polaire on the back of the postcard to Mr Humbert Clerle.

Photographic postcard representing Albert Préjean lying on a bed and taken in the studio Pour Vous.
Handwritten signature of Albert Préjean to the left of his portrait.

Photographic postcard of Berthe Bovy, profile, taken in Talbot studio.
Nice copy.
Handwritten signature dated Berthe Bovy at the foot of her portrait.

Photographic postcard depicting Max Dearly, profile, taken in the studio Felix.
Nice copy.
Handwritten signature dated Max Dearly to the right of his portrait.

Photographic postcard representing Miss Campton, three-quarter.
Nice copy.
Handwritten signature dated Miss Campton on her portrait.

Photographic postcard depicting Annabella from the front.
Nice copy.
Autograph dedication signed Annabella on his portrait to Micheline Cappio.

Photographic postcard depicting the great tragicienne Réjane in the Revue Sans-Gène in 1911.
Nice copy.
Handwritten signature dated Réjane at the foot of his portrait.

Photographic postcard depicting three-quarter actress Cécile Sorel.
Nice copy.
Handwritten signature of Cécile Sorel at the foot of her portrait.

Disguised erotic playing cards – Four aces
[France ca 1860] | 5.5 x 8.6 cm | 4 playing cards
Disguised erotic playing cards, maker unknown, produced in France circa 1860. Lithographs colored with stencil, versos blank.
In the light, the transparent cards reveal humorous erotic scenes:
- Ace of Spades: an intellectual, with a beard and glasses, sharpens the tip of his virile member on a grindstone driven by a young, naked woman while another, at the same stone, brandishes a pair of scissors.
- Ace of Hearts: a clothed man flees, straddling his monstrous member, before two laughing, exhibitionist and flatulist young ladies.
- Ace of Diamonds: a good nun, dressed only in a rosary around her hips, tows a monk's excessive member, who is also undressed, with the help of a cart.
- Ace of Clubs: a Chinese scene, a Chinese man is flattered by two ladies: one uses bellows on his behind while the other spoils him by tickling his attributes with the help of a long feather.
A real curio!

Edition printed with 50 numbered copies on Rives and illustrated with 7 engravings original with the burin and the black way of Albert Woda that each one has captioned and signed .
Bilingual work with the translation of Claude Couffon and the Spanish text opposite.
Beautiful and rare complete copy of its case.
Signature of Albert Woda at the colophon.

Full autograph manuscript, written in black and red ink for the title page and in black ink for the text.

Our manuscript is presented under shirt and case in full gray canvas made for Henri Béraud, label of title glued at the top of the shirt.


Complete manuscript in 414 sheets (single-sided), all foliated, dated and written from October 15, 1928 to March 21, 1929.

Precious manuscript of first draft, abundantly corrected and presenting numerous variants with the definitive text published in 1929.

First edition.
Spine and boards marginally discolored, tears and corner losses to boards, handsome interior condition.
Rare.

First edition. 2 other parts bear a specific title page: Lettre de Monsieur Servien plenipotentiaire de France, adressées à chacunes des Probinces Unies des Païs-Bas separement, excepté celle de Hollande; Escrit ou memoire, contenant 19 articles, à Messieurs les Estats Generaux des Provinces Unies des Païs-bas.
Contemporary limp vellum binding. Smooth spine with pen title lengthwise (faded and illegible). Restoration to spine. Traces of dampstains in margins. White stains one centimeter in diameter on about ten leaves with letters sometimes faded. Work rebound with renewed endpapers.
This correspondence deals with the disputes which opposed the two ambassadors of France to Munster, and on the preparation of the Treaty of Westphalia whose negotiations took place in 1644, at Munster for the Catholics, at Osnabrück for the Protestants. The Treaty of Westphalia was signed in 1648, ending two major conflicts, the Thirty Years' War, and the war opposing the Netherlands to Spain, a war which is often mentioned in this collection.

Autograph manuscript by Guy de Maupassant to Countess Potocka, 36 lines in ink on one page. Horizontal fold at center. Published in Philippe Dahhan, "Guy de Maupassant et les femmes : essai", Bertout, 1996.
Unusual manuscript by Maupassant, giving a false rabies vaccine formula he calls "Élixir Pasteur", made with namely "seven tears of a rejected academic candidate", "five drops of journalist's drool" and "one centimeter of novelist's pride".
This amusing prescription is addressed to Countess Potocka, a wealthy aristocratic socialite and intellectual whose beauty and fickle personality greatly inspired feminine Maupassant characters: Christiane Andermatt in Mont-Oriol and Michèle de Burne in Notre cœur [Our Heart].
Maupassant writes to Emmanuela Pignatelli di Cergharia, wife of the extremely rich Polish count Nicolas Potocki, who allowed her a great deal of freedom. Her Parisian salon in the avenue Friedland was, from 1882 onwards, the exclusive meeting place for an elite composed of writers, socialites and literary types. It hosted each Friday a council of suitors "dying of love" ironically nicknamed the "Maccabees" in reference to the seven martyred brothers of the Bible. Visitors included Guerlain, who made a perfume for her called Shore's caprice and composer Camille Saint-Saëns who wrote a mazurka for her, artist Léon Bonnart who painted her portrait, as well as young Marcel Proust who wrote a Figaro column about her renowned gathering. She remained Maupassant's greatest conquest and muse, whom he courted until the end of his life.
The author gives the Countess an unlikely recipe for Elixir Pasteur, inspired by Louis Pasteur's rabies experiments using rabbit marrow. The undated autograph manuscript was probably written in July-August 1885, when Pasteur successfully administered his rabies vaccine to nine-year-old Joseph Meister. Maupassant deploys his talents for farce and parody, twisting medical jargon to create a fake vaccine: "So this last animal receives the rabies virus at its seventh potency and instantly goes into a rage. You then remove its left eye and extract the visual fluid with a morphine syringe. You put this fluid in a small granite jar with five drops of journalist's slime". Diagnosed with syphilis some ten years earlier, Maupassant was in fact particularly familiar with remedies and potions. He was a frequent visitor to spa towns and consulted numerous doctors before his internment at Doctor Blanche's clinic, where he died of general paralysis on July 6, 1893. This humorous note to Countess Potocka is one of his countless seduction attempts. He remained an eternally thwarted lover despite having written numerous manuscripts for her, composed poems written on fans, and visited her almost daily during his stays in Paris. Their correspondence went on for many years, with Maupassant going so far as to create the "Société Anonyme Anti-Soporifique pour la Récréation perpétuelle de la Comtesse Potocka", with the sole aim of entertaining the Countess and escaping her indifference: "Realizing that my efforts are often fruitless in the face of your deliberate indifference, I've tried to find a way to overcome your boredom on every occasion" (Letter, August 1885, The Morgan Library, New York).
Maupassant ends his note with an amusing remark, proving the effectiveness of his remedy against rabies: "It is by this method that all accidents were avoided during the last Congress", in reference to the Berlin Conference of 1884–1885 also known as the Congo Conference, where the colonial partitioning of Africa was decided.
Provenance: Jean Bonna collection.

First edition.
A tear in the foot of a bit, small traces of marginal creases on the boards.
Signed autograph of Jean Ménard to Jean Legrand: "To my dear friend, to you, Jean, with all my friendship."

First edition with illustrations by Claude Lagoutte.
Nice copy despite small dirt on the boards.
Autograph tributes signed by Aimée Marik and the managers of the Remy Martin establishments ..

Rare wedding announcement of Henri Jeanson and Germaine Delbo which was celebrated on June 16, 1928 in the strictest intimacy.
The announcement is illustrated with a cartoon of Paul Colin on the second plate showing a man learning by surprise and via a phone correspondent this confidential nuptial event and exclaiming: "Hello, Jeanson has married .. . No kidding."

First edition, one of 970 numbered copies on Johannot vellum.
Fine copy containing the new cassette (the cellophane wrapper is missing), which consists of the recording of the book read by Michel Butor.

First edition.
Contemporary marbled blonde half sheep binding. Spine with raised bands, decorated. Fawn morocco title label. Upper joint cracked at head and foot for 10 cm. Rubbing to boards.
18th-century armorial bookplate: Bibliothèque de M. de Cangey, gentilhomme ordinaire de la chambre de M. le Comte d'Artois.
The work was originally written in response to a book by Antoine Court (1695-1760), Lettre d'un patriote sur la tolérance civile des protestans de France et sur les avantages qui en résulteroient pour le royaume (1756); this is why it is written in the vocative. The author justifies, by means of a serious historical and economic study, the revocation of the Edict of Nantes. "The author makes a great display of erudition and knowledge in matters of political economy. The Dissertation offers curious research" (Michaud). This defense of intolerance provides very interesting remarks on demography. The author finally gives economic solutions to emerge from this demographic threat. The dissertation on the St. Bartholomew's Day massacre denies that it was a religious affair, and even the number of deaths, and seeks to diminish its historical importance. The book aroused widespread indignation, notably from Voltaire.

First edition illustrated with a frontispiece by Le Moine and engraved by Cars, an engraved title, an engraved epistle and 54 plates of medals (one medal per plate). The medals are at the center of engraved frames, different for each plate. All plates are numbered. A second edition will appear in 1745 with 65 plates, and a third in 1749 with 78 plates. Cohen only cites this last edition, the 1736 edition being much rarer than the following ones.
Contemporary full glazed and marbled brown calf binding. Richly decorated spine with raised bands. Red morocco title label. Head cap torn off. Last tail compartment missing. Upper joint split and open. Corners very bumped and worn. Overall rubbed, particularly at edges, with scratches and scuffs on boards. Interior perfectly fresh.
This collection by Fleurimont is an "unofficial continuation of the Medals on the principal events of the reign of Louis XIV" (Sarmant, Bibliothèque de l'École des Chartes, 2000, p. 88). The plates cover the period from 1715 (enthronement) to 1736 (education of Monseigneur le Dauphin). Godonnesche was master of the king's medal cabinet to which Fleurimont, engraver, had access.

Full autograph manuscript, signed, written in black and red markers for the title page and in blue ink for the text.

Our manuscript is presented under shirt and case in full gray canvas made for Henri Béraud, label of title glued at the top of the shirt.
Back and flat of the case and the shirt insolated and having foxinges.

Complete manuscript in 204 sheets, 203 of which are foliaged and the title page signed with the author's initials and dated 1946, in 12-inch format, single-sided and enriched with in-text color drawings and initials of the author.

Provenance: Henri Béraud's library.

First edition illustrated with 1 black and 2 original dry tips by Albert Woda and printed with 22 numbered copies on paper Hahnemühle, ours one of the 2 out of trade.
Beautiful and rare copy.
Handwritten signatures of Luis Mizon and Albert Woda at the colophon.

First edition handwritten and printed 15 copies numbered on vellum and illustrated with 3 vignettes and images of Jean-Jacques Ceccarelli.
Nice copy.
Signatures of Josée Lapeyrère and Jean-Jacques Ceccarelli at the colophon.