Paris (France)

First edition, review copy.
Signed autograph of Charles Maurras Marius Bouquinet.
Back passed as often, some light spots without gravity.

New edition expanded with a commentary by Jean-Augustin Amar du Rivier, and illustrated with a portrait of the author as frontispiece engraved by Ligon after Rigaud and 6 figures hors-texte engraved by Pierre Adam, Chollet, Burdet, Larcher and Lorichon after Desenne.
Half green Russia leather bindings with corners, spines with five raised bands decorated with fleurons and roulettes stamped in blind, with gilt compartments and roulettes, headcap of the second volume slightly cracked, joints lightly rubbed, marbled paper boards, second board of the third and fourth volumes very lightly rubbed, some corners slightly bumped, endpapers and pastedowns of red speckled marbled paper, armorial bookplate of the Martineau des Chesnez family pasted on the front pastedown of the first volume. Contemporary binding signed Simier.
Handsome copy in a half Russia leather binding signed Simier.

First edition, one of 206 numbered copies on Montfourat vellum reserved for Lardanchet selections, the only deluxe copies after 16 pur fil.
Spine lightly sunned, handsome interior condition.

First edition, one of 180 numbered copies on vélin neige reserved for Lardanchet selections.
Spine slightly creased at foot, boards slightly and marginally sunned.

First edition, one of 50 numbered copies on pur fil paper, the only large paper copies.
Spine very slightly sunned, not serious.

First edition, one of 100 numbered on "pur-fil" paper laid, only large paper after 10 Holland paper.
Signed autograph Andre Lafond Emmanuel Costil.
Back insolated.

First edition, one of 377 numbered copies on laid Rives, only 23 leading copies after China.
Our copy is enriched by an autograph Alfred Péreire card thanking his correspondent.

New edition.
Binding half navy blue shagreen, back with four nerves set with golden dots and decorated with double gilded boxes decorated with golden jewels of angles, navy blue cardboard boards with very slight scratches, guards and contreplats of handmade paper, two corners very lightly used, contemporary binding.
Our copy is enriched by an autograph letter signed and dated by Eugène Scribe, mounted on tab, which also signed Perfect for Christmas, letterhead of the "Commision playwrights and composers", in which it refused a request grant.

First collected edition, one of 20 numbered copies on pur fil paper, the only deluxe copies after 10 Holland.
Autograph signature of Claude Farrère on the half-title page.
Spine sunned, full-margined copy.

Edition with some parts in first edition (the first ode, "Les muses", had appeared previously) and printed in 215 numbered copies on Arches laid paper.
Half cloth binding with corners in vellum style, spine lightly browned with five raised bands set with gilt friezes and decorated with double gilt compartments enhanced with gilt typographical motifs, gilt date at foot, marbled paper boards with small lacks of paper, endpapers and pastedowns of marbled paper, covers and spine preserved, top edge gilt, endpapers with some shadowing and small worming, contemporary binding.
Rare light foxing without gravity, handsome copy decorated with magnificent colored initials.

First edition printed in a small number of copies.
Faint dampstain affecting all the book.
Rare.

First edition printed in a small number of copies.
Small tears, not serious, to edges of covers.
A rare copy.

First edition of 62 numbered copies on Madagascar, the tirage de tête.
Contemporary half blue morocco over marbled paper boards by Robinson, gilt date to spine, gilt fillet frame to covers, endpapers and pastedowns of light green paper, double covers and double spines preserved, top edge gilt.
A very good copy in a nice binding.

First edition, printed stamp of the press service head of the latest warning.
Signed autograph Alphonse Boudard Paul Guilbert.
Nice full copy of his illustrated jacket.

First edition, rare.
Full glazed blonde calf 18th-century binding. Spine with raised bands richly decorated. Red morocco title label. Split at head of upper joint. Two corners bumped. Light rubbing. Owner's name crossed out on title page. Old pen note on endpaper. Handsome copy, well bound.
These Letters appear shortly after the first edition of La Princesse de Clèves (1678), and they are of crucial importance for the history of Belles-Lettres. Valincourt begins by retracing the history of the work, which was well known before being published. He gives a detailed account of it, following the novel step by step, with the aid of historical and critical considerations. If Valincourt's work is rather laborious, paraphrasing the novel with the aid of a realist postulate and questioning the psychological, stylistic and narrative possibilities, it nonetheless remains that we have few documents of this kind: a contemporary testimony on an emblematic book of French literature.

First edition of the first book of André Breton, one of 115 numbered copies on Hollande, the only printing after 10 Japon.
Nicely bound in black and red Révorim by Jean de Gonet, endpapers and pastedowns of black paper, covers and spine preserved, binding made in only 200 copies.
Illustrated with two unpublished drawings by André Derain.
Occasional foxing, not serious, endpapers slightly faded al over.

Second edition, revised and corrected, translated by Dureau de Lamalle.
Full speckled blonde calf binding, smooth spine decorated with armorial devices, gilt fillets and roulettes, red shagreen title-label, very fine blind-stamped fillet framing the boards, light scratch on second board, one corner slightly bumped, blue marbled endpapers and pastedowns, gilt roulette on edges, all edges speckled brown.
A few leaves browned, not serious.
Bookplate pasted on front pastedown.
Good copy.

New edition printed on laid paper and illustrated with a frontispiece portrait of the author and 7 engravings outside the text by Jean-Baptiste Simonet.
Full green Russia leather bindings, five raised band spines uniformly sunned decorated with fleurons and triple gilt fillets, fine gilt hatching on the headcaps, joints rubbed at head, triple gilt fillets framing the boards, gilt corner flowers, two corners slightly bumped, marbled endpapers and pastedowns, gilt roulette frame, gilt fillets on the leading edges, all edges gilt.
Handsome copy on laid paper.

first edition on the current paper.
autograph dedication of the author autograph dated and signed by Dominique Rolin to a friend: "Jean-Philippe faithfully ..."
Nice copy.

First edition, one of 40 numbered copies on vellum Lafuma and justified by the author.
Signed autograph Michel Camus to Leo Charance.
Nice copy.

Original edition.
Signed autograph Edouard Dujardin Henry Charpentier.

First edition illustrated with photographs.
Foreword by Paul Deschanel and preface by Philippe Pétain.
Fold marks to first cover.

First edition in French, one of 15 numbered copies on vélin du Marais paper, the only deluxe copies.
The work illustrated with original woodcuts by Bodjol.
A fine full-margined copy despite minor foxing.

First edition on ordinary paper.
Autograph inscription dated and signed by Dominique Rolin to a friend.
Small spots to covers.

First edition, one of 100 numbered copies on Hollande paper, the deluxe issue after 50 on Japon paper.
The work illustrated with a frontispiece by Pierre Guastalla, here in double state as with all copies on Hollande paper.
A handsome copy despite some minor worming affecting primarily the endpapers and some deckled edges.

First edition with two drawings by André Gill.
Spine sunned, foxing.
Rare.

First edition on ordinary paper.
Autograph inscription dated and signed by Dominique Rolin to a couple of his acquaintance.
Spine sunned.

First edition in French, one of 160 numbered copies on vellum reserved for the Lardanchet selections, the only deluxe copies after 12 snow vellum.
Handsome copy.

First edition, numbered 3000 copies a "bouffant" paper on calypso.
Signed autograph of Henri Michaux Eugene Bonnat.
Nice copy.

New edition, one of 80 copies printed on grand vélin raisin. Work illustrated with 5 portraits as frontispieces to the first four volumes and 37 figures hors texte.
Half Russian leather bindings with corners in plum, spines with four raised bands set with fleurons, gilt fillets and roulettes, headcaps and joints very lightly rubbed, marbled pebbled paper boards, some corners slightly bumped, marbled pebbled paper endpapers and pastedowns. Contemporary or very slightly later bindings.
The two frontispiece portraits in the first volume are engraved after Hyacinthe Rigaud, the other plates being engraved by Leroux, Müller, Longueuil etc., after Borel, Desenne or Moreau le Jeune. Some plates are in double impression.
Occasional foxing.
Very handsome copy perfectly established in binding.

First edition, one of 30 numbered copies on alfa paper, the only large paper copies after 10 on vélin d'Arches paper.
A good copy.

First edition in French, one of 55 numbered copies on alfa paper, the only large paper copies.
A good copy despite tiny spots, not serious, to spine.

First edition of the French translation, one of 250 numbered copies on alfa, the only large paper copies.
A very good copy.

First collected edition, one of 30 numbered copies on Bambou paper, the only large paper copies.
Spine faded as usual, otherwise a rare and good copy.

First edition, one copy on Alfa paper.
Signing autograph Maurice Larrouy below the justification of the draw.
Iconography.
Back slightly discolored, otherwise nice copy.

First edition of the French translation established by Alexandre Vialatte, one of 800 numbered copies on Outhenin-Chalandre, the only deluxe copies.
Two small sunning traces at head and foot of spine, otherwise a handsome copy.

First edition, one of 350 numbered copies on alfa paper.
With a photographic frontispiece portrait of the author.
A good copy.

First edition, one of 160 numbered copies on Montfourat vellum, the only deluxe copies after 42 on pure thread.
Iconography.
Small tears at head of second cover and foot of spine, otherwise a handsome copy.

First edition, one of 60 numbered copies on vélin paper, the only large paper copies.

A good copy.

First edition, one of 225 numbered copies on alfa paper, the only large paper copies.
Spine sunned.

First edition, a numbered copy on vélin du marais paper.
A good copy.

First edition, one of 550 numbered copies on English alfa, the only deluxe copies.
Spine very lightly sunned without consequence.
A history of witchcraft under the Ancien Régime.

First edition, one of 300 numbered copies on vélin de Prioux paper, resreved for the Lardanchet selections.
Spine slightly sunned.

First edition, illustrated with a folding map of Palestine in colors and 33 plates on chine collé mounted on strong paper. Text framed with a gothic wooden border. La vie de Jésus-Christ is followed by Objections contre le christianisme et réponses.
Contemporary full red morocco bindings with long grain (Russia leather) signed Malibert. Smooth spines richly decorated with a large plate. Boards decorated with a large central iron in the form of a cross and a large frame plate with various motifs. Frame fillets. Blue and red morocco doublures on the pastedowns with geometric decoration. Gilt edges. Headcaps lightly rubbed. Corners rubbed. A small tear to a lower border of 1cm. A hole on the lower joint of volume 2. Fresh set with light and rare small worming due to tissue guards on the margins of some engravings.
Splendid signed romantic binding perfectly executed in morocco with doublures.

First edition, one of 5 numbered copies on Holland paper, ours bearing No. 1, the only deluxe copies.
Small marginal tears of no importance to the covers, pleasant interior condition.

New edition illustrated with 19 figures outside the text drawn by Gravelot and engraved by Le Roy.
Full olive green calf bindings, smooth spines slightly rubbed, decorated with typographical motifs, double gilt fillets and roulettes, fine hatching on the headcaps, joints slightly cracked at head and foot otherwise slightly rubbed, gilt roulettes framing the boards and pastedowns, blue speckled marbled endpapers and pastedowns, gilt roulettes on the leading edges, all edges gilt. Contemporary bindings.
Handsome copy in contemporary binding.

First edition, an advance (service de presse) copy.
Handsome autograph inscription from Jacques Audiberti to Francis Carco.

Complete first edition in six volumes, illustrated with decorative headpieces. 

Contemporary bindings in full marbled brown calf, spines with six raised bands decorated with red morocco title and volume labels, fleurons and double gilt frame fillets, triple fillets stamped in blind framing the boards, double gilt fillets on the leading edges, marbled endpapers and pastedowns, all edges marbled. Title pages in red and black. Headcaps worn, title labels of volumes 1, 3, 4 and 6 and volume labels of volumes 4, 5 and 6 missing, some lacks to the compartments, leather split at the joint of the first volume, joints of other volumes often slightly cracked at head or foot, boards and leading edges rubbed, some corners slightly bumped. Endpapers cut at outer margins, some bookworm damage to leaves mainly in lower margins, intermediate title pages of volume 5 and volume 2 detached but present.

Good copy.

first edition on the current paper.
Binding to bradel half gray calico, smooth back with a gold floral motif, double golden tail thread, marbled paper boards, contemporary binding.
Signed autograph Jules to Mr. and Mrs. Schmökel.
Nice copy.

First edition, one of 53 numbered copies on pur fil, the only large paper copies.
A good copy.

First edition, one of 65 numbered copies on pur fil, the only large paper copies.
A good copy.

First edition in French, one of 60 numbered copies on pur fil paper, the only deluxe copies.
The correspondence is expanded with Pound's essays on Joyce.
Handsome copy.

First edition printed on alfa mousse paper.
Autograph inscription from Oscar Venceslas de L. Milosz to André Galliard.
Illustrated by adomas Galdikas.

Later edition of the works of Pierre Corneille with a commentary by Voltaire.
Contemporary half green Russia over paper boards (a little rubbed), spine with gilt Restoration typographic motifs.
A little foxing.
The set is illustrated with a frontispiece portrait of the author drawn and engraved by Auguste de Saint-Aubin and 25 hors texte figures by Jean-Michel Moreau.
A very good complete set of the works of Pierre Corneille in contemporary half Russia.

First edition printed in 300 copies on vergé paper.
Spots to lower cover, internally good.
A rare copy, sold as is.

First edition illustrated with a frontispiece drawn by Schmit and engraved by Hilaire Guesnu, 38 plates and vignettes by Schmit, Gavarni, Nanteuil and Schlesinger.
Full green shagreen binding, spine with four raised bands set with gilt dentelle, compartments decorated with quadruple gilt framing fillets and cold-stamped fillets, double fillets and dotted gilt rolls at head and foot, fine hatchings on headcaps, cold-stamped fillets and multiple gilt fillets framing the boards, gilt rolls framing the pastedowns, gilt fillet on leading edges.
Some foxing.
Handsomely illustrated first edition.

First edition.
A good copy.

New French edition translated by A.J.B. Defauconpret.
Half blonde sheep bindings, spine with four raised bands decorated with cold-stamped fillets and fleurons, calf title and volume labels decorated with gilt fillets, some headcaps rubbed, certain joints cracked at head and foot, marbled paper boards and pastedowns, some corners rubbed, speckled edges.
Some foxing.
Frederick Marryat began as a ship's captain in the Royal Navy. Subsequently, he was one of the pioneers of maritime fiction, producing several works that appeared in French from 1837 onwards, most often in collections, as is the case with our copy.
Count Greffulhe's bookplate pasted on each pastedown.

first edition printed in small number of the reprint of the memories of the National Society of Antiquaries of France.
Tribute autograph signed Albert Babeau top of the page title.
Light marginal gaps without gravity on the first board, otherwise rare and nice brochure.

First edition with 25 illustrations.
Covers slightly and marginally sunned, internally good.

Third edition first in part as reviewed and expanded.
Occasional foxing, small angular lacks to covers.

New edition printed on laid paper and illustrated with a frontispiece drawn by Bernard Picart dit le Romain and engraved by Vinkeles. Also includes two allegorical figures by van der Meer (as frontispiece to l'Epitre and l'Art poétique), 6 figures after Picart re-engraved by Vinkeles for Le Lutrin and four title vignettes by van der Meer and one by F. de Bakker.
Contemporary bindings in full speckled blonde calf, smooth spines decorated with red straight-grained morocco title and volume labels, fleurons and triple gilt fillets, gilt striations on headcaps, gilt fillets on leading edges, marbled endpapers and pastedowns, all edges speckled blue. Gilt initials at foot of spines.
Headcap of volume 1 slightly rubbed, discreet worming on tailcap of volume 1 and on title label as well as at foot of joint of second board of volumes 3 and 5, traces of rubbing on boards, slight lack to first board of volumes 1 and 3, small dark stains on spine and second board of volume 1, corners somewhat rubbed. Very small wormhole to upper margin of leaves of volume 2.
Fresh copy, free from foxing.

New edition, illustrated with 2 double maps and 156 maps engraved recto-verso, all heightened in colors. One frontispiece and one engraved title.
Contemporary publisher's binding in full red morocco. Smooth spine decorated. Brown morocco title label. Gilt edges. One restoration at foot and one at corner. Gilding sometimes faded. Good copy.

First edition illustrated with a portrait of the author as frontispiece by Maurin and reproduced as a lithograph by Noël.
Half brown calf binding, spine with four raised bands uniformly faded and decorated with gilt fillets and roulettes, cold-stamped tools, headcaps and joints lightly rubbed, double gilt fillets framing the boards, marbled endpapers and pastedowns, marbled edges. Binding signed by Perreau.
Some foxing.
Copy complete with the facsimile of Camille Jordan's handwriting, in a contemporary binding signed by Perreau.

New edition.
Full blonde calf binding, spine with five raised bands decorated with gilt cathedral-style motifs and gilt fleurons, gilt fillets on the raised bands and framing the compartments, gilt roulettes at head and foot, fine gilt hatching on the headcaps, dentelle stamped blind framing the boards, gilt roulette framing the pastedowns, endpapers and pastedowns of marbled paper, gilt fillet on the edges, marbled fore edges. Contemporary binding signed Bibolet.
Work illustrated with an engraved frontispiece, drawn by Desenne and engraved by Roger.
Some foxing, otherwise good copy in signed contemporary binding.

First edition illustrated with 17 plates, 6 of which folding, as well as a frontispiece and two plans. Placement leaf for the engravings at end. The only edition of this work considered rare, part of the copies are said to have been destroyed after printing. Brunet III, 1.888: "Work that has become rare, the edition having been partly destroyed."
Contemporary full tree sheep binding. Smooth spine decorated with grotesque compartments, three composed of lozenges and three others of stars. Frieze and framing fillet on boards. Roll on leading edges. Brown sheep title label. Tissue guards have been preserved. Handsome copy, particularly fresh.
Canon of the Sainte-Chapelle, Morand had access to the best sources to construct his work and it is one of the few restoring the long history of the edifice. It was an edict of 1787, which ordered the suppression of the Holy chapels and the suspension of liturgical services, that prompted Morand to produce this monograph which he deemed essential, but which found little echo in the midst of the revolutionary period.

First edition in French, one of 26 numbered copies on pur fil paper, the only large paper copies.
Small spots to spine and covers.

First edition in French, one of 41 numbered copies on pur fil paper, the only large paper copies.
Spine and covers slightly faded as usual.

Illustrated with original vignettes by Jean Gigoux.
Half dark green morocco with corners, spine with five raised bands richly decorated with gilt compartments and fleurons, gilt date at foot, top edge gilt retaining deckled edges. Binding signed Champs.
Work illustrated, as frontispiece, with a portrait of the author on China paper as well as 600 vignettes here in first printing by Jean Gigoux.
Some rubbing to joints, otherwise a handsome copy.

Illustrated with a frontispiece and its duplicate suite by Desenne engraved by Blanchard.
Half morocco binding with straight-grained red leather, spine with five false raised bands decorated with blind tooling, gilt fillets, compartments and rolls, gilt date at foot, marbled paper boards. Binding signed Thouvenin. Joints cracked at head and paper slightly faded on upper portion of boards.
Some very discrete foxing, without consequence, otherwise a good copy.

Set of eight original prints in color, drawn on laid paper. The boards are introduced by a text signed LRF Sketches L, LII, LIII, LV, are signed David, respectively on the lower right and left boards.
Original prints made ??for the illustration of The Gazette fashionable, one of the finest and most influential twentieth century fashion magazines, celebrating the talent of creators and artists French burgeoning art deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920, due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication, these luxury publications "are for bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "good Gazette of tone" in the fashion dictionary, 2016). Printed on fine laid paper, they use a typeface created specifically for the magazine by Georges Peignot, the Cochin character, taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil, enhanced color and some outlined in gold or palladium.
The adventure began in 1912 when Lucien Vogel, man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff (John's sister, the father of Babar) Gazette good tone in which the subtitle is then "Art, fashions and frivolities." Georges Charensol quotes the editor: "In 1910, he observed, there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists [...] I was certain of success because for any fashion country can compete with France. "(" A great art editor. Lucien Vogel "in literary News, No. 133, May 1925). The success of the magazine is immediate, not only in France but also the US and South America.
Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier, Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze Alexander Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel appealed to them, will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette.
The boards highlight the dresses and sublime seven artists of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless, some of Illustrations contained no real model, but only the idea that the illustrator is done in the fashion of the day.
Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit, it brings together for the first time the great talents of the world of arts, literature and fashion and imposed by this alchemy, a new image of women, slender, independent and bold, also driven by the new generation of designers Coco Chanel, Jean Patou, Rochas Marcel ...
Recovery in 1920 by Condé Montrose Nast, Gazette fashionable modeled for the new composition and the aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: the Vogue magazine.

Illustrated edition with two portraits of the author as frontispiece. Our copy possesses numerous illustrations not mentioned in others.
Half red Russian morocco binding with corners, spine with four false raised bands decorated with sextuple gilt fillets on the compartments and double gilt fillets on the bands, gilt fillet frame around the marbled paper boards. Binding signed P. Ginan.
Some very minor rubbing of no consequence on the bands.
Scattered foxing, otherwise a good full-margined copy.

Illustrated edition with a triple-state portrait of the author as frontispiece, as well as numerous portraits outside the text.
Half dark green morocco binding with corners, spine with five raised bands decorated with fillets and double gilt compartments, top edge gilt retaining its deckled edges. Binding signed Niedrée.
Scattered worming, otherwise a handsome copy.

New edition for Les fils ingrats by Piron. Mahomet by Voltaire is the very rare counterfeit published the same year as the original. First edition of La Mérope françoise, avec quelques petites pieces de litterature, and of L'ecole des meres by Crébillon. La Lettre a M. Norberg is a new edition.
Contemporary glazed brown full calf binding. Spine with raised bands richly decorated. Red morocco title-label. 2 wormholes at head. Joint cracked at upper joint at foot, same at lower joint. Corners heavily bumped and worn. One black stain on upper board at foot. First title page bearing multiple crossed-out signatures. Trace of pale dampstain from p. 42 to 46, then from 65 to 113.

First edition published under initialism.
Nineteenth-century binding in half brown Russia leather, spine with raised bands largely faded, decorated with small gilt fleurons, marbled paper boards (slightly lifting on the first cover) outlined with double blind fillets, all edges gilt.
Baby-bambou is a small philosophical tale in which an eponymous prince lives through many adventures meant to lead him to wisdom.

original prints in color, drawn on laid paper, signed upper left first and the lower right for the second.
Original content produced for the illustration of The Gazette fashionable, one of the finest and most influential twentieth century fashion magazines, celebrating the talent of creators and artists French burgeoning art deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920, due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication, these luxury publications "are for bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "good Gazette of tone" in the fashion dictionary, 2016). Printed on fine laid paper, they use a typeface created specifically for the magazine by Georges Peignot, the Cochin character, taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil, enhanced color and some outlined in gold or palladium.
The adventure began in 1912 when Lucien Vogel, man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff (John's sister, the father of Babar) Gazette good tone in which the subtitle is then "Art, fashions and frivolities." Georges Charensol quotes the editor: "In 1910, he observed, there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists [...] I was certain of success because for any fashion country can compete with France. "(" A great art editor. Lucien Vogel "in literary News, No. 133, May 1925). The success of the magazine is immediate, not only in France but also the US and South America.
Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier, Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze Alexander Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel appealed to them, will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette.
The boards highlight the dresses and sublime seven artists of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless, some of Illustrations contained no real model, but only the idea that the illustrator is done in the fashion of the day.
Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit, it brings together for the first time the great talents of the world of arts, literature and fashion and imposed by this alchemy, a new image of women, slender, independent and bold, also driven by the new generation of designers Coco Chanel, Jean Patou, Rochas Marcel ...
Recovery in 1920 by Condé Montrose Nast, Gazette fashionable modeled for the new composition and the aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: the Vogue magazine.

original print in color, printed on laid paper, signed lower right of the board. advertising board for Jeanne Lanvin dresses overleaf.
Trained at the School of Fine Arts in the studio of Fernand Cormon, André Édouard Marty works in the Gazette du Bon tone from the start of the review; it is then known for his elegant style in which often stand a whimsical or humorous touch. In a decidedly Art Deco inspiration, he draws Poiret dresses alongside Lepape but also those of Lanvin or to Doeuillet. This is particularly illustrating the dresses of the latter trait that reveals a multifaceted: fun, in silent, my heart .. where a young Cupid aims his arrow of a young woman falsely frightened!. The Taste bucolic in the garden, where little girls dresses with carefully placed serve their mother dressed in a stylish dress. Melancholic, perhaps, in The Secret pretty where we see two girls shyly confide any thought. Like his colleagues in the Gazette, Marty also works with other fashion magazines such as Vogue and Harper's Bazaar, yet two competing magazines for which he will be one of the few illustrators to work on it together. In parallel fashion illustrations, Marty also designs scenes for literary works such mythological scenes Henry Regnier or The Songs of Bilitis by Pierre Louÿs in 1937. The eclecticism of his style reached its peak in 1943 when he realizes a cartoon, Callisto, little nymph of Diana, "setting in motion ultimate feminine silhouettes that he composed for the Gazette.

Original content produced for the illustration of The Gazette fashionable, one of the finest and most influential twentieth century fashion magazines, celebrating the talent of creators and artists French burgeoning art deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920, due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication, these luxury publications "are for bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "good Gazette of tone" in the fashion dictionary, 2016). Printed on fine laid paper, they use a typeface created specifically for the magazine by Georges Peignot, the Cochin character, taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil, enhanced color and some outlined in gold or palladium.
The adventure began in 1912 when Lucien Vogel, man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff (John's sister, the father of Babar) Gazette good tone in which the subtitle is then "Art, fashions and frivolities." Georges Charensol quotes the editor: "In 1910, he observed, there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists [...] I was certain of success because for any fashion country can compete with France. "(" A great art editor. Lucien Vogel "in literary News, No. 133, May 1925). The success of the magazine is immediate, not only in France but also the US and South America.
Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier, Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze Alexander Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel appealed to them, will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette.
The boards highlight the dresses and sublime seven artists of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless, some of Illustrations contained no real model, but only the idea that the illustrator is done in the fashion of the day.
Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit, it brings together for the first time the great talents of the world of arts, literature and fashion and imposed by this alchemy, a new image of women, slender, independent and bold, also driven by the new generation of designers Coco Chanel, Jean Patou, Rochas Marcel ...
Recovery in 1920 by Condé Montrose Nast, Gazette fashionable modeled for the new composition and the aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: the Vogue magazine.

First and only edition, very rare when complete. The first 2 volumes dated 1799, volumes 3 and 4 dated 1802, and volumes 5 and 6 dated 1807. 8 years were necessary to complete the edition. This edition also appeared in quarto format. First edition of this atlas containing 50 plates and published in three parts. First part: Ottoman Empire, 17 plates. Second part: Egypt and Persia, plates 18 to 33. Third part: Journey to Persia, plates 34 to 50. Notable maps include a general map of Greece, the Bosphorus and Thrace, the Troad, the Hellespont, Lower Egypt, Syria, Asia Minor... Botanical plates, costumes, fauna...
Half hazelnut sheep bindings slightly later, circa 1815. Smooth spines decorated with 3 fleurons and 7 series of fillets. Pink paper on boards. The spines of volumes 2, 3, 4 lightened. Surface damage along the upper joint of volumes 2 and 6. Rubbing on boards. Good copy, in fresh condition.
Atlas: Modern half hazelnut sheep binding. Skillful pastiche modeled on the binding of the 6 volumes and using the same type of tools and fillets, and the same type of period paper on the boards. Dampstain on 3 plates (36 to 39) at bottom. Scattered pale foxing. Fold at upper corner of several leaves. Handsome copy.
It was in 1792 that a travel mission was entrusted to Olivier, naturalist and entomologist, intended to gather information and establish commercial possibilities. He was accompanied by another naturalist, Bruguière. The narrative indeed gives pride of place to economics and commerce, in a very scrupulous manner. In the preface, the author warns of the serious undertaking of his work, in no way intended for picturesque or romantic descriptions, but for exact and detailed geographical and geological descriptions. He resided 6 months in Constantinople, awaiting the funds necessary for his journey, then visited the Greek islands for a year, finally landing in Alexandria on December 3, 1794 and spending 6 months in the country until he was recalled to Constantinople. He then headed toward Persia and landed in Beirut in October 1795. He visited Sidon and Tyre, then went to Baghdad, he and his colleague, where they stayed a month. Their talents as physicians allowed them to travel without hindrance. They left Baghdad on May 17, 1796 and took the great royal road toward Central Asia, passed through Hamadan, Ecbatana, and went as far as Tehran, which the new Shah had just made his new capital and which had only 15,000 inhabitants. After several months of waiting, they joined a caravan that would follow the Euphrates, then 22 days of walking were necessary to reach Constantinople on October 18, 1797, where they attempted to gather their botanical and zoological collection which would enter the Museum of Natural History.
In all the countries he traversed and where he resided, Olivier was not content with the expected monograph of physical, human and economic geography, he provides us with long chapters on political history, and never forgot to botanize when he could.

First edition of the French translation established by Léon Wocquier.
Half brown shagreen bindings, smooth spines lightened and decorated with gilt arabesques, marbled paper boards, marbled endpapers and pastedowns, slight scratches on the edges, contemporary bindings.
Some foxing.

First edition, one of 20 numbered copies on Holland paper, the deluxe issue.
Pen gift inscription on first endpaper indicating library shelf arrangement.
Some worming to boards, otherwise a rare and handsome full-margined copy.

Illustrated edition with 20 original etchings by Martial and ornaments by Morin, one of 10 numbered copies on China paper, the deluxe issue with 10 on Whatman and followed by 4 on vellum.
The frontispiece is in double state.
About Marie-Roze, Agar, Sarah Bernhardt, Léonide Leblanc, Blanche Pierson, Sarolta, Angelo, Louise Ferraris, Marietta Sacca, Massin, Hilda, Latour, Rosine Bloch, Gabrielle de Cleurcy, Blanche d'Antigny, Odette Reynold, Alice Régnault, Augustine Devéria, Céline Montaland.
Inevitable foxing inherent to China paper, worming to boards.

First edition of the French translation, one of 50 numbered copies on Hollande, tirage de tête.
A good copy.

First edition, one of 475 numbered copies Alfa paper bulk, only large paper after 2 Japan and Holland paper 10.
Signed autograph of Roger Nereÿs Felix Goyon.
Book ornate frontispiece, a portrait of the author.
An illustrated and laminated label on upper cover is lacking in our copy.

New edition in the partly original, one of 50 numbered copies on Holland paper, head of print after 25 Japan.
autograph dedication of the author autograph signed and dated by Maurice Hallé: "To my friend Paul Perrin, the representative of the Butte Montmartre, the defender of workers and artists, with my good friends."
Presentation and Edmond Rock illustrations.
A scratch in foot of the first flat.
Nice copy.

First edition.
Contemporary glazed brown calf binding. Spine with raised bands decorated. Red morocco title and volume labels. Blind fillet frame on covers. 2 corners slightly bumped. Slight lack along one edge. Handsome copy.
History of the famous Bertrand Du Guesclin (1320-1380), fiery soldier who became Constable of France and Castile and who distinguished himself particularly during the Hundred Years' War by driving the English from numerous French provinces. The work was well received upon publication and was reprinted several times.

first edition.
Binding to bradel right fabric, smooth back and cleared insolated, as part of black shagreen with traces of friction and marginal snags, preserved covers, marbled head bookplate pasted on a contreplat signed binding Jarrigeon.
Our copy is enriched with a handwritten autobiographical note of Alphonse Karr, a page and a tab mounted head of the book: "... Son of Henry Karr born in Munich or Zweibrucken (Bavaria). AK .. does not appear to conscription ... It has always been considered french ... "
Book illustrated with a portrait of the author as a frontispiece.
Some foxing.