Paris (France)

Eighth edition.
Spine slightly sunned, internally good.

First edition published in a small number of copies of this offprint from anthropology courses at the Museum.
Spine and covers lightly and marginally sunned, front cover with a small tear at head.
Rare pamphlet.

First edition.
Foreword by Professor Yves Pélicier.
A good copy.

First edition of which there were no large paper copies.
A good copy.

First edition on ordinary paper.
Half caramel sheep binding, spine with two raised bands decorated with a central gilt fleuron, double gilt fillets at foot, minor traces of rubbing to spine without significance, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, one lower corner slightly bumped, contemporary binding.
Inscribed by André Mabille de Poncheville to the poet Jean Ott: "... cette étude sur deux peintres qu'il ne peut manquer de connaître..." ["...this study on two painters whom he cannot fail to know..."]
Work illustrated with reproductions of works by the Watteaus.

First edition in French, of which there were no deluxe copies.
Half caramel sheep binding, spine with two raised bands decorated with a central gilt fleuron, double gilt fillets and gilt date at foot, traces of rubbing to spine, citron shagreen title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Inscribed by the translator to the poet Jean Ott: "... au poète de l'Effort des races, ce livre où ne se retrouvent guère les couleurs de notre "adolescence boréale". Mais le maître n'a-t-il pas écrit : j'en lis qui sont du Nord et qui sont du Midi..." ["...to the poet of l'Effort des races, this book where one can hardly find the colors of our 'boreal adolescence'. But did not the master write: I read some who are from the North and some who are from the South..."]

First edition printed in a small number of copies on alfa paper.
Work illustrated with original woodcuts by Fernand Pinal.
Preface by Albert Acremant, president of the Rosati.
Handsome copy.

First edition on ordinary paper, from which only 5 Holland and 20 vellum deluxe copies were printed.
Precious signed autograph inscription from Francis Carco to his friend the Montmartre painter (André) Dignimont: " à mon vieil ami André Dignimont en souvenir de la chanson des Bat' d'Af' / très affectueusement / Francis Carco." ["to my old friend André Dignimont in memory of the song of the Bat' d'Af' / most affectionately / Francis Carco."]
Spine lightly sunned without gravity.

New edition, the volumes comprising three different editions (1749, 1753 and 1764), as is very often the case for this work when it is in a uniform binding, with editions and reprints spread over time. Illustrated with a frontispiece and 116 folding plates; particularly appreciated illustrations, especially astronomy plates.

End-of-18th century half calf binding. Spines richly decorated in gilt. First volume with a 2 cm split at the upper edge. A tear with missing spine-end on volume 2. Worm damage to tail of volume 3. Title pages of volumes 2 to 6 with two pieces of paper pasted, probably to conceal stamps. Page 102 of volume V cut at the bottom of the page (not affecting the text). A good copy, particularly fresh and attractively decorated.

Along with Le Spectacle de la nature, Leçons de physique expérimentale is undoubtedly the most famous work of scientific popularization of the French monarchy; both works are evidence of public interest in science and its achievements in the second half of the 18th century. The first three volumes are about mechanics, hydrostatics and the properties of air, the fourth water and fire, the fifth light and optics, and the last astronomy, magnetism and electricity. In each of these fields, Nollet describes numerous physics experiments.

Second edition but first for many parts, one advance (service de presse) copy.
Rare autograph inscription signed by Charles-Ferdinand Ramuz to Pierre de Massot.
Spine and back lightly sunned as usual.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Illustrated with a frontispiece by David Ossipovitch Widhopff.
A light tear without gravity to the head of the front cover, handsome copy.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Spine and covers slightly and marginally sunned, handsome copy.

First edition of the adaptation by Jean Ott, of which there were no deluxe copies
Work illustrated with a frontispiece by René Leverd.
Handsome copy.

First collected edition, of which there were no deluxe copies.
Work illustrated with drawings by D.O. Widhopff, R. Leverd, L. Jonas and M.Q. Point.
Handsome copy.

Statement of second edition, illustrated with three figures engraved by Tardieu. The first edition appeared in 3 vols. 18mo, the same year.
Full marbled brown sheep binding. Decorated spine with raised bands. Red long grain morocco title-label and volume labels. A tear with loss at head of first volume. Rubbing. 2 corners slightly bumped. Headcap of volume II partly worn away.
Collection of light and gallant tales by François de Lantier. Verses he wrote for Madame du Barry earned him a pension from Choiseul and a position in Dresden. He is the author of the voyages d'Anténor. Of his tales, he himself wrote in his preface: "it is better to write fairy tales than political dreams and to have a small clandestine commerce with the Muses, than to bear the burden of public affairs on one's back."
Viollet Le Duc bookplate; from the library of Laurent de Crozet; Laurent de Crozet bookplate. Jules Bobin manuscript ownership inscription. (Interesting provenance chain...)

Second edition.
Covers slightly soiled.

First edition in French translation for which no deluxe copies are mentioned.
Half marbled caramel sheep binding, spine with two raised bands decorated with central gilt fleuron, gilt date and double fillet at foot, traces of rubbing to spine, chocolate shagreen title-label, joints rubbed, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Autograph inscription signed by the translator, Léon Bocquet, to the poet Jean Ott.

New edition.
Half marbled caramel sheep binding, spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, traces of rubbing to spine, chocolate shagreen title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Autograph inscription signed by Romain Coolus to the poet Jean Ott: "... en sympathie - sans le connaître - puisqu'il est ami d'Acremant..." ["... in sympathy - without knowing him - since he is a friend of Acremant..."]

First edition on ordinary paper.
Half brown shagreen binding, spine lightly with five raised bands set with double black fillets, gilt date at foot, traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, contemporary binding.
Autograph inscription signed by Emile Poiteau to the poet Jean Ott and his wife: "... aimé de tous... les Félibres du Nord..." ["... loved by all... the Félibres of the North..."]

Second edition.
Half fir green shagreen binding, spine faded with five raised bands set with black double fillets, gilt date at foot, traces of rubbing to spine, one restored tear at foot, joints rubbed, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Very fine full-page autograph inscription signed by the author to the poet Jean Ott.
Work illustrated by Jacques de Chastellus.

First edition in French of which there were no deluxe copies, a Service de Presse (advance) copy.
Half caramel marbled sheep binding, spine faded with two raised bands decorated with a central gilt fleuron, gilt date and double fillet at foot, traces of rubbing to spine, lemon shagreen title-label, joints rubbed, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Autograph inscription signed by the translator, Léon Bocquet, to the poet Jean Ott.

First edition printed on alfa paper.
Half marbled caramel sheep binding, spine with two raised bands decorated with a central gilt fleuron, gilt date and double fillet at foot, slight rubbing traces on spine, olive shagreen title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Autograph inscription signed by André Mabille de Poncheville to poet Jean Ott.
Work illustrated with wood engravings by Henri Gros.

First edition on ordinary paper.
Half mauve cloth binding, smooth spine faded, decorated with a central gilt fleuron, gilt date and double fillet at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Autograph inscription signed by Emile Jouvenel to poet Jean Ott: "... à mon maître et à l'ami dont l'âme noble me console des lâches, si nombreux dans les lettres..." ["... to my master and to the friend whose noble soul consoles me for the cowards, so numerous in letters..."]

First edition printed on laid paper.
Half mauve cloth binding, smooth spine faded decorated with a central gilt fleuron, double gilt fillet at tail, marbled paper boards, marbled endpapers and pastedowns, covers preserved, top edge gilt, contemporary binding.
Autograph inscription signed by Emile Jouvenel to his friend the poet Jean Ott which has been slightly trimmed at head.

First edition, one advance (service de presse) copy.
With an autograph inscription from Pierre Drieu la Rochelle to Gabriel Reuillard.
Two tiny lacks, not serious, to head of spine, small foxings on the first endpaper, wich contains the inscription.

First edition of the theatrical adaptation, one of 8 numbered copies on Holland paper, deluxe copy.
A tiny tear of no consequence at the head of the first cover, a very light shadow at the head of the justification page and on the facing page left by the numbering bookmark, handsome copy.

First edition on ordinary paper.
Contemporary half shagreen over marbled paper boards, spine with a gilt cartouche with gilt decorative motifs, gilt date to foot of spine, a frame of gilt fillets to covers, marbled endpapers and pastedowns, covers preserved, top edge gilt.
Handsome autograph inscription from Octave Mirbeau to Lucien Guitry : "... bonjour... mais chut... ne lisez pas ça... Avec toute mon amitié...[hello…but damn it…don't read this…With all friendship…]"
Tiny tears with occasional miniscule lacks (not significant) to head of the final few pages.

First edition on ordinary paper.
Autograph inscription from Stephen Hecquet to Jacqueline Durnerin.
Two small tears to foot of the covers.

First edition printed on ordinary paper.
Signed autograph inscription from Stephen Hecquet to Jacqueline Durnerin: "... ce livre qui n'en est pas un..." ["... this book which is not one..."]
Handsome copy.

First edition, one of 55 numbered copies on alfa paper, the only large paper copies.
A good copy.

First edition, one of 30 numbered copies on pur fil, the only large paper copies.
Small and clear trace of sunning, to head and foot of spine, a good copy.

First edition.
Illustrated cover slightly rubbed.

New edition.
Half brown shagreen binding, spine with five raised bands set with double black fillets, gilt date at foot, some traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Signed autograph inscription from Emile Manceau to the poet Jean Ott.

First edition, of which no deluxe copies were issued.
Half brown shagreen binding, spine with five raised bands set with double black fillets, gilt date at foot, traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Signed autograph inscription from Emile Langlade to the poet Jean Ott.

First edition, one of 100 service de presse copies on colored paper.
Half marbled caramel sheep binding, spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, some light rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, one upper corner bumped, top edge gilt, contemporary binding.
Very fine signed autograph inscription from Emile Poiteau to the poet Jean Ott ending in verse.
Illustrated with wood engravings and drawings by Arthur Mayeur.

First edition, one of 94 numbered copies on Rives laid paper.
Half brown shagreen binding, spine with five raised bands set with black double fillets, gilt date at foot, some light rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, two corners slightly bumped, contemporary binding.
Fine signed autograph inscription from Ernest Depré to the poet Jean Ott in the form of a quatrain.
Illustrated with 37 drawings by André Lavezzari.
Preface by Jean Richepin.

First edition of this rare review blending poetry and esotericism.
Half black cloth bindings, smooth spines decorated with gilt double fillets, gilt dates, marbled paper boards, one board with a scratch, marbled endpapers and pastedowns, some rare original covers preserved, contemporary bindings.
Contributions by Camille de Sainte-Croix, Victor-Emile Michelet, Jean Ott, Han Ryner, Georges & Edmond Simon-Savigny, Charles Delmont, Manoel Gahisto...
We include 7 autograph letters signed by Georges Simon-Savigny to Jean Ott relating to the review's activity.

Rare cornerstone of this curious Adamite review.

Provenance: from the personal archives of the poet Jean Ott.

First edition on ordinary paper.
Half pink cloth binding, smooth faded spine decorated with gilt floral motif, gilt double fillet and date at foot, marbled paper boards, original wrappers preserved, top edge gilt, binding signed by A. Mertens.
Signed autograph inscription from Paul Adam to the poet Jean Ott.
Our copy is enhanced with a signed autograph postcard from the author addressed to the same.
We also include the funeral announcement for the requiem mass for the repose of Paul Adam.
Work illustrated with plates.

Original engraving. Optical view heightened in watercolor, depicting a view of the Royal Palace of Brussels.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Trinity Bridge in Florence.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolour, depicting an interior view of St. Peter's Basilica in Rome.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A fine impression with very fresh colours.

Original engraving. Optical view heightened in watercolour, depicting a view of the Theatre of Marcellus in Rome.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A fine impression with very fresh colours.

Original engraving. Optical view heightened in watercolor, depicting an interior view of Dorth Cathedral.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of St Giles Church in Edinburgh.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Hand-colored aquatint optical view, depicting a view of St Paul's chapel, taken from York Place in Edinburgh.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Some very light dampstaining, otherwise a fine impression with very fresh colors.

Original engraving. Hand-colored aquatint optical view, depicting a view of the high street and St Mary's church in London.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Lack to lower margin not touching the image, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the procession of Florence on the feast day of Corpus Christi.
Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onward. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process developed first in Paris, then London and finally in Germany, and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Small tears of no consequence to lower margin, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the hot springs fountain and the square of Aix-la-Chapelle.
Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onward. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process developed first in Paris, then London and finally in Germany, and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the horse market in Frankfurt am Main.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and beginning of the 19th century. They were intended to be observed through a set of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Some minor dampstaining, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the bridge of Vienna.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and beginning of the 19th century. They were intended to be observed through a set of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view enhanced with watercolor, depicting a view of the ambassadors' hotel in Vienna, taken from the garden side.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and are salon entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

First edition, one of 900 numbered copies on crèvecoeur du Marais paper, the only printing, with 15 on China and 10 hors commerce.
With 4 original drypoint illustrations by Wols.
Two miniscule marginal wormholes to foot of lower cover, a good copy.

Original engraving. Optical view enhanced with watercolor, depicting a view of the square and barracks of Top-Hané at the entrance to the port of Constantinople.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and are salon entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Minimal traces of dust, otherwise a fine impression with very fresh colors.

First edition, one of 30 numbered copies on Arches vellum, the only deluxe copies.
Siena, Livorno, Lucca, Florence...
Spine very lightly sunned without consequence, endpapers uniformly and lightly shaded, a full-margined copy.

First edition, an advance (service de presse) copy.
Autograph inscription signed by Albert Camus to Henri Gouhier.
Paper yellowed as usual, spine sunned, retaining its advertising slip.

First edition on ordinary paper.
Autograph inscription from Albert Camus to J.P. Loiseau : "... pour le remercier encore...[to thank him once more]."
Spine lightly sunned.

New edition.
Full green calf binding, faded spine with five raised bands decorated with gilt wavy fillets ornamented with gilt floral friezes, gilt roulettes on headcaps, traces of rubbing on headcaps and joints, frame of gilt floral frieze and another stamped in blind on boards, three small stains on second board, frame of gilt floral dentelle on pastedowns, marbled endpapers and pastedowns, all edges gilt, gilt fillet on leading edges, elegant contemporary Romantic binding signed by Bibolet.
Work illustrated with an engraving as frontispiece.
Scattered foxing.

First edition printed on ordinary paper.
Publisher's binding in full boards, with the illustrated dust jacket.
Signed autograph inscription from Georges Blond to Marcel Aymé's daughter, Colette Magne, and to her husband, Raymond: "A Colette Magne avec qui j'ai livré la bataille de l'hôtel Continental et à Raymond, en souvenir d'autres combats plus dramatiques" ["To Colette Magne with whom I fought the battle of the Continental Hotel and to Raymond, in memory of other more dramatic battles"].
Iconography, handsome copy.

First edition, one of 110 numbered copies on pure Lana rag paper, deluxe printing after 50 on laid paper.
Spine and boards slightly and marginally sunned, a full-margined copy.

First edition, one of 105 numbered copies on pur fil, this one of a few hors commerce copies justified by Gaston Gallimard, tirage de tête after 19 Hollande.
Spine slightly sunned.

First edition, one of 60 numbered copies on Rives vellum, ours one of the few hors commerce copies, the only printing with 10 on Arches.
The work illustrated with 4 original etchings by André Dignimont.
Minimal loss to head of spine.
Rare and handsome copy.

First edition, one of 60 numbered copies on vélin de Rives, ours one of the few hors commerce copies, the only issue with 10 Arches.
Illustrated with 3 original etchings by Gabriel Fournier.
A cut to the front cover also affecting the following pages up to the frontispiece etching and title page.

Edition printed in 170 numbered copies on grand vélin de Rives.
Illustrated with 23 original compositions by Gaston Barret engraved on copper.
Endpapers uniformly shaded, otherwise a handsome copy.

First edition, a Service de Presse (advance) copy.
Spine slightly sunned, handsome interior condition.
Precious signed autograph inscription from Marcel Aymé to his daughter Colette: ".. bien affectueusement. / Marcel." [".. with much affection. / Marcel."]

First edition printed on ordinary paper.
Publisher's binding in full red boards, with the cellophane wrapper.
Signed autograph inscription from the author to Marcel Aymé's daughter, Colette Magne.
Fine copy.

First edition printed on ordinary paper, with statement of second edition.
Half dark green sheep binding, spine sunned with four raised bands decorated with gilt fleurons, marbled paper boards, minor tears without consequence to top edges, top corners slightly bumped, marbled endpapers and pastedowns, original wrappers preserved with a small library shelf label pasted on bearing the printed mention "Paul Reboux", contemporary binding.
Precious autograph inscription from the author to Paul Reboux.
Some pages dog-eared at head by the dedicatee as reading markers, some marginal annotations in red colored pencil, a small marginal tear with minimal lack at head of the final pages of the volume.

Edition presented with revised and corrected commentary.
Half hazel morocco binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns.
Some minor light foxing.
A handsomely bound copy.

First edition.
Full hazel cardboard binding, smooth spine decorated with blind fillets, boards slightly and marginally discolored, marbled endpapers and pastedowns, contemporary binding.
Occasional light foxing.

First illustrated edition, with some parts in first edition as it was revised and expanded with unpublished letters and documents.
Half morocco binding with red corners, spine with five raised bands set with gilt dots decorated with double gilt compartments enhanced with gilt decorative motifs, double gilt fillets framing the marbled paper boards, marbled endpapers and pastedowns, light scuffs to corners, top edge gilt, binding signed by the publisher.
Work illustrated with 55 copperplate reproductions by Dujardin and 2 color plates by Quinsac.
A handsome copy elegantly bound.

First edition.
Half green shagreen binding, spine with four raised bands bearing minor scratches, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, corners slightly bumped, binding signed by Meuthey.
Complete with its lithographed title vignette and frontispiece.
Occasional light foxing.

First edition, with no mention of deluxe copies.
Half burgundy cloth binding, smooth spine decorated with gilt floral motif, date and double gilt fillet at foot, head slightly rubbed, marbled paper boards, original wrappers preserved, contemporary binding.
Autograph inscription signed by Paul-Louis Garnier to the Baroness de la Tombelle.
Publisher's printed tribute above the manuscript dedication.

First edition, one of 600 numbered copies on laid paper, ours unnumbered, the only deluxe copies.
Fine signed autograph inscription from Louis Gillet to the poet Armand Godoy mentioning Charles Baudelaire and Edgar Allan Poe
As frontispiece, a facsimile of an autograph letter from Sainte-Beuve to Vigny.
Spine and boards marginally sunned, handsome interior condition.

First edition, one of 100 numbered copies on vélin Johannot, tirage de tête.
A very good copy of this text about Francis Ponge.

First edition, one of 30 numbered copies on pur fil, the only large paper copies.
A very good copy.

First edition, a unique copy printed on pink paper, tirage de tête along with a pale green paper.
A rare and good copy.

First edition, one of 50 numbered copies on Japan, the only large paper copies.
A good and well-margined copy.

First edition on ordinary paper
Half cream-colored cloth Bradel binding over marbled paper boards by Gauché, dark brown morocco title piece (one scratch), covers lined and preserved
Rare autograph inscription from Charles Péguy over two pages, to Gounelle : " Mardi 29 Avril 1913, cher monsieur Gounelle voici encore un cahier emporté dans les présentes tempêtes
Je suis votre affectueusement dévoué Péguy [Tuesday 29 April 1913, dear monsieur Gounelle here is another notebook caught up in the present storms
I remain your affectionately devoted Péguy]."

First edition on ordinary paper
Contemporary half mint-green cloth Bradel binding over marbled paper boards, spine with gilt floral motif, dark brown morocco titlepiece (lightly rubbed), double gilt fillet to foot, covers (with slight angular lacks) preserved
Rare autograph inscription by Charles Péguy to Monsieur Saffrey : "Mardi 4 Mars 1913, je suis votre fidèle dévoué Péguy [Tuesday 4 March 1913, I am your faithfully devoted Péguy]." Paper yellowed as usual.

Fourth edition, largely original as it was revised and considerably expanded.
Half brown shagreen bindings, spines with four raised bands set with black fillets, a tear to the spine of the first volume, marbled paper boards with very light surface wear, marbled endpapers and pastedowns, minor rubbing to leading edges, bindings signed by Cabry.
Some minor foxing of no consequence.

First edition.
Half cloth contemporary binding signed by Cabry.
Illustrated with a drawing by Pierre Puvis de Chavannes as frontispiece.
Occasional foxing.
Rare.

First edition, one of 25 numbered copies on Hollande, tirage de tête after 15 parcheminé azuré hors commerce reserved for the author.
A very good copy with good margins.

First edition, one of 36 numbered copies on Hollande, tirage de tête.
A good copy.

First edition, one of 14 numbered copies on pur fil, tirage de tête.
A good copy.

First edition, one of 40 numbered copies on Hollande, the only large paper copies.
A good copy.

First edition, one of 329 numbered copies on Holland paper, deluxe issue after 97 Japan copies.
A pale dampstain to the margin at the foot of the first leaves, some deckled edges slightly sunned at corners, otherwise handsome full-margined copy.

First edition, one of 400 numbered copies on Hollande paper.
A good copy with good margins.

First edition, one of 825 numbered copies on antique laid paper, printed with 25 Japan and 50 Holland copies.
The work illustrated with a frontispiece by Jean-Gabriel Daragnès
Handsome copy.