Paris (France)

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.

First edition, one of 1625 numbered copies on vergé paper Lafuma, the only large paper copies after 387 on Hollande paper.
A good copy.

First edition, one of 250 numbered copies on Holland paper, deluxe issue after 30 on China paper and a few hors commerce copies reserved for the author.
Endpapers slightly shadowed, minimal pinpricks of no consequence, a small pasted label at the head of the verso of the front cover.

First edition, one of 45 numbered copies on wove paper, our copy unnumbered but properly justified on wove paper.
Spine very slightly faded as usual, otherwise a handsome copy.

First edition, one of 175 numbered copies on Holland paper, the deluxe issue after 35 on China paper.
Spine slightly sunned, one joint cracked at foot, endpapers shadowed, otherwise pleasant interior condition.

First edition, one of 15 numbered copies on Arches paper, the deluxe issue after 6 on Japan paper.
Half anthracite morocco binding with bands, smooth spine enhanced at the head with a mosaic piece of red and brown morocco, covers and spine preserved, top edge gilt, bookplate pasted on the front pastedown, elegant binding signed by Devauchelle.
Attractive cover illustrated by Lobel-Riche.
A handsome copy perfectly executed of this sequel to Jésus-la-Caille.

First edition, one of 30 numbered copies on chiffon de Lana paper for the first two volumes and one of 64 numbered copies on vergé de Voiron for the last, the tirage de tête for the first two volumes and the only large paper copies for the last.
Trace of a transverse fold to upper cover of second volume, upper cover of third volume slightly sunned at foot, with transparent traces of adhesive paper to endpapers of same volume.
A very good and rare set that one rarely finds complete with the third volume, which appeared later.

First edition, one of 50 numbered copies on Hollande, the only large paper copies after 5 on China.
With a photographic portrait of the author as frontispiece.
Endpapers very lightly, marginally sunned (not seriously).
A very good copy.

The first edition, of which there were no deluxe copies.
Publisher's full blue cloth binding, smooth spine, retaining the illustrated dust jacket in perfect condition.
Rich iconography.
Light worming to endpapers, otherwise a handsome copy.

First edition in French, of which there were no deluxe copies.
Photographic cover.
Gift inscription in ballpoint pen at the head of the half-title page, handsome copy.

The first edition, of which there were no deluxe copies.
Signed autograph inscription from André Nougue to Michèle Pozzo.
Minor marginal worming of no consequence to the first cover, otherwise a handsome copy complete with its errata leaf.

New edition.
Full sand-colored cloth Bradel binding, smooth spine, hazel sheep title-label, original wrappers preserved, modern binding.
Worming to preserved wrappers, handsome copy.

First edition.
Covers and spine slightly and marginally faded, not serious.

First edition, of which there were no deluxe copies.
Autograph inscription signed by Louise Weiss to Anne Deack.
A small marginal crease and minimal worming to boards, a small paper loss at foot of rear board left by a torn-off label.

First edition, one of 950 numbered copies on vélin de Rives paper.
A good copy.

First edition, one of 40 numbered copies on Japan paper, deluxe issue.
Spine sunned with repaired tears, light marginal tears with occasional tiny corner lacks to boards, pleasant interior condition.

First edition, one of 1350 numbered copies on Arches paper, the only large paper copies with 53 on Japan paper.
A good copy.

First edition on ordinary paper.
Half chocolate sheep binding, faded spine with two raised bands decorated with a central gilt fleuron, gilt date and double fillet at foot, cherry red shagreen title-label, some rubbing traces on spine, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding.
Signed autograph inscription from Nicolas Bourgeois to poet Jean Ott.

Second edition, with some parts in first edition as expanded with a supplement on public education in Germany and Russia, one of 25 numbered copies on Holland paper, the only deluxe copies with 25 Japan.
Bradel binding in half fir green cloth with corners, smooth spine decorated with a central gilt fleuron, gilt date and double fillet at foot, chocolate shagreen title-label with some scratches, marbled paper boards, original wrappers preserved, top edge gilt, binding signed by A. Mertens.
Precious signed autograph inscription from Pierre Peugeot to Léon Cladel.
Printed stamps of the Université populaire du Faubourg Saint-Antoine in margins of several pages of our volume, pen numbering for library classification also in margins of certain pages.
Rare and handsome copy.

First edition, one of 250 numbered copies on alfa paper, the only issue with 2 Holland copies.
Half fir-green shagreen binding, faded spine with five raised bands showing traces of rubbing, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
Work illustrated by Eugène Lefebvre.
Handsome interior condition without foxing.
Rare.
Fine autograph inscription dated and signed by the author to poet Jean Ott: "... en souvenir des premiers rapports officiels de Guignol avec Lafleur et en remerciement sincère pour avoir écouter mon appel pour la rénovation des théâtres..." ["... in memory of the first official relations between Guignol and Lafleur and in sincere thanks for having listened to my call for the renovation of theaters..."]

Second edition, partly in first edition as revised and corrected.
Half marbled sheep binding, spine with two raised bands decorated with central gilt fleuron, gilt date and double fillet at foot, spine rubbed, black shagreen title-label, small lack to upper headcap, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
Handsome interior condition.

Collected edition, one of 2,500 numbered copies on alfa paper.
Publisher's binding in red half-shagreen with bands, spines slightly faded with five raised bands decorated with gilt ornamental motifs, vellum-style boards, some small marginal surface wear to heads of boards, illustrated covers and spine preserved, top edges gilt, bindings signed by Lise L. Bataille.
Work illustrated with 32 plates, 12 in color by Adrien Bagarry as well as tailpieces by Boris Grosser, cover illustrated by Jean Boisseau.
Literary contributions by Rétif de la Bretonne, Claude Godard d'Aucour, the comte de Caylus...
Handsome set.

Collected edition printed on fine paper, the only issue.
Publisher's boards bound according to the original design by Hollenstein.
Work decorated with original illustrations by Tibor Csernus, Bernadette Kelly, Lucien Fontanarosa, Michel Ciry.
Handsome copy complete with its glassine wrapper.

First edition, one of 18 numbered copies on pur fil paper, the tirage de tête (deluxe copy).

Jansenist red morocco, spine in six compartments, gilt date to foot of spine, pastedowns and endpapers in black morocco, covers and spine preserved, all edges gilt; half red morocco chemise, spine in six compartments, date in gilt at foot of spine, lined in black felt; slipcase edged in red morocco, lined in ochre felt, binding signed by Duhayon.

A superb copy handsomely bound in a triple binding by Duhayon.

BRETON André. La Lampe dans l'horloge [The Lamp in the Clock]
Robert Marin, Paris 1948, 11 x 17 cm, original wrappers with custom slipcase
First edition, one of the numbered copies on alfa mousse paper, this one not justified.
Wrappers in chemise and case.
With an exceptional and important presentation inscription from André Breton to Jean-Paul Sartre.
Case with almond-colored paper boards and chemise, red morocco title-piece and label with “exemplaire de J. P. Sartre [J.P. Sartre's copy]”.
This inscription from the Pope of Surrealism to the master of Existentialism – of whose rare meetings, most notably in New York, there remain barely any traces in their biographies – is all the more surprising since Sartre had just published a vitriolic article on Breton in Qu'est-ce que la littérature? [What is literature?]:
“The theoretical accord between Surrealism and the Communist Party against the bourgeoisie does not in fact go beyond the formal; it is the formal idea of negativity that unites them…Negativity subsists, no matter what anyone says, outside of history: it is, at the same time, of the instant and everlasting – it is the ultimate end of both literature and art. Somewhere, Breton approves of the… ‘sacred mission' of the proletariat. But in the end, this class – imagined as a legion of exterminating angels – is in reality nothing more for authors than a religious myth that plays a role (for the salving of their consciences) analogous to that played by the myth of ‘the People' in 1848 for well-intentioned writers.”
André Breton did not reply to Sartre's criticisms, nor even the ones formulated a year later by Simone de Beauvoir in The Second Sex.
This little work, as much political as it is poetical, is nonetheless a part of the common cause of these two intellectuals within the extremely ephemeral Rassemblement Démocratique Révolutionnaire. Founded in 1947 by Sartre, it very quickly floundered despite the active engagement of Breton.
1948 was therefore the only intellectual meeting of these two great “Masters of Thought” of the second half of the 20th century, whose personalities – intransigent and exclusionary – did not allow for a lasting philosophical union.

First edition, one of 26 numbered copies on Rives vellum, deluxe copy.
Publisher's binding with cream cloth spine, plexiglas boards, full mouse-colored cloth slipcase.
Work illustrated with 6 original drawings by Christian Bonnefoi on polystyrene tracing paper and tarlatane.
Signed by the author and illustrator on the justification page.
Slipcase very slightly and marginally discolored at head and foot of boards.
Rare and handsome copy.

Edition decorated with original illustrations by Olivier Kaeppelin colored by pochoir by Liétard, one of 1150 numbered copies on alfa paper, the only deluxe copies after 100 on pur fil.
Preface by Pierre Mac Orlan.
Spine very slightly sunned without consequence, a crease mark to head of second board, justification page partially and lightly shaded, handsome interior condition.

New edition decorated with original illustrations by Van Rompaey.
Half brown shagreen binding with corners, spine faded with four raised bands, minor rubbing to head and foot of joints, marbled paper boards, covers and spine preserved, top edge gilt.
Handsome copy.