Paris

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Precious signed autograph inscription from Jean Ristat to Maurice Blanchot. Postface by Louis Aragon.
Very light occasional worming on the covers.

The first edition, published in a small number of copies, of which there were no deluxe copies, of this offprint from Pierre Nora's review, Le Débat.
Precious signed autograph inscription from Maurice Blanchot to his sister "... for you, this little reading and to help you regain courage".
Marguerite Blanchot, renowned organist at Chalon cathedral, remained all her life in the family home, with her mother and aunt. "She would gradually become, for the family, like the memory of origins." Very close to Maurice, she corresponded regularly with the writer who showed her great gratitude for her devotion to their invalid mother. While Blanchot's intense affection for his mother and sister shows through in his dedications, we know almost nothing of their relationships. In the only biographical essay on Blanchot, Christophe Bident reveals however: "Marguerite Blanchot venerated her brother Maurice. Very proud of him, (...) she attached great importance to his political ideas (...). She read extensively (...) They telephoned each other, corresponded. At a distance, they shared the same natural authority, the same concern for discretion." Blanchot indeed sent her numerous works from his library, maintaining with her a continuous intellectual bond. As for Blanchot's passion for his mother, it is in the margins of his work that we discover the most beautiful testimonies: "Perhaps the power of the maternal figure borrows its radiance from the very power of fascination, and one could say that if the Mother exerts this fascinating attraction, it is because appearing when the child lives entirely under the gaze of fascination, she concentrates in herself all the powers of enchantment". Cultivating absolute discretion, Blanchot pushed the art of self-effacement even into his manuscript dedications, generally succinct and written almost systematically on cards attached to the rare works he offered to his close friends. In contrast, in these precious inscriptions to his mother and sister, Blanchot reveals himself in all his fragility and, in the intimacy of this correspondence, casts a personal glance on his work hitherto unknown.
A small tear at the head of the spine.

First edition with 25 illustrations in black and white and colors by Moïse Kisling, one of 35 numbered copies on Japon super nacré paper, the tirage de tête.
Preface by André Salmon.
This copy, as called for by the justification, is complete with its suite of color hors-texte illustrations on Hollande paper, its suite of color hors-texte illustrations on Arches, its suite of textual illustrations in black and white on China paper, one unpublished plate, a suite of plates not used for the final work on Hollande paper, and a cancelled copper plate.
The illustrations by Moïse Kisling consist of: one painted folded cover, a color portrait frontispiece, 11 illustrations hors-texte in colors and 12 textual illustrations in black and white.
A fine copy.

The first collected edition, with a portrait frontispiece by Gabriel Henri Gaillard.
Contemporary full marbled calf binding. Smooth decorated spine. Red morocco title label and volume labels. Head of volume I worn, volumes V and VI partially worn. Upper joint of volume VI cracked at head. Some corners slightly bumped. Good copy.
One could hardly praise Belloy as a great dramatist despite the success of his plays, and especially the incredible national and popular success of the Siege of Calais. However, the interest of this edition on the world of theater and letters in the 18th century is important. Each of the author's plays is indeed accompanied by numerous elements, prefaces, memoirs, letters, notes and research which explain not only the public's reception, but also the quarrels with the philosophers' party, the support then disavowal of Voltaire. As a writer, Belloy seeks to revive classical tragedy, his essay on tragedy of which the public's taste was then approaching bears witness (Gluck had set Racine to music in his opera Iphigenia in Tauris); classical tragedy then became in the second part of the 18th century a nationalist literary model, a model however contemporary with the invention of a new theater, that of Diderot.

First edition, a Service de Presse (advance) copy.
Minor spotting to covers, without consequence.
Precious signed autograph inscription from André Pieyre de Mandiargues to Maurice Blanchot.

First edition on ordinary paper.
Handsome autograph inscription from Alain Robbe-Grillet to Maurice Blanchot.
Two small spots to the centre of the spine and first cover, a marginal fold to head of lower cover.

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Precious signed autograph inscriptions from three of the authors to Maurice Blanchot.
Small marginal stains to covers.

First edition, one of 50 hors commerce copies numbered on Marais vellum, the only issue with 725 other Marais vellum copies.
Precious autograph inscription signed by Louis Emié to Maurice Blanchot.
Work illustrated with drawings by Léopold Survage.
Pleasant copy.

The first edition, of which there were no deluxe copies.
Publisher's full cream cloth binding, smooth spine, with the illustrated dust jacket.
Precious autograph inscription signed by Bernard Noël to Maurice Blanchot.
Iconography.
Handsome copy.

First edition, illustrated with 16 plates outside the text after nature by Christian-Wilhelm Allers. Presentation copy.
Publisher's half red cloth binding, personalized front cover decorated in gilt with the title, publisher and the inscription "offered by Mr Maurice Berteaux, deputy - 1904.
Journey of journalist Jules Hoche (1859-1926) through Egypt, Suez, Ceylon, Pondicherry and Madras, Singapore, Java, Siam, Hong-Kong and Canton, Shanghai and the Yang-Tse-Kiang, Peking and its surroundings, Japan and America. Significant dampstain to covers, corners slightly bumped, edges rubbed, one hinge weakened at foot, interior fresh despite some foxing.

First edition, of which there were no deluxe copies, one of the service de presse (advance) copies.
Precious autograph inscription signed by Roger Chateauneu to Maurice Blanchot.
Slight worming of no consequence.

First edition, of which there were no deluxe copies.
Precious autograph inscription signed by Maurice Bourg to Maurice Blanchot. Our copy is enhanced with an autograph letter signed by the author also addressed to Maurice Blanchot.
Minor worming to boards.

First edition.
Precious signed autograph inscription from Gérard Legrand to Maurice Blanchot.
Cover illustrated by Hervé Télémaque. Minor spotting without gravity on the covers.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Precious signed autograph inscription from Pierre Bourgeade to Maurice Blanchot.
A small stain and a scratch on the first cover.

First edition, an advance (service de presse) copy.
Handsome autograph inscription from Claude Delmas to Maurice Blanchot.

The first edition, of which there were no deluxe copies.
Precious signed autograph inscription from Dominique Grandmont to Maurice Blanchot.
A pale marginal dampstain at the foot of the pages in the second half of the work.

New edition after the collective edition of 1756, edited by abbé Delaporte; a first collective edition published under the title of Pièce dérobées in 1750 was produced by Meunier de Quelon, whose preface is found in the preliminary pieces. A medallion portrait of Garand as frontispiece. Numerous pages of sheet music with lyrics below in volumes 2, 3, 4.
Contemporary full marbled blonde calf binding. Raised-band spine decorated with 4 fleurons with roulette at head and foot. Red morocco title and volume labels. Blind-ruled frame on boards. A leather pastille covers the arms on each board. Library label at head. Handsome copy.
Lattaignant (1697-1779) was considered the great chansonnier of his era (J'ai du bon tabac...), besides numerous songs, he is the author of light and gallant poetry of which Le mot et la chose is the most famous piece. In this respect the dedications of the songs or poems are very eloquent and summarize quite well the gallant and libertine spirit of this period; at rear, a table lists the addresses and occasions that presided over the writing of the pieces. Voltaire, whom he admired, composed this song for him: L'Atteignant chanta les belles ; Il trouva peu de cruelles, Car il sut plaire comme elles [...]

First edition.
Half brown sheep binding, smooth spine decorated with gilt fleurons, friezes and fillets, hazelnut sheep title-label, fragile joints, marbled paper boards, marbled endpapers and pastedowns, marbled edges, contemporary binding.
Complete with its 7 folding plates at rear.
Some light foxing, a small ink stain at head of one of the plates.
Rare.

First edition on ordinary paper.
One very slight marginal tear, not serious, to upper cover, a good copy.

First edition of which there were no large paper copies.
Contributions from H. Godard, P. Mac Carthy, Y. Mancel...
A good copy.

First edition for which there were no large paper copies.
Contributions from J.L. de Boissieu, P. Alméras, J.P. Dauphin...
A good copy.

The first edition, of which there were no deluxe copies.
Text by J. Henri and photographs by P. Bailly-Maître-Grand.
Spine very slightly faded, handsome interior condition.

Second edition.
Psychic protections among primitives and initiates, eudiac protections.
Lacks at head and foot of spine, small corner lacks on boards partially and marginally sunned.
Rare.

First edition.
Contemporary half burnt Sienna cloth over marbled paper boards, gilt fleuron to spine, double gilt fillets to foot, dark brown title-pieces (rubbed).
Rare autograph inscription by Ferdinand de Lesseps " à mon respectable ami Mr l'abbé Sabatier [to my honorable friend Mr l'abbé Sabatier]".
Bookseller's notice pasted to head of one endpaper.

Illustrated edition with 12 original lithographs hors-texte.
Publisher's full black paper boards binding, smooth spine very slightly faded decorated with gilt and polychrome romantic decorative motifs, joints rubbed and cracked at head, boards framed with blind fillets and arabesques, front board enhanced with gilt and polychrome allegorical motif, rear board illustrated with gilt decoration, lemon paper endpapers and pastedowns, all edges gilt, publisher's romantic boards.
Some foxing.

New edition.
Publisher's full brown paper boards, smooth spine slightly faded decorated with cold-stamped romantic arabesques, boards framed with double gilt fillets, boards decorated with cold-stamped arabesques, marbled endpapers and pastedowns, marbled edges, corners slightly bumped, publisher's romantic boards.
Some foxing.
Rare copy in its elegant romantic boards.

Eighth edition illustrated with 4 out-of-text engravings. Publisher's binding in full green boards, smooth spine decorated with gilt romantic arabesques, boards framed with blind fillets, boards enhanced with gilt typographical fleurons, lemon paper endpapers and pastedowns (rear endpaper soiled), publisher's romantic boards. Rare copy in its elegant romantic boards.

New edition, after the first published in 1739. Published anonymously, the author's name is found in Barbier, Dictionnaire des ouvrages anonymes.
Contemporary full marbled and glazed calf binding. Spine with raised bands, decorated. Red morocco title and volume labels. Headcap of volume I partly worn, same for the headcap of volume II. 5 corners bumped.
Interesting compilation of ancient authors regarding Roman customs in fields as varied as music, education, construction, theater, military art.... One can easily gather a wealth of diverse information, and the whole reads pleasantly. The author studies customs following a chronological axis, and traces Rome's power back to a small barbarous and ambitious tribe.

Statement of third edition. The colophon bears the date 1702; indeed, the play was not performed until 1701, and the first publication, posthumous, only took place in 1702. There were in fact three different printings in 1702, one at the address of Damien Beugnié, another at that of the Widow of Clément Gasse, and the last at Nicolas Gosselin's.
Contemporary full brown sheep binding. Decorated spine with raised bands. Red morocco title label. Tail headcap worn. Overall rubbing. Corners bumped.
Besides the dedication which explains the author's project, the work contains a preface in which the playwright attacks the objections against his play. Boursault died in 1701, before printing. Like most of the author's comedies which were called episodic comedies (in the absence of a general plot), this one was written in verse. Certain passages that could cast a shadow on Louis XIV were censored and rewritten. Boursault often achieved great success with his plays, by virtue of a natural and satirical comic style and numerous well-turned verses, and he is an essential figure of the theater of the period, but his work did not survive time, perhaps due to its dramaturgical weakness.

First edition of the French translation printed on alfa paper.
Pencil annotations by a previous owner on the opening pages.
Handsome copy.

Edition printed on laid paper and illustrated with 2 lithographs, 5 vignettes and 4 tailpieces by P.E. Mesplès.
Half aubergine shagreen binding with corners, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.

First edition, one of 14 numbered copies on Madagascar paper, the tirage de tête.
Scratching, not serious, to lower cover, three tiny tears to margins of the covers, a good copy.

First edition, an advance (service de presse) copy.
Handsome autograph inscription from Henri de Régnier to Tristan Bernard.

First edition, a Service de Presse (advance) copy.
Bradel binding in half dark green morocco, smooth spine faded and decorated with two gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, covers preserved, top edge gilt.
Precious signed autograph inscription from Henri de Régnier to Tristan Bernard.

First edition, a Service de Presse (advance) copy.
Half burgundy morocco binding, spine with five raised bands with very light scratches of no consequence, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt.
Precious signed autograph inscription from Henri de Régnier to Jean Richepin.

Second edition, the first of some parts, following the first, which appeared in Berlin the year before. With 16 folding plates at the end of volume two, 3 maps, charts, fauna and inhabitants…(2 plates missing). This edition also contains the "Journal historique du voyage fait aux îles Malouines [An Historic Account of a Voyage to the Falkland Islands]" and the valuable "Remarks" by Delisle de Sales at the bottom of the pages.
Contemporary light brown half marbled sheep, spine gilt, red morocco title-piece. Black morocco volume label very rubbed, lack to foot and upper joint of volume II. Title page of vol I fragile in upper margin. A good copy.
The abbé Pernetty was the chaplain on Bougainville's voyage to take settlers from Saint Malo to the Falkland Islands and above all to claim the islands for France. Back in France, he wrote a detailed account of his voyage, with a special emphasis on natural history. The "Observations sur le détroit de Magellan, et sur les Patagons [Observations on the Magellan Straits and Patagonia]" were taken from other accounts, principally that of Bougainville. There is also a curious account of giants in Patagonia among the preliminary notes.

First edition, one of 550 numbered copies on laid paper, the only issue with 30 on Holland paper.
The text volume is illustrated with numerous in-text figures. The plate volume contains all 63 plates numbered in Roman numerals as well as its 2 color plates of stained glass windows and its general view plate of Metz Cathedral.
The slipcase is missing from our copy which is complete with all its plates, which is rare.
Handsome copy.

First edition on ordinary paper.
Annotations in pencil on the first free endpaper.

First edition, one of 1040 numbered copies on héliona paper.
Publisher's binding after Paul Bonet's original design.
Spine very lightly sunned as usual, minimal foxing without significance affecting mainly the edges.

First edition on ordinary paper.
Handsome autograph inscription from Maurice Bouchor to José Maria de Heredia.
A little light spotting principally to covers.

New edition.
Bradel binding in full navy blue cloth, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot, gilt volume number at foot of spine, red shagreen title-label, original wrappers preserved, contemporary binding signed in blind by Pierson.
Handsome copy.

Fourth edition.
Full navy cloth Bradel binding, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot, gilt volume number at spine foot, red shagreen title-label, original wrappers preserved, contemporary binding signed in blind by Pierson.
Handsome copy.

New edition.
Full navy cloth Bradel binding, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot, gilt volume number at spine foot, red shagreen title-label, original wrappers preserved, contemporary binding signed in blind by Pierson.
Handsome copy.

First Gallimard edition and new edition of the French translation, one of 41 numbered copies on pure laid paper, the only deluxe copies.
Spine and covers marginally sunned, handsome interior condition.

First edition published in a small number of copies, of which there were no deluxe copies.
Half hazelnut shagreen binding with corners, spine with four raised bands decorated with gilt cartouche and friezes, some traces of rubbing to spine and edges, original wrappers preserved, marbled endpapers and pastedowns, corners slightly bumped, top edge gilt.
Fine autograph inscription signed by Francis Carco to Joseph Périer.
Very rare copy of the author's first work.

First edition, one of 60 numbered copies on Hollande, tirage de tête.
Beautiful illustrated cover. A good copy with good margins.

First edition, one of 82 numbered copies on pur fil, tirage de tête.
A very good copy.

The first edition, of which there were no deluxe copies.
Signed autograph inscription from Roland Barthes to journalist and historian Antoine Casanova.
Spine lightly sunned, light dampstain to top edge, pale stain to head of front cover.

First edition, a Service de Presse (advance) copy.
Autograph inscription signed by René Crevel to the Swedish writer and diplomat Kjelle R.S. Stromberg.
Two discreet marginal restorations at head and foot of one joint.

New edition.
A good copy.

First edition.
A good copy.

Edition illustrated with 34 original woodcuts by Roger Grillon.
A good copy.

First edition.
Handsome copy despite a crease mark at the head of the second cover.
Pencil annotations by a previous owner on the first pages.

First printing of the illustrations published in 5000 copies, ours being one of the copies on Arches vellum comprising the definitive state of the 50 color lithographs (n°1356).
The work is illustrated with 50 color lithographs by Jacques Pecnard, as well as a photograph of Ferré and Jacques Pecnard.
Slipcases slightly frayed at the top, otherwise a very handsome copy.

First edition in French.
Work illustrated with 3 plates.
Handsome copy.
Pencil annotations by a previous owner on the first pages.

First edition, an advance (service de presse) copy.

Spine very slightly warped and sunned with two small tears, not serious.

First edition in French.
Illustrated with 59 heliogravures.
Spine and covers lightly and marginally sunned without consequence, lacking dust jacket.

First edition, one of 50 numbered copies, the only deluxe copies.

Rare signed autograph inscription from the author.

Pencil annotations by a former owner on the endpapers and half-title page.

Spine and boards slightly and marginally sunned, some foxing of no great consequence.

First edition in French by Mathilde Deromps.
A good copy.

First edition on ordinary paper, false statement of fifth edition.
Preface by Anatole France.
Work illustrated with head-pieces, initials and tailpieces.
Spine and boards lightly soiled, handsome interior condition.

First Edition printed 200 copies numbered on white vellum.
Publisher's binding in full ivory cardboard vellum, back with four nerves set with black threads, framing of double black nets on the boards.
Rare autograph dedication signed by Henry Monnier to a friend.
Beautiful copy established in its binding of the publisher.

First edition on ordinary paper.
Bradel binding in full brown cloth, smooth spine very lightly browned decorated with a gilt floral motif, double gilt fillets and gilt date at foot, black shagreen title-label, original wrappers preserved with small marginal restorations, one upper corner slightly bumped, contemporary binding.
The final endpaper is marginally creased.
Precious autograph inscription signed by Anatole France to his friend Marcel Schwob.

First edition on ordinary paper.
Bradel binding in half boards with vellum-style corners, smooth spine decorated with gilt friezes at head and foot, black shagreen title-label with slight scratches, spine and boards partially soiled, marbled paper boards, original wrappers preserved, contemporary binding.
Signed autograph inscription from Francis Carco to Charles Genty.
Work illustrated with drawings hors-texte by H. de Toulouse-Lautrec, H. Daumier, Gavarni, Capiello, A. Willette...

The first edition, of which there were no deluxe copies.
Bradel binding in half sand-colored cloth, smooth spine decorated with gilt floral motif, double gilt fillet at foot, black sheep title-label with some scratches, small spots on spine, marbled paper boards, original wrappers preserved (tiny lack at foot of first cover, lacks at foot of second cover).
Rare and precious signed autograph inscription to Victor Hugo "... with the affectionate respects of the author..."
Eugène Spuller, close friend and collaborator of Léon Gambetta, owed his political rise to Victor Hugo when Hugo chose him "to be his substitute in the senatorial elections of the Seine". (Eugène Spuller (1835-1896): itinéraire d'un républicain par Nathalie Bayon). Deputy of the Seine, a year later, he had a brilliant political career alongside Léon Gambetta and was appointed minister three times during the Third Republic. Victor Hugo mentions him several times in Choses vues.
One manuscript correction by the author on page 96.
Some occasional light foxing.

The first edition, of which there were no deluxe copies.
Dated and signed autograph inscription by the author.
Fine copy complete with publisher's slip, with press clippings laid in.

First edition, one of 500 numbered copies on laid paper, ours unnumbered, the only issue with 25 Holland copies.
Autograph inscription signed by Jean Lorrain.
Furthermore, our copy contains autograph manuscript corrections by Jean Lorrain on pages 26, 37, 39, 101 and 134. Work illustrated with a frontispiece drawing after Gustave Moreau.
Foxing to endpapers, light foxing to covers, two ink stains on second cover.

First edition, one of 55 numbered copies on pur fil, this one is the number 1, the only large paper copies. A nice copy.

First edition, an advance (service de presse) copy
Rare autograph inscription from Raymond Radiguet to Prince Serge Wolkonsky
Two repairs to head and foot of spine, covers and spine marginally sunned, paper yellowed, tiny marginal lacks to first endpaper
This copy, which retains its advertising notice pasted onto an endpaper, is presented in a chemise and slipcase by Devauchelle: olive morocco spine, aniseed-colored paper boards, lined with olive felt
Prince Serge Wolkonsky was the director of the Bolshoi theater and a friend of his compatriot, Diaghilev.

First edition, one of 38 numbered copies on pur fil, the only large paper copies.
Very lightly and marginally sunned spine.

First edition, illustrated with 72 engravings (etchings), re-engraved after the originals. All plates, printed before lettering, have been annotated in pencil (author and title).
Publisher's binding. Special plate by Souze. Binding by Charles Magnier. Half red shagreen richly decorated; red percale boards stamped with a large decorative gilt plate on black ground. All edges gilt. White moiré endpapers. Upper joint slightly cracked at head. Some foxing on the first leaves and on the index.
Handsome copy

Illustrated edition with original vignettes by Jean Gigoux.
Full glazed hazelnut calf binding, smooth spine very lightly faded but without gravity, richly decorated with gilt romantic arabesques, gilt roulettes on the headcaps, one joint lightly cracked at foot, small traces of rubbing on the joints, frame of gilt arabesques on the boards, a small tear at the foot of the first board, fine gilt dentelle on the pastedowns, marbled endpapers and pastedowns, one lower corner very lightly bumped, gilt edges on the leading edges, all edges gilt, elegant contemporary romantic binding.
Work illustrated with a frontispiece portrait of the author on China paper as well as 600 vignettes here in first printing by Jean Gigoux.
Handsome copy, free from foxing and perfectly established in an elegant contemporary romantic binding, of this important work for the history of the book in that it marks the renovation of wood engraving in the romantic period.

New edition.
Contemporary full brown sheep binding. Decorated raised band spine. Brown calf title label. One lack to head; tail partly torn away. 2 corners slightly bumped. Generally rubbed. Second leaf with tear starting from bottom extending 5cm. The second endleaf before the title page is missing.
The first Greek-Latin dictionary is followed by an inverted Latin-Greek dictionary; it includes a series of expressions and proverbs given in Greek and Latin and two treatises: De resolutione verborum, de articulis. This dictionary remained famous and was reprinted until the 19th century, and was long intended for generations of students. It is the work of the famous grammarian, lexicographer and Latinist Schrevel, who translated numerous Latin authors.

First edition, one of 13 numbered copies on pur fil, this one n°1, the only large paper copies.
Spine very slightly sunned, not serious, endpapers uniformly fadedDos très légèrement insolé sans gravité, gardes uniformément ombrées, head of some leaves slightly faded.
Rare.

First edition, one of 13 numbered copies on pur fil, the only large paper copies.
Covers and spine lightly and marginally sunned as usual, not serious, internally good.
Rare.

First edition, one of 8 numbered copies on Hollande, tirage de tête.
A very good and rare copy.

First edition, one of 60 numbered copies on pur fil, the only large paper copies.
A good copy.

First edition, of which there were no deluxe copies.
Signed autograph inscription from the author to Matthieu Galey.
Boards lightly soiled at margins without gravity.

Sixth edition stated, after the first published in 1732. Edition revised and expanded by the author's son.
Contemporary full marbled brown sheep binding. Decorated spine with raised bands; headcaps partly worn. 3 corners bumped. Rubbing.
Treatise on criminal jurisprudence under Louis XIV. The First Part, On the nature of Crimes, & Punishments. The Second, On the Jurisdiction of Judges, over Offenses committed, both by Laypeople, and by Ecclesiastics, Recusations, challenges, &c. The Third, On the Manner of Conducting Trials, with the Style or Model of Procedures. The Fourth, Contains the Edicts, Declarations, Decrees, & Regulations intervened since the Ordinance.

First edition, one of 25 numbered copies on "pur-fil" paper, most limited issue.

The book Camus dedicated to his friend René Leynaud.

 

Rare and handsome copy.

First edition, one of 13 numbered copies on pur fil paper, the only large paper copies.
A rare and very good copy.

First edition, one of 50 numbered copies on Japan paper.
Work illustrated with color illustrations by Bourdelle, Faivre, Léandre, Robaudi, Steinlen...
Like the copies on Japan and China paper, our copy is complete with the duplicate state of the illustrations on Japan paper.
A tiny corner lack and a small marginal stain at head of front cover.

Very small reprint on laid paper for the bookseller Ballieu, quai des Grands-Augustins.
Bradel binding in half bordeaux cloth, smooth spine, traces of rubbing to red shagreen title-label, marbled paper boards, original wrappers preserved, upper corners slightly bumped.
Bookseller's description label pasted to one endpaper.
Rare.

Small reprint
Half black shagreen binding, spine faded with five raised bands set with gilt fillets, gilt date and place at foot, minor traces of rubbing to spine, one joint rubbed, marbled paper boards, marbled endpapers and pastedowns, corners very slightly bumped, top edge gilt, engraved bookplate pasted to verso of front board.
Rare.

First edition for which there were no large paper copies.
Rare autograph inscription from Louis Althusser.

New edition of Claude de Varennes' Voyage de France, edited and expanded by du Verdier. Final edition of this travel guide which contains 100 additional pages.
Full brown glazed sheep binding. Spine with raised bands, decorated. Red morocco title label. Upper cover split at foot. Rubbing, corners bumped and worn at edges. Good copy.
Textual reprint of Varennes' travel guide, but Du Verdier added an itinerary of French roads, towards the south, Brittany, Germany, Spain... departing from Paris. Besides this very useful addition, one also finds the value of foreign currencies, and more unexpectedly, a record of relics and treasures found at Saint-Denis. Of particular interest is the presence of a chapter on the rivers and waterways of France.

New pocket edition, an advance copy.
Moving and precious signed autograph inscription from Maurice Blanchot to his sister Marguerite: "Pour ma très chère soeur, Marguerite, ce livre, prémisses peut-être de "la fin du livre" avec les tendres excuses de MB." ["For my very dear sister, Marguerite, this book, perhaps the premises of "the end of the book" with tender apologies from MB."]
Marguerite Blanchot, a renowned organist at Chalon cathedral, remained all her life in the family home, with her mother and aunt. "She would gradually become, for the family, like the memory of origins." Very close to Maurice, she corresponded regularly with the writer who showed her great gratitude for her devotion to their invalid mother. While Blanchot's intense affection for his mother and sister shows through in his dedications, we know almost nothing of their relationship. In the only biographical essay on Blanchot, Christophe Bident reveals however: "Marguerite Blanchot revered her brother Maurice. Very proud of him, (...) she attached great importance to his political ideas (...). She read extensively (...) They telephoned each other, corresponded. At a distance, they shared the same natural authority, the same concern for discretion." Blanchot indeed sent her numerous works from his library, maintaining with her a continuous intellectual bond.
A handsome copy.

The first edition published only in paperback format, of which there were no deluxe copies, one of the Service de Presse (advance) copies.
Moving and precious signed autograph inscription from Maurice Blanchot to his sister Marguerite on a card mounted on the first endpaper: "Chère Marg, ce livre qui n'est pas un livre mais qui te dit en ces jours si sombres, ma fidèle, ma profonde affection. Maurice." ["Dear Marg, this book which is not a book but which tells you in these dark days, my faithful one, my deep affection. Maurice."]
Envelope bearing Marguerite Blanchot's address written by her brother Maurice mounted on the half-title page. Marguerite Blanchot, renowned organist at the cathedral of Chalon, remained all her life in the family home, with her mother and aunt. "She gradually became, for the family, like the memory of origins." Very close to Maurice, she corresponded regularly with the writer who showed her great gratitude for her devotion to their invalid mother. While Blanchot's intense affection for his mother and sister shows through in his dedications, we know almost nothing of their relationship. In the only biographical essay on Blanchot, Christophe Bident reveals however: "Marguerite Blanchot venerated her brother Maurice. Very proud of him, (...) she attached great importance to his political ideas (...). She read a great deal (...) They telephoned each other, corresponded. At a distance, they shared the same natural authority, the same concern for discretion." Blanchot indeed sent her numerous works from his library, maintaining with her a continuous intellectual bond. A marginal crease at foot of first cover.
Handsome copy.