Paris

First edition.
Publisher's full cream cloth binding, complete with its illustrated dust jacket whose spine is slightly sunned as well as its slipcase.
Rich iconography, handsome copy.

The definitive edition, first in parts, one of 25 numbered copies on vélin d'Arches paper, the only large paper copies.
Illustrated.
One small insignificant lack to foot of spine, a few small wormholes principally to endpapers, two tiny marginal tears without lack to lower cover, internally good.
Rare.

First edition, one of 40 numbered copies on Navarre laid paper, ours unnumbered.
Preface by André Fontainas.
Spine and covers very lightly and marginally sunned, some foxing affecting mainly the endpapers.

New edition of the work that Lange had published approximately half a century earlier under the name of Gastier, prosecutor at the parliament, and which originally bore the title "Praticien français". Quérard gives the 1755 edition, the last edition, and remarks: "The various intermediate editions underwent considerable modifications; those of 1699 and 1702 were given by Denis Simon, who added observations on various matters. After the author's death, two manuscript works found among his papers were added, one on the Right of indult; the other on Ecclesiastical jurisprudence". Title page in red and black.

Full blonde sheep binding. Spine with five raised bands decorated with a red morocco title label, compartments, fleurons and small bird tools. All edges red. Head slightly worn and a little damaged, corners bumped and surface wear. Fresh interior.

A classic of French legal literature of the 17th and 18th centuries.

New edition in French, published the same year as the first edition.
A good copy.

First collected edition, one of numbered copies on vergé labeur paper.
Endpapers very slightly and marginally sunned, not serious, a good copy.

First edition; the first two volumes appeared in 1813, the next two in 1815 and the last four in 1817.
Contemporary half tree-calf bindings. Smooth spines decorated with blonde morocco title and volume labels, small fleurons and gilt fillets. Paste-paper boards. Head of seventh volume very slightly damaged. Some very minor foxing to certain volumes.
Rare first edition of this essential work reflecting the Romantic era's vision of the Middle Ages, particularly in literature.

First edition.
Numerous contributions.
A very good copy.

First edition.
Numerous contributions.
A very good copy.

First edition.
Numerous contributions of which celles de C. Dotremont, E.M. Cioran, R. Abellio, J.L. Parant, J.P. Sartre...
Iconography, a very good copy.

New edition, reprint of the first edition in ten books published in 1621; illustrated with a portrait by Léonard Gautier and a large vignette with royal arms. Title page in red and black. Printed on fine paper.
Contemporary half calf binding. Decorated spine with raised bands. Red morocco title label. Head worn. Upper joint cracked at head. Rubbing to boards. Corners slightly bumped. An encyclopedic and highly celebrated work, Les recherches de la France stands out among all works of this kind for its radical novelty. Pasquier can be considered the father of modern history, History emerging then as a discipline and departing from legend and literature. Chapter VII, quite different from the others since those focused on research into the Antiquity of France, concerns itself with the formation of the French language; one part is devoted to the Pléiade, of which Pasquier was a member. Chapter VI already dealt with the origin of French poetry. "A unique monument raised to antiquities, the Recherches comprise, through their variety and boldness, everything that a scholar of the 16th century could aspire to." Robert Barroux (archivist of Paris and historian).

Fifth edition statement. Edition illustrated with 19 chromolithographs and 400 wood engravings.
Publisher's binding in imitation of great Grolier-style bindings. Half dark green shagreen with shagreen-textured cloth boards. Corners slightly bumped. Very occasional light foxing.
The interest of this work manifests itself both through its erudition and its accessibility and readability (historical anecdotes...). We owe it to Paul Jacob, who was a great bibliophile, a writer and scholar, and the curator of the Arsenal library. If the entire series has become a great classic in the field, it is because it successfully combines the work of publisher, printer, bookbinder, historian, illustrators, and documentation, and few books have ultimately achieved this amalgamation that we owe to Firmin-Didot, at a time when books had become quite mediocre.

First edition.
Publisher's full cream cloth binding, handsome copy complete with its illustrated dust jacket and slipcase.
Rich iconography.

First edition.
Publisher's full rose cardboard bindings, copies complete with their dust jackets which have no defects as well as their slipcase.
Volume 1: Impressionist painting in France.
Volume 2: Impressionism in Europe and North America.
Rich iconography.
Very fine set.

First edition, one of 105 numbered copies on vélin aravis, the only large paper copies.
A rare and good copy.

First edition on ordinary paper.
Half black shagreen binding with corners, spine with four raised bands set with gilt fillets decorated with a gilt fleuron, gilt initials at foot, gilt fillet frame on snakeskin-pattern paper boards, snakeskin-pattern paper endpapers and pastedowns, bookplate pasted on endpaper, covers and spine preserved, top edge gilt.
Autograph inscription signed by Jean Lorrain to Paul Padovani: "Le crime des riches qu'il côtoie tous les jours..." ["The crime of the wealthy whom he rubs shoulders with every day..."]
Some passages of the text underlined in blue pencil.
Handsome copy.

First Edition, one of the 16 numbered copies on Holland paper, small print in the smallest paper before 18 Japan.
Autograph dedication signed by Jean Ajalbert on the title page of the first volume.
Our copy is enriched by an autograph letter dated and signed by the author, three pages, addressed to an attorney in which he defends the mother of Roland Garros about legal problems related to the exploitation of the name of the "Garros" family, whom she was deprived of as she fought for the glorious memory of her son and has always maintained good relations with him ..., envelope attached to the letterhead of the Academy Goncourt.
We also enclose a photographic postcard representing J. Ajalbert signed in foot .
Covers illustrated by Busset with discharges of the illustration on the first two guards volumes.
Nice copy at all margins.

Second edition by Garnier in a new expanded format, after the first by Delloye in 1843, in 125 installments of 4 leaves comprising a notice, the score and 4 recto-verso pages of steel engravings (extraordinary compositions framing the song text), in addition to three frontispieces. Illustrations by Trimollet, Daubigny, Meissonnier... The first edition by Delloye contained only 84 installments and songs. Printed on heavy laid paper.
Half dark green morocco binding with corners signed Niedrée at foot. Spine with raised bands ornately decorated in grotesque style with stylized wavelets. Top edges gilt. Thin split to upper joint at head of volume 1 and at foot of volume 3. 2 corners of volume 3 slightly opened and pushed in. Some rare browning to margins of certain leaves. Handsome copy, uncut.
39 songs in volume 1, 32 in volume 2, 54 in volume 3, making 125 installments and songs, divided into war songs and patriotic songs, burlesque satirical songs and laments and rondeaux... One of the finest Romantic illustrated works, the material is abundant and rich, full of imagination and verve. This volume is above all one of Trimolet's principal works as an illustrator, whom Baudelaire particularly praises in his Curiosités esthétiques, in the chapter on Caricaturists. Carteret compares this production to the finest illustrated works of the 18th century.

First edition, of which there were no deluxe copies.
A handsome copy.
Autograph inscription signed by Jean Monnier to the great Céline scholar Pierre Monnier: "Pour l'auteur de Ferdinand furieux..." ["For the author of Ferdinand furieux..."]

First edition printed to 500 numbered copies.
A very good copy.

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

First edition of which there were no large paper copies.
Spine slightly faded, a good copy.

First edition.
Publisher's full mouse-gray cloth binding, smooth spine decorated with gilt and blind allegorical motifs, headcaps slightly worn, gilt allegorical decoration on front cover, corners very slightly bumped without any gravity, all edges gilt, binding signed by Engel.
Work illustrated with numerous hors-texte illustrations by F. Lix, P. Merwart, J. Geoffroy, J. Girardet, L. Roux... Handsome copy.

Second edition.
Publisher's flexible mouse-grey cardboard binding, smooth spine, red top edge, original wrappers preserved.
Work illustrated with 27 maps or sketches.
Handsome copy.

First edition.
Half mouse-colored cloth bindings, smooth spines, marbled paper boards, contemporary bindings.
Work illustrated with numerous figures in the text.
Some minor foxing.
Handsome copy.

First edition of each volume.
Half red sheep binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns.
The first four fascicles are written by Edmund Reitter.
Rare and handsome set.

First edition on ordinary paper with the statement "Première série" on the title page, of which only 8 copies were printed on China paper in deluxe format.
Half chocolate-colored morocco-grained shagreen binding, spine with five raised bands decorated with double gilt compartments enriched at their centers with Francisque Sarcey's gilt cipher, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Precious signed autograph inscription from Alphonse Daudet to his friend (Francisque) Sarcey.
Work illustrated with a frontispiece etching by André Gill.
Ink gift inscription at head of title page, handsome copy.

First edition, one of 1000 copies on laid paper.
Affectionate signed autograph inscription by Francis Norgelet to a couple of his friends.
Work illustrated with a portrait of the author by Despiau engraved by Germain on the front cover.
Handsome copy.

First edition printed in a small number of copies on vergé paper.
Affectionate autograph inscription from Francis Norgelet to a couple of his acquaintance.

First edition, one of 100 numbered copies on handmade Arches vellum.
Signed autograph inscription by Francis Norgelet.
Our copy is complete with the author's portrait by Despiau and his painting by Charles Guérin.
Furthermore, our copy is enhanced with Charles Guérin's painting engraved in three colors by Jules Germain which consists of a trial printing of 3 copies of this proof, ours bearing No. 6.
Handsome copy.

First edition, one of 50 numbered copies on alfa paper, the only large paper copies.
Autograph inscription from Paul-Marie de la Gorce.
A very good copy.

First edition, one of 70 numbered copies on alfa paper, the only large paper copies.
A very good copy.

First edition for which there is no mention of leading copies.
Binding half black shagreen, back with four nerves set with gilt fillets, marbled paper plates, guards and contreplats of handmade paper, Contemporary binding.
Nice copy.
Rare autograph dedication signed by Theodore de Wyzewa to Charles Pozzo di Borgo.

First edition, of which there were no large paper copies
Half light brown calf over marbled paper boards, double gilt fillets to spine, covers mounted on guards and preserved, top edge speckled; an unsigned modern pastiche binding by Goy & Vilaine
Very rare autograph inscription from Jules Verne to [Achille] Tournier, prefect of the Somme at the time
With original illustrations by Georges Roux
A very good copy handsomely bound.

The first edition, of which there were no deluxe copies.
Half hazelnut calf binding, smooth spine decorated with double gilt fillets, marbled paper boards, original covers mounted on guards and preserved, speckled top edge, modern pastiche binding unsigned by Goy & Vilaine.
Work decorated with original illustrations by L. Benett.
Very rare signed autograph inscription from Jules Verne to [Achille] Tournier, then Prefect of the Somme.
Jules Verne settled in Amiens, his wife's birthplace, in 1871: "At my wife's wish I settled in Amiens, a wise city, polished, of even temper, where society is cordial and learned. One is close to Paris, close enough to have its reflection, without the unbearable noise and sterile agitation. And to say everything, my Saint-Michel remains moored at Le Crotoy." His affection for the region would continue to grow and he would never leave the Picard capital, actively participating in local political life. Appointed director of the Academy of Sciences, Letters and Arts, in 1875 he delivered on this occasion a speech that remained famous: "An Ideal City: Amiens in the Year 2000." In 1888 he was elected to the municipal council of Amiens where he served until 1903. It was the prefect of the Somme who presented him with his decoration when he was promoted to officer of the Legion of Honor in 1892. "People often ask me why I reside in Amiens, I who am so completely Parisian by instinct. Well, because, as I told you, I have Breton blood, and I love tranquility, and I could not be happier than in a cloister. A calm life of study and work brings me joy." (June 1893, in Mac Clure's magazine).
Work decorated with original illustrations by L. Benett.
Fine copy.

Third edition illustrated with 10 plates hors-texte including a frontispiece by Dalbou after Hoüel, 5 plates hors-texte by Laurent after Favray and 4 folding plates hors-texte by Laurent after Massit. The first three volumes contain all the letters on Greece, the last contains other opuscules by the author: Essays on Tibullus's Elegies (followed by their translation), The Seasons and Light Poetry.
Numerous floral headpieces and tailpieces (flower baskets, carnations...).
Contemporary full marbled blonde calf binding. Smooth spines decorated with green morocco title and volume labels, small gilt floral fleurons, and gilt dentelle at tail. Triple gilt frames on boards. All edges marbled. Headcap of first volume abraded. Some wormholes on spines of second and third volumes. Tail joint split on first volume. Six corners bumped. Surface abrasions. Some pale corner dampstains. Worming affecting the entire lower right corner of the third volume. Handsome overall appearance of the copy.
Broader than its title suggests, the Literary Journey to Greece contains numerous information about the Turks, Armenians and their customs, and naturally the peoples of Greece. The letters are the work of a merchant residing in Constantinople, Monsieur Guys, addressed to an art lover, Bourlat de Montredont. Deeply devoted to literature and research on Antiquity, the author in his description of Greece, its customs and practices, draws his material from ancient writers by establishing constant parallels with modern Greece, showing how much all of Greek literature is found in it. Each letter focuses on a subject, many deal with art, but some more specific ones cover furniture, jewelry, makeup, festivities, proprieties, baths, architecture, and naturally, a domain of particular interest to the author: commerce and navigation. Some letters are additions, and treat customs among the Turks, Jews... An ambitious project by a man anchored in the reality of his time (and who spent more than 30 years in the Levant), the Literary Journey to Greece identifies in modern Greece all the heritage of Antiquity, and makes modern Greeks the direct heirs, descendants of ancient Greeks. The author thus renews interest in travel to Greece. Before its time, it is one of the first works of anthropology.

Complete and unpublished autograph manuscript of 77 pages written and numbered on the recto in black ink.
Paper cover bearing the title, date and place Paris 12 December 1899 - 12 January 1900. Some autograph corrections by the author.
Unpublished comedy in prose; the action takes place in the contemporary period, in Paris and in the forest of Fontainebleau; it features a dramatic author, a charming actress, a provincial journalist...

New edition.
Full cloth Bradel binding in almond-colored percale, smooth spine slightly faded decorated with a gilt floral motif, double gilt fillet and date at foot, burgundy shagreen title-label, binding cold-stamped signed by Pierson.
Some minor foxing.

First edition.
Half black shagreen binding, spine slightly faded with four raised bands decorated with quadruple gilt fillets and adorned with a gilt fleuron enriched with a red shagreen mosaic piece, light scratches of no consequence to the joints, cold-stamped fillet and interlacing frame on boards, gilt edges, binding signed by Charles Magnier.
Work illustrated with 73 engravings in and outside the text.
Some minor foxing.

First edition of this tri-monthly review directed by Emile Kahn.
Set of 25 fascicles including 5 double issues. Nos. 1, 26, 28 and 33 are missing.
Official organ of the League of Human Rights established in 1920, the Cahiers are considered by democracy's defenders as both a militant tool and an important source of documentary information.

First edition of this tri-monthly review directed by Emile Kahn.
Set of 17 fascicles including one double issue. No. 21 is missing.
Official organ of the League of Human Rights established in 1920, the Cahiers are considered by democracy's defenders as both a militant tool and an important source of documentary information.

First edition de cette revue tri-mensuelle dirigée par Emile Kahn.
Ensemble de 29 fascicules. Nr 5, 14 and 17 are missing.

First edition of this tri-monthly review directed by Emile Kahn. Set of 5 fascicles: no. 9 of May 1st, 1939, no. 12 of June 15th, 1939, no. 13 of July 1st, 1939, no. 14 of July 15th, 1939 and no. 15 of August 1st, 1939. Official organ of the League of Human Rights which appeared in 1920, the Cahiers are considered by defenders of democracy as both a militant tool and an important source of documentary information.

First edition of this tri-monthly review directed by Emile Kahn.
Set of 7 fascicles. Issues nos. 5, 6, 8, 9, 12 and 13 are missing.
Official organ of the League of Human Rights which appeared in 1920, the Cahiers are considered by defenders of democracy as both a militant tool and an important source of documentary information.

First illustrated edition and marked as second edition, after the original, published in 1815 by the same publisher. 6 figures by Bouillon in the antique style engraved by Baquoy. Fine printing on laid paper and elegant typographic execution by Didot.
Contemporary full green straight-grained morocco binding. Smooth spine with 4 flat raised bands, decorated with 3 Restoration stamps, multiple decorative rolls, fillets, etc. Gilt title and date. Covers stamped in blind with a central Restoration roundel; 4 large corner stamps connected by 3 fillets forming a frame. Fine copy, very fresh, some worming on tissue guards and in margins of engravings. Very fine unsigned master binding.
Philosophical and poetic novel praised by Chateaubriand, of whom Ballanche was a friend. Ballanche, while respecting the Greek myth, makes Antigone a Christian heroine. More than a novel, it is a sort of prose poem in the style of Chateaubriand's Martyrs, in which Ballanche substitutes vengeance for inexorable fate. Antigone forms one of the elements of Ballanche's Social Palingenesis, where humanity progresses through trials and expiations.
Bookplate: Bibliothèque de Courbonne.

First printing of Eekman's lithographs published in 740 copies (no. 80) signed by the authors.
One joint of the chemise very slightly split at foot for a few centimeters.
The work is illustrated with lithographs hors-texte in black by Eekman.
Handsome copy.

First edition, our copy being one of the service de presse copies. Cover somewhat faded, pale dampstain affecting the entire spine. Literary contributions by Saint-John Perse (Chanson), Max Jacob (Poèmes), André Breton (Introduction au discours "Sur le peu de réalité"), Léon-Paul Fargue (Nuées), Valery Larbaud (Lettre d'Italie), etc. Commerce, literary review founded by Marguerite Caetani, appeared as twenty-nine "quarterly notebooks published under the direction of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and was not content merely to showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten key texts. Some pages marginally shaded, otherwise a handsome copy.

First edition published in 2900 copies, ours being a Service de Presse (advance) copy.
Literary contributions by Paul Claudel (Le Livre de Christophe Colomb), T.S. Eliott (Som de l'Escalina), Valery Larbaud (Le Patron des traducteurs), Léon-Paul Fargue (Mimes), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Littérature), Ribemont-Dessaignes (Première épître aux directeurs), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Essai sur Stendhal), Léon-Paul Fargue (Trouvé dans des papiers de famille), Valery Larbaud (Sur le rebut), etc.
Commerce, literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly notebooks published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication follows in the competitive tradition of French reviews of the 1920s and does not merely promote the most prominent authors of French literature: it plays a role as "discoverer" of young talents and unearths forgotten seminal texts.
Light foxing at beginning of volume.

First edition published in 2900 copies, ours being a Service de Presse (advance) copy.
Literary contributions by Paul Valéry (Au sujet des lettres persanes), Valery Larbaud (Rues et visages de Paris), Max Jacob (Poèmes), etc.
Commerce, literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly notebooks published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication follows in the competitive tradition of French reviews of the 1920s and does not merely promote the most prominent authors of French literature: it plays a role as "discoverer" of young talents and unearths forgotten seminal texts.
Light foxing at beginning of volume.

First edition published in 2900 copies, ours, one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Allocution), Léon-Paul Fargue (D'un porte-plume à un aimant), Ribemont-Dessaignes (Deuxième épître aux serins et même aux rossignols), Franz Kafka (Récits), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, our copy, one of the copies on Alfa paper.
Literary contributions by Paul Claudel (Le Vieillard sur le Mont Omi), Francis Jammes (Trois extraits de "Ma France poétique"), Paul Valéry (Préface pour une nouvelle traduction de la Soirée avec M. Teste), Léon-Paul Fargue (Poème), Valery Larbaud (Sir Thomas Wyat), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Réponse), Valery Larbaud (Le Vaisseau de Thésée), T.S. Eliot (Difficultés d'un homme d'Etat), Henri Michaux (Nous autres), William Faulkner (Une rose pour Emily), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talent and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Moralités), Valery Larbaud (Du sel ou du sable), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talent and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Valery Larbaud (Trois belles mendiantes), Ribemont-Dessaignes (Au delà du pouvoir), Jean Paulhan (Sur une poésie obscure), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, our copy being one of the copies on Alfa paper.
Literary contributions by Léon-Paul Fargue (Banalité), Valery Larbaud (Le Vain travail de voir divers pays), André Suarès (Saint-Juin de la Primevère), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Amphion), Joé Bousquet (L'Ombre d'une ombre).
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (A B C), Léon-Paul Fargue (Tumulte), Jean Paulhan (L'Expérience du proverbe), Francis Ponge (Poèmes), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition, one of 100 numbered copies on Arches paper, deluxe issue.
Our copy, like all copies from the deluxe issue, is complete with its original etching in double state signed by Auguste Brouet.
Work illustrated with 270 plates reproducing the artist's engraved work.
The slipcase of the second volume is worn.
Handsome copy.

New edition adorned with seven frontispieces by Scotin the elder. The journal first appeared in volume form in 1712.

Contemporary full speckled brown sheep binding. Spine with five raised bands, red morocco title and volume labels, gilt compartments and floral fleurons. All edges red. Head caps of volumes 1, 2, 3, 4, 5, 7 and 8 and foot caps of volumes 2, 3, 4 and 9 abraded (some damaged). Corners slightly bumped. Four joints cracked. Pale marginal dampstains to the second volume.

Edition with 32 original lithographs by Robert Lotiron, one of 200 numbered copies on Rives, the only printing.
A rare and good copy.

First edition.
Half hazel shagreen binding, spine with five raised bands slightly faded, publisher's gilt monogram at foot of front cover, marbled paper boards, top edge gilt, publisher's binding.
Work illustrated with 49 plates at the end.

First edition on ordinary paper.

Half-forest green shagreen contemporary binding, spine with five raised bands, marbled paper board and endpapers, bookplate pasted on one guard.
Some slight, minor foxing.

Rare signed and inscribed copy by Gustave Flaubert to (Louis) de Carné, journalist and historian, several of whose works were listed in the inventory of Flaubert's personal library.

Flaubert's interest in de Carné's work was not always benevolent, however. Critical notes on his articles can be found in the Bouvard and Pécuchet files.
Moreover, the publication of Salammbô coincided with the controversial election of Louis de Carné to the Académie Française, which some critics deemed a clerical coup d'état. His election resulted from a campaign orchestrated by Bishop Dupanloup against the opposing candidate, Émile Littré, whose materialist definition of man had provoked the ire of religious and Orléanist factions. Flaubert refers to the scandal of this election in a letter to the Goncourt brothers dated 6 May 1863: "Have you sufficiently railed against Sainte-Beuve and cursed the Académie over Carné's appointment?"
While this inscription likely predates the election, it remains a curious tribute from an author once accused of “offense against public morality and religion” to a future representative of religious power within the prestigious Académie.

A precious copy, featuring a rare autograph inscription, handsomely bound in a contemporary binding.

Original engraving. Optical view heightened in watercolor, depicting a view of the Ponte Sant'Angelo 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 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 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 was devoted to representing - 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 Saint Peter's in Rome.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very fashionable 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 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 was dedicated to representing - in an idealized manner - the most famous panoramas and landscapes of the Orient and the West. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Royal Academy of Painting in Rome. Blue paper. Optical views, also called views, perspectives or "mondo nuovo", are engravings very fashionable 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 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 was dedicated to representing - in an idealized manner - the most famous panoramas and landscapes of the Orient and the West. Some very light marginal foxing. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolors, depicting a view of the Quirinal Palace in Rome. Blue paper. 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 series 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 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 very light marginal foxing. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolors, depicting a view of the Church of St. John Lateran 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 series 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 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 heightened in watercolor, depicting a view of the great Piazza del Popolo, in Rome.
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 viewed 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 were parlor 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. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Boulevards of Paris taken from the Porte du Temple. 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 viewed 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 were parlor 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. Two pale corner dampstains not affecting the engraving. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the three galleries of the Palace of Arts and Sciences 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 viewed 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 the predecessors 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 salon 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. Fine impression with very fresh colors.

Original engraving. Hand-colored optical view in watercolor, depicting a view of the Theatre of Marcellus in Rome. Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be viewed through a set of several mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered 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 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. A central fold mark. Fine impression with very fresh colors.

Original engraving. Hand-colored optical view in watercolor, depicting a view of the review of the King's Household, "infantry which takes place every year in the plain of Sablons one league from Paris". Optical views, also called vues, perspectives or "mondo nuovo", were engravings very fashionable between the late 18th and early 19th centuries. 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 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. A small angular crease mark. Fine impression with very fresh colors.

Original engraving. Hand-colored optical view in watercolor, depicting an interior view of St. Paul's in Rome. Optical views, also called vues, perspectives or "mondo nuovo", were engravings very fashionable between the late 18th and early 19th centuries. 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 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 watercolors, depicting an interior view of Saint Sulpice church.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and early 19th centuries. They were intended to be viewed 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 precursors to 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 a view of the Louvre colonnade. Optical views, also called views, perspectives or "mondo nuovo", are engravings very fashionable 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 Zegrascope, 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 salon entertainments. The process was first developed in Paris, then London and finally in Germany and was dedicated to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
A very slight foxing at the top of the plate, otherwise fine impression with very fresh colours.

Original engraving. Optical view heightened in watercolor, depicting a view of Holyrood Palace in Scotland. 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 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 were salon 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 colors.

Original engraving. Optical view heightened in watercolor, depicting a view of St. Ouen church in Rouen taken from the botanical garden. 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 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 were salon 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.
Some minimal foxing, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolors, representing a perspective view of the review of the royal household. 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 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 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 developed first 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 watercolors, representing a view of Westminster Abbey and Saint Margaret's Church in London. 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 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 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 developed first 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 foxing, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the court of Marseille.
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 set of several mirrors or by means of a Zygrascope, 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 salon entertainments. The process was developed first 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.
A tiny tear with lack to lower left corner, otherwise fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the interior of Westminster Abbey.
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 set of several mirrors or by means of a Zygrascope, 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 salon entertainments. The process was developed first 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. Vue d'optique heightened in watercolour, depicting an interior view of the Royal Exchange in London.
Vues d'optique, also called vues, perspectives or "mondo nuovo", are engravings that were highly 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. Vues d'optique can be considered the precursors to three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Vues d'optique appear to have emerged in the 1740s and were drawing-room 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 the Orient and Occident.
Fine impression with very fresh colours.

Original engraving. Vue d'optique heightened in watercolour, depicting a view of the Lord Mayor's residence in London.
Vues d'optique, also called vues, perspectives or "mondo nuovo", are engravings that were highly 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. Vues d'optique can be considered the precursors to three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Vues d'optique appear to have emerged in the 1740s and were drawing-room 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 the Orient and Occident.
Fine impression with very fresh colours.

Original engraving. Hand-colored optical view in watercolor, depicting a view of the Dunkirk Exchange.
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 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 predecessors 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 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. Hand-colored optical view in watercolor, depicting a view of the Exchange or Trading Lodge in Lyon.
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 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 predecessors 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 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 St Denis taken from the bridge.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the late 18th and early 19th centuries. They were intended to be viewed 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 precursors to three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear 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.
A very slight foxing in the upper part of the plate, otherwise a fine proof with very fresh colors.

Original engraving. Optical view heightened in watercolours, depicting a view of the grand square of Tournai.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings very much in vogue between the late 18th and early 19th centuries. 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 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 was dedicated to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colours.

First edition, illustrated with a medallion portrait of Corneille on the title page, and three figures on heavy paper after Cochin, and engraved by Prévost, Ponce and Saint-Aubin.
Contemporary brown sheep binding. Spine with raised bands decorated with 5 fleurons. Red morocco title-label. Roulette on leading edges. Rubbing. 3 corners slightly bumped.
Didactic and lyrical poem, in alexandrines.