Paris

Illustrated edition with 4 original copper engravings by Armand Coussens, one of 25 numbered copies on japon paper, this being one of the few hors commerce copies specially printed for Armand Coussens, as stated in the colophon.

Translated from the Languedoc dialect and prefaced by Marcel Coulon.

Contemporary half blue morocco over corners, spine with four raised bands ruled in black, date gilt at foot, covers of moiré-effect paper framed with black fillets, matching endleaves and pastedowns, wrappers and spine preserved, top edge gilt, an elegant signed period binding by Ch. Septier.

This copy is enriched with an autograph letter of nearly three pages, dated 8 July 1866 and signed by Jules Troubat, mounted on a guard at the beginning of the volume, in which he discusses Abbé Favre and the research he undertook concerning his correspondence and the letters he was able to recover and catalogue. He modestly acknowledges that the article and translation he produced of this title were imperfect and fragmentary, but states that he places them at his correspondent’s disposal so as to assist in the preparation of a new edition to be illustrated by Gustave Doré. Finally, Jules Troubat recommends a person more qualified than himself and better able to provide further information on Abbé Favre: a certain M. Gaudens, assistant librarian in Montpellier.

A handsome copy attractively bound in a signed contemporary binding.

First edition of the French translation, for which no deluxe paper copies were issued, one of the publisher’s review copies.

Spine and boards very slightly and marginally sunned, without consequence.

Signed autograph inscription by Julio Cortázar to André Wurmser.

Charming example of shellwork binding on a devotional book from 1858.

Publisher's binding, with exceptionnally added contemporary shellwork panel including more than 200 miniature shell to each board, blue cloth spine elaborately decorated with gilt pink and blue gauffered motifs, all edges gilt, inner gilt dentelle; a few shells lost, a little rubbed at corners and spine-ends.

First edition, one of 1,045 and one of 1,246 numbered copies on deluxe paper, the only large-paper issues after the 118 and 120 reimposed copies.

A pleasing set.

First edition, one of 30 numbered copies on Lafuma laid paper, the sole deluxe issue.

A fine copy.

First edition, one of 647 numbered copies on deluxe paper, the only deluxe issue after 109 reimposed copies.

Correspondence collected and annotated by Jean-Marie Carré.

A fine copy.

First edition, one of 306 numbered copies on deluxe paper, the only large-paper issue after 109 reimposed copies.

A fine copy.

First edition.

Head of the plain back restored; a few light spots of foxing and a faint waterstain.

The lawyer François Beslay (1835–1883) soon left the bar to devote himself to Catholic journalism. He was a contributor to the Revue contemporaine; to the Correspondant; to the Revue d’économie chrétienne; to the Français; to the Journal des villes et des campagnes; and to L’Ami de la religion.

Autograph presentation inscription by François Beslay at the head of the upper wrapper to the former minister Odilon Barrot (1791–1873), who had retired from political life in 1851.

Photographic postcard issued by the television weekly Télé 7 Jours, depicting Guy Lux smoking a cigarette.

A well-preserved example.

Signed by Guy Lux in blue felt-tip pen.

Original black and white photograph depicting Valéry Giscard d'Estaing posing frontally.

A fine copy. Original envelope with the letterhead of the French Presidency included.

Inscribed and signed tribute by Valéry Giscard d'Estaing in blue ink.

Provenance: from the collection of the noted autograph collector Claude Armand.

First edition, illustrated with in-text drawings by Lorentz.

Some occasional foxing.

Bradel binding in green Empire morocco, spine very slightly faded, gilt date at foot, gilt decorative rolls at head and foot, marbled paper-covered boards, comb-marbled endpapers and pastedowns, bookplate mounted on one endpaper, trace of a removed bookplate at the head of a pastedown. Original wrappers preserved. Binding signed by Durvand.

Extremely rare ensemble including a catalogue-program on laid paper, 3 original broadsides and 4 flyers announcements printed on colored paper (salmon, pink, blue and yellow) for the Bal de la Grande Ourse organized by the Union des Artistes Russes in Paris, held on May 8, 1925. Not at the NYPL or the Houghton Library. 
The folio broadside announcement (49.5 x 32.5 cm) is printed on both sides on laid paper and illustrated with a drawing by Cubist painters Auguste Herbin and Henri Laurens, folded in half; with two alternate printings of the same broadside printed on thin blue paper, folded in half or in four.
Housed in a chemise and slipcase with a brown morocco spine.

Cover drawings for the catalogue by Herbin, Laurens, Larionov and Léger. The catalogue includes illustrations by Picasso, Gontcharova, Larionov, Léger, Rodchenko, Vassilief, Melnikoff, Frenkel, etc.

Rare copy on laid paper of the program for the Union des Artistes Russes ball on the theme of constructivist architecture, exceptionally signed by Michel Larionov at the bottom of the cover. The contributors of the catalogue include Bernouard, Brunelleschi, Bourdelle, Brancusi, Cendrars, Chagall, Delaunay, Foujita, Gleizes, Laboureur, Soupault, Tzara and Valadon. In addition to the masked ball, events such as the dance performance "Ballet Synthétique" and the "Balcon Poëtique", consisting of fragments of modern poetry readings on the balcony railing, were organized. Other events at this avant-garde ball included the "Space Walk", the "Invisible Orchestra" and a "Japanese Dramatic Theater", a composition by Claude Debussy entitled "Cake Walk".

A rare ensemble representing "a fascinating intersection of Russian émigré culture and the vibrant Parisian art scene of the early 20th century" (Libraries of the Museum of Fine Arts, Houston).

First critical edition, with some parts of the text in first edition, illustrated with 10 portraits, 17 views and 10 facsimiles as well as the coats of arms of the Sévigné, Bussy, Grignan and Simiane families as frontispiece to the first volume.
Bound in half red calf, spines with four fine raised bands set with gilt friezes decorated with gilt fleurons and typographical motifs, gilt friezes at head and foot, owner's name gilt at foot of spines, red paper boards, marbled endpapers and pastedowns, elegant contemporary Romantic bindings.
Some foxing, manuscript ownership inscriptions in black ink at head of title pages.
Our copy is complete with the eleventh and twelfth volumes "Mémoires de M. de Coulanges suivis de lettres inédites de madame de Sévigné" published in 1820 at the initiative of M. de Monmerqué, editor of the marquise's letters and "Lettres inédites de madame de Sévigné, de sa famille et de ses amis" published in 1827 by the same publisher, which are always lacking to complete this set.
The eleventh volume is illustrated with 1 portrait, 3 facsimiles and 1 plate; the engravings of the twelfth having been bound and distributed throughout the first ten volumes.
Fine set, established in a charming and elegant uniform contemporary Romantic binding.

First edition, a Service de Presse (advance) copy.
Spine sunned with two small tears at head and foot, boards slightly soiled.
Iconography.
Exceptional full-page autograph inscription signed by Eugène Ionesco to his friends from the Renaud-Barrault company including Madeleine Renaud, Jean-Louis Barrault, Simone Benmussa, Jean Desailly: "Mon cher Jean-Louis, ma chère Madeleine, ma chère Simone, mon cher Jean, mon cher Sabatier, mon cher Cattand, ma chère Marie-Hélène, mon cher Outin, ma chère Benmussa, je vous aime, je suis vôtre pour toujours. Eugène ionesco." (My dear Jean-Louis, my dear Madeleine, my dear Simone, my dear Jean, my dear Sabatier, my dear Cattand, my dear Marie-Hélène, my dear Outin, my dear Benmussa, I love you, I am yours forever. Eugène ionesco.)
Our copy contains manuscript annotations and reading marks by Simone Benmussa in the margins of certain paragraphs.
Literary advisor to the Jean-Louis Barrault - Madeleine Renaud Company, then, in 1957, editor-in-chief of the Cahiers Renaud-Barrault, Simone Benmussa also directed, from the Théâtre de l'Odéon, the cultural service and the Cahiers of the Renaud-Barrault company. She adapted for the theater works by her friend Nathalie Sarraute, Pierre Klossowski, Jean Cocteau, Gertrude Stein... She was the companion of actress Erika Kralik.