Paris

Original albumen print portrait of Edmond Rostand by Otto Wegener.
Minor damage to mount on verso of the photograph.
Signed and inscribed by Edmond Rostand to René Thorel, dated June 1903 in Cambo-les-Bains at the bottom of the photograph.
After the success of L'Aiglon in 1900, Rostand ill with pleurisy took refuge for a spa treatment at Cambo-les-Bains in the Basque country. Charmed by the region, he acquired land and built the sumptuous Villa Arnaga, now a museum dedicated to the playwright.

G.L.M, Paris 1939, 11,5x16cm, original wrappers

First edition, one of 500 numbered copies on vélin blanc, most limited issue after 15 copies on Japon.
A fine copy, despite a small stain to the upper left-hand margin of the back cover.

[Seventeen drawings by George Barbier on the Canticle of Canticles - French translation from 1316]

First edition, one of 240 numbered copies, our copy on vergé calendré paper from the Canson and Montgolfier paper factories.
Illustrated with 17 magnificent pochoir plates in black, white and gold by George Barbier.

First edition, one of 100 numbered copies on hollande paper, ours unnumbered but properly justified on hollande paper, deluxe issue after 10 copies on japon paper.
Bound in half orange morocco-grained shagreen with corners, smooth spine decorated with a gilt cartouche ornamented with gilt typographic motifs, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt on deckled edges, contemporary binding signed Yseux.
Handsome full-margined copy beautifully bound.

First edition, one of 250 numbered copies on alfa paper and reserved for the Service de Presse.
Foxing to covers and endpapers.
Precious and handsome signed autograph inscription by André Suarès: "A mon cher Jouhandeau, trop "juste" et trop fils de la toute vive Agnès pour ne pas se soustraire à la tyrannie du corse. S." ["To my dear Jouhandeau, too "just" and too much the son of the very lively Agnès not to escape the tyranny of the Corsican. S."]

First edition, a Service de Presse (advance) copy.
Some foxing to covers, paper yellowed.
Precious signed autograph inscription by Jean Giono: "A Marcel Jouhandeau, avec ma vive amitié Jean Giono. Manosque mai 49." ["To Marcel Jouhandeau, with my warm friendship Jean Giono. Manosque May 49."]

First edition, a Service de Presse (advance) copy.
A small tear at foot of spine, handsome copy.
Autograph inscription signed by Louis Aragon to Monsieur Pérard.

First edition, one of 500 numbered copies on laid paper, the only deluxe copies after 20 Arches and 50 alfa.
Handsome copy.

Autograph card signed by Pierre-André Benoit (4 lines in black ink written from his château at Rivières-de-Theyrargues in the Gard which he has occupied since 1970) addressed to the bookseller Pierre Clerc to whom he extends his wishes for 1984.
The card is illustrated on the recto with a reproduction of a drawing by PAB.
Poet, painter, engraver, Pierre-André Benoit or P.A.B. was above all a typographer and printer who produced more than 400 illustrated works bringing together the greatest post-war poets with the most talented painters of the second half of the twentieth century.
P.A.B.'s productions were first created on a small press installed in his apartment in Alès. They would bring together his poet friends René Char, André Breton, Paul Eluard, Paul Claudel, Erik Satie, Tristan Tzara and his painter friends Joan Miro, Georges Braque, Jean Dubuffet, Francis Picabia, Marcel Duchamp and Pablo Picasso. In 1949, he began using celluloid engraving which allowed him to make the prints himself and create the books in their entirety. From his modern château at Rivières-de-Theyrargues, in the Gard, he would eventually illustrate his works himself while continuing to work with his faithful friends Camille Bryen and Pierre Alechinsky.

Reprint of the so-called Keepsake edition published by Renduel in 1836, Furne having bought out the Renduel bookstore to exploit its catalogue.
Work illustrated with a portrait of Victor Hugo as frontispiece to the first volume, 2 new title vignettes as well as 11 steel engravings by Boulanger, Raffet, Rogier & Rouargue engraved by Finden, Staines...
The edition is printed in an airy typography with wide margins, close to the original published in 1831.
Foxing and browning on the engravings as is often the case.
Half dark blue Russia morocco binding, spine with four raised bands set with gilt tools, gilt friezes at head and foot, marbled paper boards, marbled endpapers and pastedowns, top edge gilt.

Autograph card signed by Pierre-André Benoit (8 lines in black ink written from his château at Rivières-de-Theyrargues in the Gard which he has occupied since 1970) addressed to bookseller Pierre Clerc, to whom he presents his wishes for 1984.
The card is illustrated on the recto with a reproduction of a drawing by PAB.
PAB is exhausted by the past year: "... j'ai besoin cet hiver de me reposer puis ce sera encore l'agitation..." ["I need to rest this winter then it will be agitation again..."] and is considering leaving his retreat at Rivières-de-Theyrargues: "dans un an au plus un an 1/2 je laisserai Rivières et me fixerai à Alès..." ["in a year at most a year and a half I will leave Rivières and settle in Alès..."]
He will also dispose of his books and his library: "... tout partira ou au musée-bibliothèque ou chez les libraires..." ["everything will go either to the museum-library or to booksellers..."]
This is why he invites his bookseller friend to come see him one last time at his château.
Poet, painter, engraver, Pierre-André Benoit or P.A.B. was above all a typographer and printer who produced more than 400 illustrated works bringing together the greatest post-war poets with the most talented painters of the second half of the 20th century.
P.A.B.'s productions were first made on a small press installed in his apartment in Alès. They would bring together his poet friends René Char, André Breton, Paul Éluard, Paul Claudel, Erik Satie, Tristan Tzara and his painter friends Joan Miró, Georges Braque, Jean Dubuffet, Francis Picabia, Marcel Duchamp and Pablo Picasso. In 1949, he began using celluloid engraving which allowed him to make the prints himself and produce the books entirely. From his modern château at Rivières-de-Theyrargues, in the Gard, he would end up illustrating his works himself while continuing to work with his faithful friends Camille Bryen and Pierre Alechinsky.