Paris (France)

Important first edition.

Bound in half navy blue shagreen, spine in five compartments decorated with gilt fleurons, gilt initials of the dedicatee at the bottom of the spine, marbled paper boards with scratches, rubbing at the foot of one leading edge, speckled edges, contemporary binding.
Preface by Professor Paul Brouardel.

Rare handwritten presentation signed by Georges Gilles de La Tourette: "A mon ami Poirier hommage bien affectueux. Gilles de La Tourette.” “To my friend Poirier a very loving tribute. Gilles de La Tourette.”

Edition illustrated with pastel compositions by Lucien Lévy-Dhurmer, engraved by Lorrain, printed with 160 copies, ours being one of the hors-commerce copies specially printed for Charles Flammarion. Our copy is complete with its four versions of illustrations: a final version in colour (in-text), an annotated colour version, a blue version and a green version.

A very beautiful copy.

Editions d'art les heures claires, Paris 1959-1963, 26.5 x 33 cm, 6 volumes in leaves in covers, chemises and slipcases.

First print of Salvador Dali's illustrations published with 4765 copies, ours being one of the numbered copies on vélin pur chiffon de Rives paper.

The work is illustrated with 100 original Salvador Dali compositions engraved on wood in colour by Raymond Jacquet.
Spines of the slipcases lightly sun-damaged and some rare slightly foxed leaves.

In 1950, at the request of the Libreria dello Stato in Rome, Salvador Dali undertook to produce one hundred watercolours corresponding to the one hundred songs of Dante's @Devine Comedy#. In 1951, part of the watercolours were exhibited in Rome. As Dali's work continues, the Italian government finally decided that Dante's work should be illustrated by an Italian painter. The contract between Libreria dello Stato and Dali was broken and the painter once again became the owner of his work. In July 1959, Les Heures Claires purchased the exclusivity and all reproduction rights, the collection was engraved and printed under the direction of Jean Estrade.

A pleasant copy of this remarkable achievement.

Edition printed with 500 copies, ours is one of the few copies on Japan containing three stages of the engravings, the “tirage de tête”. Preface by Léo Claretie.
Work illustrated with 9 compositions by Julien Le Blant engraved by etching by Louis Muller.
Our copy includes the label of the publisher Lucien Durvand at the justification, with the words “reliure unique” “unique binding”.
Art Deco binding in full black morocco, spine in five compartments decorated with honeysuckle flowers inlaid with brown morocco whose stems are intertwined in panels, place and date at the foot, boards richly decorated with a blind tooling stamped fillet framing a significant interlacing of honeysuckle inlaid with bronze-coloured morocco filled with flowers in tan morocco holders and purple morocco petals, pastedown endpapers lined with black morocco decorated with stippling evoking a double and fine gilt chain framing a large plate of pink morocco adorned with a rich garland stamped with gold and bronze-coloured, green, yellow, red and black mosaic morocco framing a decoration of two, vertical eight-point stars richly adorned with a very complex motif in bronze-coloured, yellow, red and black mosaic morocco with significant gold-stamped blind tooling and spirals in the Oriental style, blue silk endpapers, following endpapers in marbled paper, double gilt fillet on the leading edges, gilt blind tooling on the spine-ends, cover boards preserved, all edges gilt, binding signed with initials at the foot of the first board by Lucien Durvand.
Magnificent copy remarkably set in an Art Deco binding by Lucien Durvand.

First edition, one of 800 numbered copies on B.F.K velin.
Work illustrated with sixteen colour compositions sometimes enhanced with gold, including 25 full-page by the Orientalist painter Etienne Dinet, ornamentation and decoration by Mohammed Racim.
Binding in full red morocco, spine in four compartments enhanced with gilt stippling and richly decorated with listels in panels with inlaid lilies in the corners and Moorish mosaic motifs in green and tan morocco, date at the foot, boards richly decorated with a large frame of black morocco listel and gilt fillets and stippling, important Moorish-inspired motifs in green morocco stamped with black arabesques, gilt dots, gilt fers-de-lance and fleurs-de-lys in orange morocco inlaid in the corners, important motif in green tan and orange morocco, stamped with black arabesques, gilt dots and fer-de-lance in the centre of the boards, pastedown endpapers lined with a large frame in red morocco decorated with green and tan listels, gilt fillets and stippling, fleurs-de-lys in green, orange and tan morocco in the corners, triple marbled endpapers, cover boards and spine preserved, gilt stippling on the leading edges, gilt roll tooling and stippling on the spine-ends, slipcase lined with paper and edged with red morocco, contemporary binding signed by Hauttecoeur.
Remarkable work, magnificently bound in the Arabic taste.

Anti-Dreyfusard moving caricature entitled “Zola dans la mé...lasse !”
Léon Hayard, Paris s.d(1898), 12 x 17.8 cm, a moving caricature
First edition of this anti-Dreyfusard moving caricature printed on cardboard entitled "Zola dans la mé...lasse !" by P. Dous Y'Nell. A paper fastener is used to activate the mechanism of a soldier's arm, wearing red trousers and a red kepi, plunging the writer into a barrel labelled “vidange” “sewage”. This caricature, although printed with 30,000 copies by Léon Hayard - the king of the camelots - is today extremely rare.
Some small foxing, otherwise a beautiful copy.
These ephemeral, extremely fragile, paper games were distributed in order to influence public opinion. Using iconographic codes of popular mediums (Game of the Goose, articulated puppet or comic strip) these pamphlet caricatures participated in the social and political divide in France. Booming press releases - at the same time as the famous J'accuse! by Emile Zola in L'Aurore - had a strong influence on public opinion. These seemingly playful propaganda materials had a significant impact on the younger generations and preceded the ideological violence of the 20th century.

Colour lithography by caricaturist Bruno printed on a large fold-out sheet.
Some minor foxing in the margin of the cover.
The “jeu de la casserole” is an anti-Masonic and anti-Semitic game in thirty-three boxes, illustrated with caricatures, which went on sale in 1905. Its title is inspired by the “affaire des casseroles” “Affair of the Casseroles” also called “affaire des fiches” “Affair of the Cards”, an operation of political and religious filing of anti-republican officers that took place between 1900 and 1904, in the midst of the Dreyfus Affair.
The central figure is the president of the Council, Émile Combes, freemason and inspirer of the law in 1905 (on the separation of the Church and the State). His government experienced a scandal generated by this filing, made possible thanks to information transmitted by freemasons to General André, Minister of War. Following this affair, the Combes government had to resign in January 1905.
A most beautiful copy of this poster, rare in original covers, testimony to the violent anti-Semitism exacerbated by the Dreyfus Affair.

“35.000 francs pour charrier Zola ! Hola !!!” - Leaflet denouncing Zola's transfer to the Pantheon.
Information populaire par l'affiche et le tract, Paris s.d(1906), 22.2 x 27.9 cm, one leaf
First edition of this leaflet denouncing Zola's transfer to the Pantheon: “35.000 francs pour charrier Zola ! Hola !!! Tout l'argent des contribuables ne suffirait pas à réhabiliter le pornographe de profession, le calomniateur de la France, l'insulteur de l'Armée - Zola au Panthéon c'est un défi aux honnêtes gens ; sa vraie place est dans l'ordure qu'il aimait tant...” “35,000 francs to cart Zola! Hola!!! All of the taxpayers' money would not be enough to rehabilitate the professional pornographer, the slanderer of France, the insulter of the Army - Zola in the Pantheon is a challenge to honest people; his real place is with the refuse he loved so much...”
Some restorations to the margins, a central fold and some stains.
We have not been able to find any other copy of this extremely rare leaflet in international public collections.

New edition, illustrated with drawings by Neuville and Benett.
Publisher's board with “an elephant, title in the fan” signed at the bottom of the Engel plate, lighthouse on the spine, type “i” second board according to Jauzac.
Top spine-end a little saggy, three tiny bumps to the leading edges of the upper board and some sections a little protruding, otherwise a beautiful copy.
Le Tour du monde en quatre-vingts jours (Around the World in Eighty Days) is an adventure novel. The novel tells the story of the English gentleman Phileas Fogg's race around the word, who made a bet that he could achieve it in eighty days. He is accompanied by Jean Passepartout, his French servant. The whole novel mixes travel writing (traditional for Jules Verne) and scientific facts such as those used for the plot twist of the novel.
Le Docteur Ox (Doctor Ox) is a collection of 5 short stories from Jules Verne's youth.

First edition illustrated with 10 chromolithographic plates and 137 in-text and insert wood engravings in black and white based on Ronjat's drawings.
Contemporary binding in half red sheep, spine decorated with gilt blind tooling, title in gold, paste paper boards, caillouté marbled endpapers, spine very skillfully restored.
Scattered foxing, more pronounced in places.
Rare handwritten presentation signed by Jules Gouffé on the half-title page : “The author to his friend V. Sacré. Jules Gouffé."

Sheet music for “Lindbergh est arrivé” Chanson d'actualitéFirst edition of this score, illustration on the first page with a drawing of Charles Lindbergh cutting through the clouds on board his plane the Spirit of Saint Louis.
A central fold and several small gaps and restorations in the margins.