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Paris (France)

Paris (France)

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60783 results
  1. La Nichina
    Hugues REBELL
    La Nichina
    Mercure de France|Paris 1897|11.50 x 19 cm|relié
    First edition on ordinary paper.
    Half brown morocco with corners, lightened spine with five raised bands set with gilt fillets and decorated with double gilt decorated compartments, gilt date at foot, black fillet frame on marbled paper boards, combed paper endpapers and pastedowns, covers and spine preserved, top edge gilt.
    Precious autograph inscription signed by Hugues Rebell to the symbolist and occultist poet Paul Redonnel who was an ardent defender of the Occitan language.
    €450
  3. Paroissien romain, d'après les imprimés français du XVe siècle
    ANONYME
    Paroissien romain, d'après les imprimés français du XVe siècle
    Gruel & Engelmann|Paris 1858|11.50 x 16 cm|relié

    First edition of this Roman missal. Each text page within an engraved border containing multiple vignettes that change throughout the pages, after French manuscripts of the 15th century. Engraved title and 10 engravings in borders. The 5 chromolithographs may have been added, as they are not part of most copies. A frontispiece is sometimes mentioned, but the presence of a chromolithographic title with Curmer's name suggests they were added.



    Contemporary full chocolate morocco Jansenist binding signed L. Curmer, in gold letters at the top of the first endpaper. Decorative gilt board-edges. All edges gilt. Scarlet silk endpapers with a monogram on the first endpaper. Light rubbing traces, corners and raised bands. Very handsome copy, with fresh paper.
    Collection of all masses for the days of the year, holy days, Easter, Pentecost, etc...

    €450
  5. Le secret de M. Ladureau
    CHAMPFLEURY
    Le secret de M. Ladureau
    E. Dentu|Paris 1875|12 x 18.50 cm|relié
    First edition.
    Full saffron cloth binding, smooth spine decorated with black fillets and typographic motif, black date at foot of spine, original wrappers preserved, bookplate pasted on pastedown, near-contemporary binding signed in blind by Pierson.
    Some light foxing, our copy is complete with the envelope at the end of the volume titled "ce que contenait le portefeuille".
    Autograph inscription signed by Champfleury to the French art critic, draughtsman, lithographer and collector Philippe Burty.
    €450
  12. La gloire des ailes
    Louis BLÉRIOT
    La gloire des ailes
    Les éditions de France|Paris 1927|11.50 x 18.50 cm|relié
    First edition with no mention of deluxe copies.
    Half dark green sheep binding with corners, spine with four raised bands, marbled paper boards, endpapers and pastedowns, modest contemporary binding.
    Rare autograph inscription signed by Louis Blériot, one of the most famous pioneer aviators, to Monsieur Devout.
    On July 25, 1909, aboard the Blériot XI, his latest prototype, he flew from Calais to Dover in 37 minutes and thus became the first man to cross the English Channel by air.
    €2,500
  13. Outamaro - Le peintre des maisons vertes
    Edmond de GONCOURT
    Outamaro - Le peintre des maisons vertes
    Charpentier|Paris 1891|11 x 18.50 cm|relié
    First edition.
    Half dark green shagreen binding, spine with five raised bands decorated with gilt floral motifs, marbled paper boards, marbled endpapers and pastedowns, contemporary binding with the pasted label of Henry Mériot on the front pastedown, bookbinder established in Rochefort since 1878 and friend of Pierre Loti.
    Precious autograph inscription signed by Edmond de Goncourt: "A Loti, avec ses amitiés, E. de Goncourt" (To Loti, with his friendship, E. de Goncourt).
    €1,200
  16. Ci-gît Sophie Dorothée de Celle
    Paul MORAND
    Ci-gît Sophie Dorothée de Celle
    Flammarion|Paris 1968|14.50 x 21 cm|reliure de l'éditeur
    The first edition, of which there were no deluxe copies.
    Publisher's full white cloth binding, complete with illustrated dust jacket with small tears at head of spine.
    Handsome copy.
    Fine autograph inscription signed by Paul Morand to a couple of friends: "A Marcel et Juliette, cette petite histoire romanesque, mais non romancée, des origines de l'actuelle maison royale d'Angleterre. Avec la reconnaissance de Paul Morand." (To Marcel and Juliette, this little romantic but not romanticized story of the origins of the current English royal house. With the gratitude of Paul Morand.)


    €200
  19. La guerre de sécession 1861-1865
    Ernest GRASSET
    La guerre de sécession 1861-1865
    Librairie militaire de L. Baudoin et cie|Paris 1886-1887|11.50 x 18.50 cm|2 volumes brochés
    First edition complete in two volumes.
    A small lack to the upper right corner of the first cover of the first volume which has another to the upper right corner of the second cover, small lacks to the foot of the spines, some foxing affecting mainly the edges.
    Autograph inscription signed by Ernest Grasset, on the half-title page of the first volume, to the inspector general of Ponts et Chaussées monsieur Thouvenot.
    Copy complete with the second volume entitled "Les hommes" which is almost always missing.

    €350
  21. Mélanges de vaisseaux, de barques et de bateaux - Ier, IIème et IIIème cahiers
    Pierre OZANNE
    Mélanges de vaisseaux, de barques et de bateaux - Ier, IIème et IIIème cahiers
    Chez Le Gouaz|Paris s. d. [circa 1810-1820]|23.50 x 15 cm|36 planches reliées dans un album oblong
    chez Le Gouaz | Paris n. d. [circa 1810-1820] | 23,5 x 15 cm | 36 plates bound in an oblong album
    First edition of these three suites of 12 engravings each, bearing the monogram of the Brest artist Pierre Ozanne in each plate.
    Later 3/4 dark blue morocco binding, marbled paper boards framed in gilt, marbled paper endpapers and pastedowns. Corners rubbed.
    A very good and rare copy.
    €3,500
  22. Memoires de Monsieur Du Guay-Trouin
    René DU GUAY-TROUIN
    Memoires de Monsieur Du Guay-Trouin
    [The Memoirs of M. du Gué-Trouin]
    S. n.|s. l. • [Paris] 1740|19.50 x 25.50 cm|relié
    First edition, the only one authorized by the author. In 1730 a pirate edition appeared from Pierre Mortier in Amsterdam, in 12mo format. Duguay-Trouin having communicated the manuscript to the Regent, it was copied and published in 1730 by Pierre de Villepontaux who had the audacity to dedicate the edition to Duguay-Trouin himself. Title page in red and black.
    The illustration comprises a portrait of Du Guay-Trouin as frontispiece, a vignette after B. Picard engraved by E. Fessard on the title page, and 6 folding plates of ships, squadrons and battles, engraved by J. P. Le Bas, and a folding plan of the capture of Rio de Janeiro in 1711.
    Contemporary full brown marbled calf binding, spine with raised bands decorated, title label in brown morocco. Headcap, joints and corners expertly restored. One tear of 10 cm expertly restored (The ship Le Jason surrounded by the English squadron). Some pale scattered foxing, some leaves browned.
    Du Guay-Trouin was undoubtedly one of the most famous naval officers of his time, active from the end of the 17th to the beginning of the 18th century. In writing the manuscript of his memoirs which he wished published only after his death, Du Guay-Trouin wanted to restore the truth about the naval combats that occurred during his expeditions.
    At the end, list of ships commanded by Du Guay-Trouin with the crew members.
    €2,800
  24. Vues des côtes de France dans l'océan et la Méditerranée
    Ambroise-Louis GARNERAY, Etienne de JOUY
    Vues des côtes de France dans l'océan et la Méditerranée
    Views of the Coasts of France on the Ocean and in the Mediterranean
    Panckoucke|Paris 1823-1832|36 x 54 cm|relié

    First and only edition. This copy is one of the rare examples complete with the 64 full-page plates. The work is also illustrated with a title vignette depicting the artist Ambroise-Louis Garneray in a small boat, sketching the entrance to the port of Brest.

    Contemporary binding of half tan sheep with corners, smooth spine richly decorated in gilt and blind with multiple large typographic tools, discreet restorations to the joints, marbled-paper boards, marbled endpapers and pastedowns.

    A magnificent work on the ports of France, and one of the finest collections ever produced on the subject.

    The author of these highly precise engravings joined the navy at the age of thirteen and thereby witnessed numerous naval battles. From 1806 he was imprisoned for eight years in Portsmouth, using his captivity to study drawing and painting and to record the scenes he had observed during his voyages. Upon his return from the United Kingdom, Garneray became painter to the Duke of Angoulême, then Grand Admiral of France, later serving as director of the Rouen museum, and entering the Sèvres manufactory where he executed numerous maritime subjects.

    His work, of remarkable delicacy and realism, was praised by Melville in Moby-Dick: "Who Garneray the painter is, or was, I know not. But my life for it he was either practically conversant with his subject, or else marvellously tutored by some experienced whaleman. The French are the lads for painting action." 

    €10,000
  27. Vie des martyrs
    Georges DUHAMEL
    Vie des martyrs
    René Kieffer|Paris 1924|13 x 25.50 cm|relié
    First edition under this title, one of 500 numbered copies on white laid paper containing a state of the etchings.
    Full old rose morocco binding, spine with four wide false raised bands decorated with fillets and compartments with cherry branch designs stamped in blind, boards decorated with a large plate framed with fillets representing a war helmet abandoned in a landscape of ruins surmounted by a cherry branch, covers and spine preserved, top edge gilt, contemporary binding signed Kieffer.
    Work illustrated with etchings and wood engravings by Paul Baudier.
    Large manuscript signature of Georges Duhamel on the half-title page.
    Handsome copy well established in a binding with decoration characteristic of René Kieffer's work.
    €500
  28. La Pomme - Diane au bois - Gringoire - Les Fourberies de Nérin - Florise
    Théodore de BANVILLE
    La Pomme - Diane au bois - Gringoire - Les Fourberies de Nérin - Florise
    Michel Lévy frères|Paris 1865|11.50 x 18.50 cm|5 volumes reliés en 1
    First edition for four of the plays, only the Fourberies de Nérine being a reprint.
    Half mint green calf binding, smooth spine decorated with double gilt fillets, date at foot, marbled paper boards, marbled endpapers and pastedowns.
    Exceptional collection enhanced with three signed autograph inscriptions to the actress Zélia Ponsin which allow us to follow the career of this member of the Comédie française: a young leading lady in La Pomme, she inspires Banville to write a laudatory autograph six-line poem, a bourgeoise dressed in purple in Gringoire, she remains a "Venus", while in Florise the dedication is laconic, as she has, in the meantime, become Madame Ponsin-Provost...
    Handsome copy.
    €700
  30. La fin de Paris
    (to Moïse KISLING) Marcel SAUVAGE
    La fin de Paris
    Denoël & Steele|Paris 1932|12 x 19 cm|relié
    First edition, a Service de Presse (advance) copy.
    Bradel binding in full decorative patterned paper, smooth spine, chocolate brown morocco title-label, covers and sunned spine preserved, signed binding by P. Goy & C. Vilaine.
    Work illustrated with photographic plates.
    Precious autograph inscription signed by Marcel Sauvage to Moïse Kisling: "... sans commentaire / entre complices mais affectueusement ... vive la nouille sans sel (qu'on dit)." (without commentary / between accomplices but affectionately ... long live the noodle without salt (as they say).)
    €380
  31. Mémoires de Barras, membre du Directoire publiés avec une introduction générale, des préfaces et des appendices par Georges Duruy
    Paul-Jean-François-Nicolas BARRAS
    Mémoires de Barras, membre du Directoire publiés avec une introduction générale, des préfaces et des appendices par Georges Duruy
    Hachette & Cie|Paris 1895-1896|13.50 x 23 cm|4 volumes reliés
    First edition.
    Bradel bindings in half sand-colored cloth, smooth spines faded, marbled paper boards.
    Work decorated with 7 portraits including 4 as frontispieces, 1 map and 3 facsimiles.
    Traces of adhesive tape on verso of title page of the third volume, a small lack at head of the last page of the table of contents of the fourth volume, otherwise handsome interior condition.
    €350
  36. Supplément au dictionnaire des romans, du 1er Janvier 1824 au 1er Janvier 1828, avec un choix des meilleures productions, le cercle des plus célèbres romanciers, le classement des auteurs avec leurs ouvrages - Exemplaire de Pierre Louÿs
    A. MARC
    Supplément au dictionnaire des romans, du 1er Janvier 1824 au 1er Janvier 1828, avec un choix des meilleures productions, le cercle des plus célèbres romanciers, le classement des auteurs avec leurs ouvrages - Exemplaire de Pierre Louÿs
    chez l'auteur|Paris 1828|14 x 21.50 cm|relié
    First edition.
    Bradel binding in full sienna cloth, smooth spine, gilt date at foot, headcaps rubbed, black shagreen title label with some scratches, marbled endpapers and pastedowns.
    Provenance: from the library of Pierre Louÿs with his red printed stamp as bookplate on the half-title page.
    €150
  38. "J'ai dû en cette circonstance faire une grande violence à mes goûts, mais j'ai pensé qu'on est plus fort à critiquer son temps quand on s'est prêté aux occasions de le servir que quand on s'y est systématiquement refusé..."
    Ernest RENAN
    "J'ai dû en cette circonstance faire une grande violence à mes goûts, mais j'ai pensé qu'on est plus fort à critiquer son temps quand on s'est prêté aux occasions de le servir que quand on s'y est systématiquement refusé..."
    Signed autograph letter addressed about his involvement in politics despite certain scruples
    Paris 5 Mai 1869|13.50 x 21 cm|une page et demi sur un double feuillet
    Autograph letter signed by Ernest Renan, 31 lines in black ink regarding his brief entry into politics.
    In 1869, Ernest Renan ran as an independent candidate for a deputy seat in Seine-et-Marne, which resulted in his electoral defeat.
    Central fold marks.
    Ernest Renan thanks his correspondent for the decisive support that triggered his decision to launch into politics: "Vous êtes le premier qui avez parlé au public de ma candidature éventuelle à Meaux, à Lagny." ("You are the first who spoke to the public about my potential candidacy in Meaux, in Lagny.") despite his apprehensions: "J'ai dû en cette circonstance faire une grande violence à mes goûts, mais j'ai pensé qu'on est plus fort à critiquer son temps quand on s'est prêté aux occasions de le servir que quand on s'y est systématiquement refusé..." ("I had to do great violence to my inclinations in this circumstance, but I thought that one is stronger in criticizing one's time when one has lent oneself to opportunities to serve it than when one has systematically refused to do so...")
    He will not be affected by a potential failure: "Si je réussis pas, je serai vite consolé, si vite consolé à vrai dire que c'est probablement là une raison pour laquelle je ne réussirai pas." ("If I don't succeed, I will be quickly consoled, so quickly consoled in truth that this is probably a reason why I will not succeed.") but nevertheless requests the journalistic support of his political mentor: "Vous êtes lu sur les bords de la Marne comme partout, et votre voix sera là d'un grand poids." ("You are read on the banks of the Marne as everywhere, and your voice will carry great weight there.")
    €350
  39. "Il faut aller voir Germaine Richier, le 10. C'est très grand."
    Jean PAULHAN
    "Il faut aller voir Germaine Richier, le 10. C'est très grand."
    Autograph note signed and addressed to the publisher of his book Transparent Words Felia Leal
    Paris s. d. [circa 1955]|13 x 9 cm|une feuille
    Autograph letter signed by Jean Paulhan, 16 lines in black ink addressed to Felia Leal, publisher of "Paroles transparentes", a work by Jean Paulhan illustrated with 14 original lithographs by Georges Braque.
    "Chère Felia
    mais que c'est bon de revoir votre écriture ! (Votre lettre m'a même gentiment couru après, mais me voici rentré, elle aussi.) Ah, je n'ai plus du tout songé à mon texte. Mais je suis tout prêt à m'y remettre. (Je pensais un peu que vous aviez changé de projets.) Comme je suis peiné de votre chute. Etes-vous maintenant tout à fait remise ? Je vous embrasse. Jean P. Il faut aller voir Germaine Richier, le 10. C'est très grand. Le troène n'était pas gelé, il repousse." ("Dear Felia
    how wonderful it is to see your handwriting again! (Your letter even kindly chased after me, but here I am back, and so is it.) Ah, I haven't thought about my text at all. But I'm quite ready to get back to it. (I was thinking a bit that you had changed your plans.) How sorry I am about your fall. Are you now fully recovered? I embrace you. Jean P. We must go see Germaine Richier on the 10th. It's very grand. The privet wasn't frozen, it's growing back.")
    €100
  40. Carte de visite autographe adressée à son ami Camille de Sainte-Croix
    Jules RENARD
    Carte de visite autographe adressée à son ami Camille de Sainte-Croix
    Paris s. d. [ca 1900]|13 x 9 cm|une carte de visite
    Jules Renard's printed visiting card on which he added these few words for his friend Camille de Sainte-Croix:
    "Comme c'est loin déjà, l'écornifleur ! et il me semble, mon cher Camille de Sainte-Croix, que votre amitié n'a pas changé, ni la mienne. Cela tient sans doute à ce que nous sommes des maris modèles." (How far away already, the sponger! and it seems to me, my dear Camille de Sainte-Croix, that your friendship has not changed, nor mine. This is doubtless because we are model husbands.)
    €120
  41. Billet autographe signé et adressé à Felia Leal, éditrice de son ouvrage Paroles transparentes illustré par Georges Braque : "De Green, connaissez-vous "le voyageur sur la terre" , Il n'a rien écrit de plus beau (ni de plus court : quatre-vingt pages)"
    Jean PAULHAN
    Billet autographe signé et adressé à Felia Leal, éditrice de son ouvrage Paroles transparentes illustré par Georges Braque : "De Green, connaissez-vous "le voyageur sur la terre" , Il n'a rien écrit de plus beau (ni de plus court : quatre-vingt pages)"
    Paris s. d. [circa 1955]|13 x 9 cm|une feuille
    Autograph letter signed by Jean Paulhan, 12 lines written in blue ink addressed to Felia Leal, publisher of "Paroles transparentes", a work by Jean Paulhan decorated with 14 original lithographs by Georges Braque.
    Jean Paulhan mentions their upcoming meeting and recommends reading Julien Green's Voyageur sur la terre: "De Green, connaissez-vous "le voyageur sur la terre" , Il n'a rien écrit de plus beau (ni de plus court : quatre-vingt pages)" (Do you know Green's "le voyageur sur la terre"? He has written nothing more beautiful (nor shorter: eighty pages))



    €100
  42. "Rien, et la porte était bouclée. (J'ai même rencontré M. Benoist-Méchin, qui s'imaginait voir Balthus)"
    Jean PAULHAN
    "Rien, et la porte était bouclée. (J'ai même rencontré M. Benoist-Méchin, qui s'imaginait voir Balthus)"
    Autograph note signed and addressed to Felia Leal, publisher of her book Paroles transparents illustrated by Georges Braque
    Paris s. d. [circa 1955]|13 x 9 cm|une feuille
    Autograph letter signed by Jean Paulhan, 16 lines written in blue ink addressed to Felia Leal, publisher of "Paroles transparentes", a work by Jean Paulhan decorated with 14 original lithographs by Georges Braque.
    Jean Paulhan regrets their missed appointment at an exhibition: "Votre jolie carte portait : cocktail à 4 heures. J'étais là à 4h. Je suis revenu à 4h 1/2, à 4h 3/4... Alors il m'a bien fallu partir sans vous avoir vue." (Your lovely card read: cocktail at 4 o'clock. I was there at 4. I came back at 4:30, at 4:45... So I had to leave without having seen you.) and mentions an incongruous encounter: "Rien, et la porte était bouclée. (J'ai même rencontré M. Benoist-Méchin, qui s'imaginait voir Balthus)" (Nothing, and the door was locked. I even met Mr. Benoist-Méchin, who thought he was going to see Balthus.)



    €120
  43. " "Imaginez que G.G. ne garde ni Blanchot, ni Noël Devaulx, ni... ni... Au fond G.G. devient Hachette et toute l'expérience de la (jeune) nrf est à recommencer
    Jean PAULHAN
    " "Imaginez que G.G. ne garde ni Blanchot, ni Noël Devaulx, ni... ni... Au fond G.G. devient Hachette et toute l'expérience de la (jeune) nrf est à recommencer
    Autograph postcard signed and addressed to the publisher of his book Paroles transparent, Felia Leal, in which he mocks Gaston Gallimard
    Paris s. d. [circa 1955]|13 x 9 cm|une feuille

    Autograph postcard signed by Jean Paulhan, 22 lines written in black ink addressed to Felia Leal the publisher of "Paroles transparentes", a work by Jean Paulhan decorated with 14 original lithographs by Georges Braque.
    Central fold mark on the card which represents the painting by Georges Braque entitled: Cliffs and Boat.
    Jean Paulhan asks for news of his correspondent: "Are you completely cured? What if it were me instead who came to your place?" and is amazed by the smallness of Parisian taxis: "These taxis for dwarf people are dreadful..."
    From the narrowness of taxis, Jean Paulhan shifts to Gallimard's editorial timidity: "Imagine that G.G. keeps neither Blanchot, nor Noël Devaulx, nor... nor... [...] Basically G.G. is becoming Hachette and all the experience of the (young) nrf has to start over."

    €150
  44. "... à ce propos, je pense bien que vous et M. Léal avez déjà adhéré au Comité "pour le salut et le renouveau de l'Algérie". C'est un comité énergique et qui fera du bon travail."
    Jean PAULHAN
    "... à ce propos, je pense bien que vous et M. Léal avez déjà adhéré au Comité "pour le salut et le renouveau de l'Algérie". C'est un comité énergique et qui fera du bon travail."
    Autograph note signed and addressed to Felia Leal, publisher of her book Paroles transparents illustrated by Georges Braque
    Paris s. d. [circa 1955]|9.50 x 15.50 cm|une feuille
    Autograph letter signed by Jean Paulhan, 29 lines written in blue ink addressed to Felia Leal the publisher of "Paroles transparentes", a work by Jean Paulhan decorated with 14 original lithographs by Georges Braque.
    Felia Leal wanting to organize a reception in honor of Henri Mondor, Jean Paulhan asks her to verify her information carefully in order to avoid any faux pas: "Are you sure that Mondor wasn't already grand-officier? Find out properly, before organizing the cocktail."
    He recommends to his correspondent to take note of the latest article he has written and encourages her, if not already done, to commit to the Algerian cause: "... I gave him an article on Algeria: Barbaresques. What business is it of mine? But that which concerns the committee of "Résonances". (on this subject, I think indeed that you and M. Léal have already joined the Committee "for the salvation and renewal of Algeria". It is an energetic committee that will do good work."




    €120
  45. Lettre autographe signée à un ami probablement Roger Nimier sur la vie poilitique et littéraire du temps : "Du merdier où nous sommes je vous fais savoir : 1e que l'Algérie est toujours française en dépit de quelques nausées..."
    Jacques PERRET
    Lettre autographe signée à un ami probablement Roger Nimier sur la vie poilitique et littéraire du temps : "Du merdier où nous sommes je vous fais savoir : 1e que l'Algérie est toujours française en dépit de quelques nausées..."
    Paris 1960|13.50 x 21 cm|une page recto-verso
    Amusing autograph letter signed by Jacques Perret, 34 lines in blue ink, to Roger Nimier.
    Fold marks inherent to the mailing.
    Jacques Perret, then in Algiers, wishes to clarify, in a humorous manner, certain points concerning the political situation which conditions his own: "... je vous fais savoir [...] que l'Algérie est toujours française... Que le père et le fils ont eu la chance de garder le contact... Que les conditions de mon retour ne se sont pas améliorées..." (... I inform you [...] that Algeria is still French... That father and son have had the chance to keep in touch... That the conditions of my return have not improved...)
    Jacques Perret also mentions his works in progress: "... les Biffins de Gonesse se rappellent à vos bons soins... La 2e partie des épreuves annoncées par ma personne ne me sont pas encore parvenues..." (... the Biffins de Gonesse commend themselves to your good care... The 2nd part of the proofs announced by myself have not yet reached me...) and remains available for his correspondent in order to resolve certain pecuniary problems.




    €350
  46. "Marcel J. me bat froid, et je trouve la Passerelle un peu féroce."
    Jean PAULHAN
    "Marcel J. me bat froid, et je trouve la Passerelle un peu féroce."
    Autograph letter signed and addressed to Felia Leal, publisher of her book Paroles transparents illustrated by Georges Braque
    Paris s. d. [circa 1955]|13.50 x 20.50 cm|deux feuilles
    Autograph letter signed by Jean Paulhan, 15 lines written in blue ink addressed to Felia Leal the publisher of "Paroles transparentes", a work by Jean Paulhan illustrated with 14 original lithographs by Georges Braque.
    Fold mark inherent to posting.
    Jean Paulhan wishes to postpone an appointment for fear of being late: "... j'ai peur de ne pouvoir rentrer aux Arènes demain avant quatre heures. Est-ce qu'il vous dérangerait un peu plus tard que nous n'avions décidé ?" (... I'm afraid I won't be able to return to the Arènes tomorrow before four o'clock. Would it bother you if we met a little later than we had decided?) and shows himself affected by the criticism directed at him by Marcel Jouhandeau: "Marcel J. me bat froid, et je trouve la Passerelle un peu féroce." (Marcel J. is giving me the cold shoulder, and I find La Passerelle rather fierce.)




    €150
  53. Influence de l'habitude sur la faculté de penser. Ouvrage qui a remporté le prix sur cette question, proposée par la classe des sciences morales et politiques de l'institut national : déterminer quelle est l'influence de l'habitude sur la faculté de penser ; ou, en d'autres termes, faire voir l'effet que produit sur chacune de nos facultés intellectuelles, la fréquente répétition des mêmes opérations
    MAINE DE BIRAN
    Influence de l'habitude sur la faculté de penser. Ouvrage qui a remporté le prix sur cette question, proposée par la classe des sciences morales et politiques de l'institut national : déterminer quelle est l'influence de l'habitude sur la faculté de penser ; ou, en d'autres termes, faire voir l'effet que produit sur chacune de nos facultés intellectuelles, la fréquente répétition des mêmes opérations
    Henrichs|Paris An XI (1802)|13.50 x 21 cm|broché
    First edition of Maine de Biran's first work.
    Rare and handsome copy in original wrappers.
    €700
  54. Lettre autographe datée et signée au libraire Victor Lecou
    Félicité Robert de LAMENNAIS
    Lettre autographe datée et signée au libraire Victor Lecou
    Paris 23 Janvier 1838|12.50 x 19 cm|une page sur un double feuillet
    Autograph letter dated and signed by Félicité de Lamennais, 13 lines in black ink, to the Parisian bookseller Victor Lecou.
    Holes on the verso of the second sheet when the letter was unsealed.
    "Paris, January 23rd, 1838,
    Mr. Delloye, to whom I have communicated, Sir, the proposals contained in your letter of the 19th of this month, agreeing to them as far as he is concerned, I likewise agree to them myself. Consequently, your contract of April 30th, 1837, cancelled by mutual consent as regards yourself, will henceforth have effect only between Mr. Delloye and myself; so that from February 1st next, you are discharged from all responsibility towards me. I have the honor to be, sir, your very humble servant. F. De Lamennais."



    €200
  55. Un enfant trop curieux
    Joseph JOFFO
    Un enfant trop curieux
    Editions Ramsay|Paris 1998|15.50 x 24 cm|broché
    First edition, of which there were no deluxe copies.
    Handsome copy.
    Dated autograph inscription signed by Joseph Joffo to a woman named Jacqueline: "L'histoire d'un enfant trop curieux. La curiosité n'est plus un défaut. Surtout quand on lit Joffo. Amitiés" (The story of a child too curious. Curiosity is no longer a fault. Especially when one reads Joffo. Best wishes) on the half-title page accompanied, on the facing page, by a drawing of a flower.
    €80
  60. Lettre autographe signée adressée à propos d'un projet d'édition
    Joséphin PÉLADAN
    Lettre autographe signée adressée à propos d'un projet d'édition
    S. n.|Paris 1890|12.50 x 16.50 cm|une feuille
    Autograph letter signed by Joséphin Peladan addressed to a fellow writer (13 lines in black ink), on a double sheet of yellow paper.
    Fold marks inherent to postal handling.
    "Mon cher ami,
    je serai, à Marseille, de nouveau, à l'hôtel Noailles, vendredi ou samedi, & vous verrez dès possible. J'ai lu l'Hennequin, traduction & étude, toutefois je vous les garde jusqu'à écriture de l'introduction. Devan tlivrer un plan avant peu & votre édition n'attendant pas. Bien à vous & aux vôtres. Peladan." ("My dear friend, I will be in Marseille again, at the Hotel Noailles, Friday or Saturday, & you will see as soon as possible. I have read the Hennequin, translation & study, however I am keeping them until writing the introduction. Having to deliver a plan soon & your edition not waiting. Best to you & yours. Peladan.")


    €200
  61. "Ayant foi dans la République et dans l'avenir, la République vivra, enfantée dans la douleur."
    Jules FERRY
    "Ayant foi dans la République et dans l'avenir, la République vivra, enfantée dans la douleur."
    Autograph letter signed to a friend who was recently bereaved in these times of Franco-Prussian war
    Paris 8 Janvier 1871|13.50 x 21 cm|une page et quart
    Autograph letter signed by Jules Ferry, 18 lines in black ink, to a friend, on Paris City Hall letterhead.
    Fold marks inherent to mailing.
    Jules Ferry wishes to console his friend who has just lost a loved one: "Je prends une part profonde à vos douleurs, vous savez combien j'aime votre caractère... mais les hommes de coeur ont des fibres pour toutes les souffrances..." ("I share deeply in your grief, you know how much I love your character... but men of heart have feelings for all sufferings...") and also comforts him in his faith in the Republic during these hours of the Franco-Prussian conflict: "Ayant foi dans la République et dans l'avenir, la République vivra, enfantée dans la douleur." ("Having faith in the Republic and in the future, the Republic will live, born in pain.").



    €250
  62. Bristol autographe signé adressé à un confrère écrivain le remerciant pour son "indulgence excessive" regradant sa nouvelle publiée dans la Revue contemporaine
    Georges FOUREST
    Bristol autographe signé adressé à un confrère écrivain le remerciant pour son "indulgence excessive" regradant sa nouvelle publiée dans la Revue contemporaine
    S. n.|Paris 1er Juillet 1920|11.50 x 9 cm|deux pages sur un double feuillet
    Autograph letter signed by Georges Fourest (15 lines in black ink) addressed to a fellow writer.
    Light foxing on the bristol.
    Georges Fourest thanks his correspondent: "Je viens de lire la Revue contemporaie et tout de suite, je veux vous remercier de la façon si charmante (encore que d'une indulgence excessive)) dont vous avez signalé ma courte nouvelle "Le loup garou". Ai-je besoin de vous dire combien me touchent de si délicats éloges venant de l'artiste que vous êtes ? Encore merci et croyez moi bien sympathiquement vôtre. Georges Fourest 24 rue de Milan (IXe arr.) Paris le 1er juillet 1920" ("I have just read the Revue contemporaine and immediately want to thank you for the charming way (albeit with excessive indulgence) in which you mentioned my short story 'Le loup garou'. Need I tell you how touched I am by such delicate praise coming from the artist that you are? Thanks again and believe me most sympathetically yours. Georges Fourest 24 rue de Milan (IXe arr.) Paris July 1st 1920").



    €180
  66. Le moine
    Matthew Gregory LEWIS
    Le moine
    Chez Maradan|à Paris 1819|10.20 x 17.50 cm|3 volumes reliés
    Third edition of the French translation.
    Small paper lacks to the second cover of the first volume, pen annotations in margins of some leaves, one annotation has been neatly cut from a leaf margin, some light foxing, manuscript gift inscription and printed stamp on the title pages of the volumes.
    Full red paper board bindings, smooth spines slightly faded decorated with triple gilt fillets, black calf title and volume labels, all edges yellow, contemporary bindings.
    Much has been written about this Gothic, dark, and oh so scandalous novel, but the sum of adjectives attributed to it cannot explain the lasting legacy of such a work; it is moreover the only one of its category to have achieved such renown, and for good reason: drawing from the mysteries of the Gothic novel (castles, cellars, incest, diabolical acts) Lewis created the novel of a man possessed by immense pride, whose perpetual demonstration of purity is a temptation for the Devil himself. It is therefore a battle of man, aspiring to virtue and purity, against the evil within him (sin, lust, murder, domination...); it is indeed the battle of every man, that of good and evil, for the Devil is merely a tempter, not the one responsible for evil. The monk is as much an allegory as a superb parable of the human condition. The radical modernity of this novel lies in the reader's position, as voyeuristic witness to a vertiginous and inexorable fall into evil by a fanatic of purity and sanctity.
    Handsome copy in contemporary binding.
    €700
  67. L'homme de Buridan
    Saul BELLOW, Michel DEON (trans.)
    L'homme de Buridan
    Plon|Paris 1954|12 x 19 cm|relié
    First edition in French established by Michel Déon, a Service de Presse (advance) copy.
    Half red shagreen binding, smooth spine, pebbled paper boards, combed paper endpapers and pastedowns, original wrappers preserved and mounted.
    Autograph inscription signed by Michel Déon to Pierre Emmanuel: "... ce roman d'une Amérique qu'il connait bien et que je connais grâce à lui..." ("... this novel of an America he knows well and which I know thanks to him...")
    €150
  68. "Il y a dans la Parisienne de très amusants croquis de Braque dans sa jeunesse, par H.P. Roché. Je vous les garde"
    Jean PAULHAN
    "Il y a dans la Parisienne de très amusants croquis de Braque dans sa jeunesse, par H.P. Roché. Je vous les garde"
    Autograph letter signed and addressed to Felia Leal, publisher of her book Paroles transparents illustrated by Georges Braque
    Paris s. d. [circa 1955]|13.50 x 20.50 cm|deux feuilles
    Autograph letter signed by Jean Paulhan, 20 lines written in black ink on NRF letterhead, addressed to Felia Leal, publisher of "Paroles transparentes", a work by Jean Paulhan decorated with 14 original lithographs by Georges Braque.
    Two sheets held together by a paper clip which has left slight rust stains and creases.
    Jean Paulhan asks his publisher Felia Leal for money and feels he will encounter difficulties with new projects, notably for writing a preface: "... la "mescaline" n'est pas encore montrable. Je dois y ajouter des tas de choses. Mais je ne l'oublie pas." ("...the 'mescaline' is not yet ready to show. I must add loads of things to it. But I haven't forgotten it.")
    The author mentions an article in a magazine retracing Georges Braque's beginnings: "Il y a dans la Parisienne de très amusants croquis de Braque dans sa jeunesse, par H.P. Roché. Je vous les garde" ("There are in La Parisienne some very amusing sketches of Braque in his youth, by H.P. Roché. I'm keeping them for you")



    €200
  69. Lettre autographe datée et signée adressée à l'éditeur Henri Lapina qui souhaite éditer un de ses textes
    François MAURIAC
    Lettre autographe datée et signée adressée à l'éditeur Henri Lapina qui souhaite éditer un de ses textes
    S. n.|Paris 11 Mai 1929|11 x 14.50 cm|un feuillet remplié
    Autograph letter signed by François Mauriac (14 lines in blue ink) addressed to publisher Henri Lapina.
    Fold mark inherent to mailing, annotations in purple ink in the upper right margin of the letter: "14/5 Mauriac".
    François Mauriac has not yet completed his work: "...j'au une piste de nouvelles - mais il m'est impossible pour l'instant de vous donner le texte définitif..." ("...I have a lead on some short stories - but it is impossible for me at the moment to give you the final text...") and does not have a photographic portrait of himself for illustrating a frontispiece: "... vous en trouverez une très belle (photo) chez Martini rue de Penthièvre..." ("...you will find a very beautiful one (photo) at Martini's on rue de Penthièvre...")
    In order to satisfy publisher Lapina more quickly, who is demanding a text from him, he submits this possibility: "Si, au lieu d'une nouvelle, vous préférez une vie de Lacordaire, je pourrais sans aucun doute, vous la donner plus tôt." ("If, instead of a short story, you would prefer a life of Lacordaire, I could undoubtedly give it to you sooner.")


    €300
  70. Pour une connaissance authentique de Gide
    André MALRAUX
    Pour une connaissance authentique de Gide
    Gallimard|Paris 1973|14 x 20.50 cm|agrafé
    First edition printed in 50 copies on bouffant alfa paper and consisting of an offprint of the preface to Cahiers de la Petite Dame by Maria van Rysselberghe.
    Rare and handsome copy.
    Autograph inscription dated and signed by André Malraux to his friends Karl-Hans and Minka [Strauss].
    Minka, granddaughter of the Rothschilds, and Karl-Hans Strauss, were important patrons and collectors of art and music close to André Malraux. Their correspondence seems to reveal that in the 1970s the old writer was hunting around the world, with his last companion Sophie de Vilmorin, for works for their collection. At the end of his life, he thus rediscovered this youthful passion which inspired his first work, La Voie Royale.











    €600
  71. "... Ah les délicieux moments que je vous dois ! Après vous avoir suivi aux sommets alpestres, après avoir vibré à vos fiers poëmes de guerre, quelle joie de savourer vos poëmes à forme fixe !"
    Georges FOUREST
    "... Ah les délicieux moments que je vous dois ! Après vous avoir suivi aux sommets alpestres, après avoir vibré à vos fiers poëmes de guerre, quelle joie de savourer vos poëmes à forme fixe !"
    Laudative signed autograph letter addressed to a fellow writer whose poems he has just devoured
    S. n.|Paris 14 Mai 1924|13 x 18 cm|deux pages sur un double feuillet
    Autograph letter signed by Georges Fourest (31 lines in black ink) addressed to a fellow writer.
    Fold mark inherent to envelope insertion, marginal stains affecting some word beginnings.
    Georges Fourest praises the quality of his correspondent's work: "Que les superstitieux viennent encore nous représenter le 13 comme un jour néfaste ! Pour moi, je sais bien que je marque d'un caillou blanc le 13 Mai 1924 puisque, le matin de ce jour-là, je reçus votre exquis volume... [...] je pus consacrer mon après-midi à vous lire bien installé au Parc Monceaux..." (Let the superstitious still tell us that the 13th is an unlucky day! For my part, I know well that I mark May 13, 1924 with a white stone since, on the morning of that day, I received your exquisite volume... [...] I was able to devote my afternoon to reading you comfortably installed in Parc Monceau...) and compares the quality of his verse to his illustrious predecessor Clément Marot: "... quant à vos acrostiches, je ne connaissais qu'un chef-d'oeuvre en ce genre, celui de Clément Marot par Glatignyet voilà que vous nous en donnez sept et qui laissent de loin l'autre derrière eux." (... as for your acrostics, I knew only one masterpiece in this genre, that of Clément Marot by Glatigny, and here you give us seven which leave the other far behind.) at the risk of being considered a base flatterer: "... je ne me doutais guère qu'un poëte venait de m'exaucer et avec quelle maîtrise ! Mais si je vous disais tout ce que je pense vous me prendriez pour un flagorneur..." (... I hardly suspected that a poet had just answered my prayers and with what mastery! But if I told you everything I think you would take me for a flatterer...)



    €500
  72. Le sphinx et autres contes bizarres - Exemplaire enrichi de deux dessins originaux et d'un envoi autographe en anglais et à pleine page de Maurice Sachs
    Edgar Allan POE, Maurice SACHS
    Le sphinx et autres contes bizarres - Exemplaire enrichi de deux dessins originaux et d'un envoi autographe en anglais et à pleine page de Maurice Sachs
    Gallimard|Paris 1934|12 x 19 cm|broché
    First collected edition of this selection of tales translated into French by Marie Bonaparte, Maurice Sachs and Matila C. Ghyka, a Service de Presse (advance) copy.
    Boards marginally soiled and foxed, light foxing to edges.
    Original preface by Paul Morand.
    Our copy is enhanced with an exceptional autograph inscription, in English, by Maurice Sachs accompanying his two drawings representing a sphinx and a bear: "The Sphinx asked the Bear: who likes honey and trout, and candies and ginger ? We do, said the Big Bear, we bears. So the Sphinx changed into a bear and they lived happy together, 1934" ; Maurice Sachs's inscription continues in the lower left margin: "and for a pastime the Big Bear translated English stories into French stories and these are some that he gives to M. L. B. with much affection. M.S."
    ("Le Sphinx demanda à l'Ours : qui aime le miel et la truite, les bonbons et le gingembre ? Nous, dit le Gros Ours, nous les ours. Alors le Sphinx se transforma en ours et ils vécurent heureux ensemble, 1934" ; "et comme passe-temps le Gros Ours traduisait des histoires anglaises en français et en voici quelques-unes qu'il donne à M. L. B. avec beaucoup d'affection. M.S.")
    €400
  73. Histoire des guerres civiles des espagnols dans les Indes, suivi de Suite des guerres civiles des espagnols dans le Peru
    GARCILASO DE LA VEGA
    Histoire des guerres civiles des espagnols dans les Indes, suivi de Suite des guerres civiles des espagnols dans le Peru
    Chez Simeon Piget|à Paris 1658|17 x 23.50 cm|2 tomes reliés en un volume
    Second French edition bringing together these two texts by Garcilaso de la Vega first published in Spanish in 1650. Frontispiece depicting in the foreground the landing of Spanish troops on American territory and in the background the indigenous population besieged in the heart of a burning city. In the lower section, a banner bears the inscription "Quid non mortalia pectora cogis auri sacra fames", taken from Virgil's Aeneid and translated by Molière as "O execrable hunger for gold, to what lengths do you not force men's hearts to go". Work decorated with headpieces and historiated initials.
    Contemporary full vellum binding, smooth spine decorated at head with a pen-and-ink title almost faded. One corner slightly bumped, title page skillfully restored at inner margin, pale dampstain to lower margin on final gatherings.
    Bookplate of the Nordkirchen family pasted on front pastedown. Manuscript ownership inscription on title page with initials "E. H. L.".
    Natural son of a conquistador and an Inca princess, raised in two different cultures, Garcilaso de la Vega (1539-1616) offers a unique vision of Inca civilization by rejecting a Euro-centric view. While in his Royal Commentary, first published in France in 1633, de la Vega traced the history of the Inca rulers, he here proposes an account of the conflicts that animated the Spanish colonists after their arrival in Peru. His aim is to convey the upheaval caused by these internecine wars, both for the indigenous people and for the Spanish. In his address to the reader, de la Vega explains that the Inca rulers had succeeded in founding an empire where "Moral, Political, & Military Virtues" reigned; the arrival of the colonists and the execution of Atahualpa - the last independent emperor - disrupts the established order and is seen as the expression of "Ambition" and "Avarice" of these "new Hosts". De la Vega presents these events in the form of a true epic, seeking to show the reader "the various effects in this History, wonderfully entertaining, & where the Author endeavors to make the principal ones among those who were the true Actors play their role on this Stage". A continuation of his first major work on the History of the Incas, Kings of Peru, the History of the Civil Wars of the Spanish in the Indies offers the reader a vast panorama of Peruvian history in the few years following the conquest.
    Handsome copy of this work of major importance in the historiography of the Spanish conquest of Peru.
    €4,500
  75. Billet autographe signé adressé à Willy dans lequel il le considère comme un bon critique littéraire mais surtout comme un ami
    Jules RENARD
    Billet autographe signé adressé à Willy dans lequel il le considère comme un bon critique littéraire mais surtout comme un ami
    Paris 1896|11.50 x 9 cm|une feuille
    Autograph note signed by Jules Renard addressed to Willy from his Parisian residence, 8 lines in black ink.
    "Le 24 Mars 1896,
    c'est vous, mon cher Willy, qui êtes adorable. Ne répliquez pas. Je m'y connais. Je distingue très bien un ami d'un critique littéraire et Willy de M. Doumic. Votre reconnaissant Jules Renard." (March 24, 1896, it is you, my dear Willy, who are adorable. Do not reply. I know what I'm talking about. I distinguish very well between a friend and a literary critic, between Willy and M. Doumic. Your grateful Jules Renard.)
    €300
  77. A pinnacle of literature and illustration
    Oeuvres complètes - La comédie humaine
    Honoré de BALZAC
    Oeuvres complètes - La comédie humaine
    [Complete Works - The Human Comedy]
    Houssiaux|Paris 1855-1869|13.50 x 21 cm, longueur totale de la série 60 cm|20 tomes en 20 volumes reliés

    Reprint of the works by Houssiaux, who had purchased the stock of the Furne bookshop, where Honoré de Balzac's works were originally published.
    Houssiaux completed them with three new volumes (Theatre, Contes drôlatiques...) which appear here for the first time in the collected works in 1855.
    Some foxing.
    Bound in half green shagreen with corners, spines with four raised bands decorated with gilt typographical motifs, marbled paper boards, endpapers and pastedowns of handmade paper.
    Work illustrated with 143 plates on tinted heavy paper, by the finest artists of the period including Bertall, Daumier, Gavarni, Johannot, Nanteuil as well as rare illustrations within the text and some music plates. Most copies contain between 136 and 144 engravings.
    This magnificent illustration represents a pinnacle of the genre and captures the aesthetic of an entire era.
    As always with these complete works editions, each copy naturally possesses some notable particularities and the number of plates may differ from volume to volume within a single copy.
    Vol.1 :1855 : 7 engravings including the portrait of Balzac
    Vol.2: 1869 : 7 engravings
    Vol.3: 1869 : 6 engravings
    Vol.4: 1869 :  6 engravings.
    Vol.5 :1869  : 9 engravings.
    Vol.6 :1869 :  8 engravings
    Vol.7 :1869 :  8 engravings
    Vol.8 :1869 :  7 engravings
    Vol.9 :1869 :  7 engravings
    Vol.10 :1869 : 8 engravings
    Vol.11 :1869 :  8 engravings
    Vol.12 :1869 :  8 engravings
    Vol.13 :1869 : 5 engravings. Pages 679 to 682 having been creased and with small lacks not affecting the text.
    Vol.14 :1869 : 9 engravings
    Vol.15 :1869 : 6 engravings
    Vol.16 :1869  : 4 engravings
    Vol.17 :1869 :  4 engravings
    Vol.18 :1869 :16 engravings
    Vol.19 :1869 : 6 engravings
    Vol.20 :1869 : 4 engravings
    Handsome set, despite some foxing, in uniform bindings.




    €1,700
  78. Histoire d'un géant, écrite par un nain
    Histoire d'un géant, écrite par un nain
    Chez Barba|à Paris [1802]|10.30 x 17.70 cm|relié

    Rare first edition published anonymously.
    With a frontispiece "Je n'ai jamais vu un aussi petit homme" engraved by Benoist after Claude-Louis Desrais.
    Half brown calf binding, smooth spine slightly sunned and ruled in gilt, marbled paper boards, endpapers and pastedowns in caillouté paper, contemporary binding.
    A rare copy of this satyrical and erotic novel about the love adventures of a dwarf and a giant. Despite their rivalry, the dwarf remedies the giant's impotence by hiding in his breeches, and together they take revenge on a cruel marquise.
    We have found only four copies in public collections (National Library of France, British Library, Library of Château d'Oron, Switzerland, and National Library of Hungary).
    Not included in the Dictionnaire des ouvrages anonymes.
    €1,500
  79. Mémoires d'outre tombe
    François René de CHATEAUBRIAND
    Mémoires d'outre tombe
    Eugène et Victor Penaud frères • Dion-Lambert|Paris 1849 - 1850|13.50 x 22 cm|12 volumes reliés
    First edition. The original wrappers preserved bear the publisher's label from Dion-Lambert (slip pasted over the former address) but the title pages show the address of Penaud frères. Dion-Lambert acquired the remaining stock of the edition and put it back on sale. The list of subscribers as well as the foreword were removed for the reissue. The back cover, also preserved, bears on the verso: Typographie E. et V. Penaud frères.
    Full dark green shagreen binding, 20th century, in the spirit of a contemporary binding of the edition. Smooth spine decorated with 2 gilt frames. Boards decorated with a wide frame of multiple fillets. Top edge gilt. Original wrappers and spine preserved. Binding executed on the original sheets, the paper therefore remains uncut. This copy shows some recurring dampstains as follows: Volume 1, from p.95 to 238, pale dampstain at lower right corner then at mid-page. Volume 2, pale dampstain at upper left corner throughout. In volume 4, from p.5 to 192, dampstain at lower margin, right corner. Volume 5, pale dampstain, yellow halo at mid-page throughout, more or less pronounced. Volume 6, Dampstain at mid-page over the first third, then small stains in upper margin. Volume 7, pale dampstain in upper margin at right corner, from beginning to p. 150, resuming from p. 230 to 300. Volume 9, scattered dampstains at mid-page then in corners in the margin. Volume 12, dampstain on the first 2 leaves in upper margin at corner, then resuming on several leaves. Most of these stains show a yellow halo without serious consequence. Scattered foxing.
    Fine copy of the first edition of one of the most important texts of French literature, with the rare original wrappers preserved.

    €4,500
  82. Joyeuses & émerveillantes aventures des six frères du Petit Poucet
    Stéphane SERVANT
    Joyeuses & émerveillantes aventures des six frères du Petit Poucet
    Charles Fontane|Paris 1911|12 x 19 cm|broché
    First edition illustrated with a frontispiece wood engraving by Firmin Maglin.
    First cover trimmed, spine lightly sunned.
    Fine autograph inscription signed by Stéphane Servant to the publisher's daughter: "A mademoiselle Marguerite Fontanes, à la plus jeune des fées dont il soit question en cet ouvrage, je dédie ces joyeuses et émerveillantes aventures, avec mes souhaits de récréation pour elle et l'expression de ma très grande estime pour son père." (To Miss Marguerite Fontanes, to the youngest of the fairies mentioned in this work, I dedicate these joyful and wondrous adventures, with my wishes for recreation for her and the expression of my very great esteem for her father.)
    €100
  86. La révolte des morts
    François DUHOURCAU
    La révolte des morts
    Editions de la Vraie France|Paris 1924|12.50 x 20 cm|broché
    First edition, one of 8 numbered copies on laid Arches paper, the deluxe printing after 2 copies on old Japan paper.
    Manuscript ownership inscription on the front free endpaper.
    Small corner losses to boards, a full-margined copy.
    Fine autograph inscription signed by François Duhourcau to madame Léon Daudet: "A madame Léon Daudet, Française, patriote et, si jo'se dire, moderne chouanne, après la suave idylle de Manebieille, ce romanesque pamphlet du Chemin des Dames par quoi l'auteur eût bien voulu casser les reins à M. André Légénaire, député de Seine-et-Eure (et depuis, du territoire de Beaufort) auteur infatué et funeste du traité de Versailles (un "malfaiteur" m'a dit Poincaré, en spécifiant..." ("To madame Léon Daudet, French, patriot and, if I may say, modern Chouan, after the gentle idyll of Manebieille, this romantic pamphlet of Chemin des Dames by which the author would have liked to break the back of M. André Légénaire, deputy of Seine-et-Eure (and since, of the territory of Beaufort) conceited and fatal author of the Treaty of Versailles (a 'wrongdoer' Poincaré told me, specifying...")
    €150
  88. “We have not yet attempted to endow the machine with general knowledge…”
    Manuscrit autographe complet et signé de la nouvelle "Le Danger des classiques"
    Boris VIAN
    Manuscrit autographe complet et signé de la nouvelle "Le Danger des classiques"
    Complete autograph manuscript, signed, of the short story "The Danger of the Classics"
    S. n. • [chez l'auteur]|98 rue du Faubourg Poissonnière Xe, Paris s. d. [1950]|21 x 27 cm|18 feuillets numérotés

    Important original autograph manuscript, signed, of Boris Vian’s short story written in 1950, first published in Bizarre no. 32–33 in 1964, and later included in the posthumous collection Le Loup-Garou in 1970.
    With Vian’s autograph name and address at the head of the manuscript.

    Extensively revised manuscript, written in blue and violet ink on the versos of each leaf, with a pasted slip of corrections mounted to page 13.

     

    A striking work of speculative fiction in which Boris Vian prophesies artificial intelligence as a conversational module drawing on the integration of encyclopedic data:

    “The model you see here is designed to acquire the complete knowledge contained in the sixteen volumes of the Larousse Grand Encyclopedic Memo of 1978 […]. It is an administrative machine, Florence. It is meant to serve as an adviser (…). For every request for information (…), it will provide (…) the typical answer of an extensive French culture. In all circumstances it will indicate the course of action to follow, (…) explain what it is about and how to behave (…). It must absorb everything. It only has a chance of balanced behaviour if it knows everything. Only on this condition can it remain objective and impartial.”

    Unlike the utopias of his time, Vian’s narrator does not imagine an A.I. with its own thought and sensibility, but rather a true aggregator of knowledge equipped with an autonomous and efficient search engine. Paradoxically, its sensibility becomes the cause of its downfall: after absorbing Toi et moi, Paul Géraldy’s sentimental romance, the machine falls in love and ultimately assaults its creator.

    Anticipating Google and ChatGPT more than fifty years before their emergence, Vian’s little futuristic tale above all stages the dynamics of human relationships, the real subject of the story, in which he joyfully inverts the conventions of seduction.

     

    A very rare signed literary manuscript by Boris Vian.

     

    Provenance: Boris Vian Foundation.

    €10,000
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