Paris (France)

First edition, one of 30 numbered copies on pur fil paper, the only deluxe copies.
Very handsome copy.

First edition illustrated with a portrait and an autograph facsimile of Giuseppe Garibaldi as frontispiece.
Some light foxing.

New edition.
A minimal lack at foot of spine and upper right corner of back board, handsome interior condition.

First edition in French.
A small lack at foot of spine, some minimal foxing to margins of boards, handsome copy.

First edition, one of 14 numbered copies on Arches laid paper, the deluxe issue after 4 on old Japan paper.
Some worming on the slightly dusty deckled edges, a few minor foxing spots, otherwise a rare and handsome copy.

First edition in French.
Minor marginal tears and worming to covers.

Fifth edition and first printing of the 425 drawings by Gustave Doré.
Half brown sheep binding, smooth spine decorated with gilt and black fillets, traces of rubbing to spine, joints slightly cracked at head and foot, marbled paper boards, marbled endpapers and pastedowns, one upper corner slightly bumped.
Some minor foxing.

First edition
First cover marginally shaded and foxed, handsome interior condition.

First edition printed in 575 numbered copies on handmade Arches laid paper.
Work illustrated with a vignette by Raoul Dufy on the cover.
Spine lightened as is generally the case, otherwise handsome copy.
Manuscript signature of Jean Paulhan at the foot of the first endpaper.

First edition, of which there were no deluxe copies.
Handsome copy.
Full-page dated autograph inscription signed by Bernard-Henri Lévy to Madeleine Chapsal: "A vous chère, très chère Madeleine, ce signe de tendresse et d'amitié. A Madeleine Chapsal, ces derniers Jours de Charles Baudelaire où j'aimerais tant, à nouveau, la rencontrer." ["To you dear, very dear Madeleine, this sign of tenderness and friendship. To Madeleine Chapsal, these last Days of Charles Baudelaire where I would so much like to meet her again."]

First edition, of which there were no deluxe copies.
Signed autograph inscription from Charles Hernu to Jacqueline and Alain Guichard.
Minister of Defense under François Mitterrand, Charles Hernu was forced to resign after the affair involving the sinking of the Greenpeace vessel, the Rainbow Warrior, by French secret services.

First edition illustrated with 47 color photographs and 12 maps.
Handsome copy despite the spine being very slightly faded.
Signed autograph inscription from Alain Colas to a couple of friends named Karin and Laurent.

First edition, one of 4 numbered copies on China paper, ours unnumbered but properly justified "chine" below the justification page and at the foot of the second cover, deluxe copy.
Fine full-margined copy.

Third edition, with false statement of "sixth edition" on the cover, one of the rare copies on Holland paper, which is not mentioned anywhere.
Half navy blue shagreen binding, spine with five raised bands showing some rubbing, marbled paper boards, combed paper endpapers and pastedowns, top edge gilt, upper corners slightly bumped.
Copy almost entirely free of foxing.

First edition, on ordinary paper, of François Mauriac's second work.
Handsome copy despite two small stains on the first cover.
Dated and signed autograph inscription from François Mauriac to François Hepp.

First edition.
Half red shagreen bindings, spines with four raised bands set with black fillets and decorated with double black compartments adorned with central gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, speckled edges, contemporary bindings.
Some foxing otherwise handsome copy.
Our copy is enhanced with an original photograph of a painted portrait representing Béranger pasted on an endpaper of the first volume.

New edition illustrated with an engraved frontispiece in each volume.
Binding in half green Russia morocco with small almond-green corners, smooth spine decorated with gilt friezes and fleurons, blind roulettes on headcaps, green paper boards, blind fillets on edges, contemporary binding.
Some foxing, some rubbing to spine.
Rare edition of this emblematic work of the Age of Enlightenment denouncing intolerance and all forms of fanaticism.

First edition, one of 85 numbered copies on pur fil paper, deluxe copy.
Three minor tears of no consequence at the foot of the first cover.
A handsome full-margined copy.
In 1926, Albert Londres, who had already traveled to numerous countries in his capacity as a reporter, settled in the Phocaean city. Marseille porte du Sud, an account comprised of twelve articles, is a true documentary and above all a tribute to this cosmopolitan city.

The first collected edition, of which there were no deluxe copies.
Spine slightly faded.
Curious autograph inscription signed by Bernard Frank on the half-title page: "Copie conforme. Bernard"

The first edition, of which there were no deluxe copies.
Handsome copy.
Work illustrated with photographs by Michel Houellebecq.

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy.
Fine autograph inscription signed by Eduardo Manet to Guy Dumur: "... à qui nous devons, tous, une sincère gratitude pour sa courageuse défense de 'l'autre' théâtre." ["... to whom we all owe sincere gratitude for his courageous defense of 'the other' theater."]

First edition of the thesis by one of the most important historians of the 19th century.
Interior foxing also affecting the board margins, two small lacks at head and foot of the warped spine.

First edition.
Boards lightly and marginally discolored.
Rare and handsome pamphlet.

First edition.
Publisher's brown grained sheepskin binding, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Handsome copy complete with its glassine wrapper but lacking its slipcase.

First edition.
Publisher's brown grained sheepskin binding, smooth spine decorated with gilt fillets.
Rich iconography.
Handsome copy complete with its glassine wrapper.

First edition, one of 1050 numbered copies on vellum.
Publisher's full cardboard binding after Paul Bonet's original design.
Spine with two small areas of sunning at head and foot as often found, otherwise a handsome copy.

First edition.
Half red shagreen binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, some tears to leading edges, corners slightly bumped, top edge gilt.
Some rubbing to joints, a discoloration mark to margin of front board, boards marginally browned, some minor foxing to interior.
Numerous contributions including those by Alphonse Daudet, Maurice Barrès, Henri Cazalis, Charles-Marie-René Leconte de Lisle, Jean Lorrain, Anatole France, Léon Cladel, Paul Arène, José Maria de Heredia, Maurice Rollinat, Sully-Prudhomme, Eugène Vermersch, Laurent Tailhade, Maurice Rollinat...
Rare complete fifth year.

First edition of this play comparing bourgeois marriage to legalized prostitution.
Bradel binding in half grey percaline with corners, smooth spine decorated with gilt floral motif, date and double gilt fillets at foot of spine, navy blue shagreen title-label with minor rubbing, marbled paper boards, covers and spine preserved, binding signed in blind by Victor Champs.
Handsome copy.

First edition.
Bradel binding in grey half-cloth with corners, smooth spine decorated with a gilt floral motif, gilt date and double fillet at foot of spine, navy blue shagreen title-label with slight rubbing, marbled paper boards, covers and spine preserved, binding stamp-signed in blind by Victor Champs.
Handsome copy.

First edition.
Bradel binding in grey half-cloth with corners, smooth spine decorated with a gilt floral motif, gilt date and double fillet at foot of spine, navy blue shagreen title-label with slight rubbing, marbled paper boards, covers and spine preserved, binding stamp-signed in blind by Victor Champs.
Handsome copy.

First edition.
Bradel binding in half grey cloth with corners, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot of spine, navy blue shagreen title-label with minor rubbing, marbled paper boards, covers and spine preserved, binding signed in blind by Victor Champs.
Handsome copy.

First edition of this play set to music by Charles Gounod.
Bradel binding in half grey cloth with corners, smooth spine decorated with gilt floral motif, gilt date and double fillet at foot of spine, navy blue shagreen title-label with minor rubbing, marbled paper boards, covers and spine preserved, binding signed in blind by Victor Champs.
Handsome copy.

First edition.
Covers soiled, endpapers lightly and partially shadowed, some pencil annotations in margins of certain leaves.
Rare.

First edition.
Half red shagreen binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, some tears on the leading edges, top edge gilt.
One fragile joint, a trace of discoloration in the margin of the first cover, boards marginally browned, some light foxing to interior.
Numerous contributions including those of Alphonse Daudet, Charles-Marie-René Leconte de Lisle, Anatole France, Eugène Vermersch, Léon Cladel, Edgar Allan Poe, Paul Arène, Paul Nadar, François Coppée, Maurice Rollinat, Jules Troubat, André Gill, Théodore de Banville, Albert Glatigny, Sully-Prudhomme ...
The first issue is illustrated with a frontispiece by Félix Régamey featuring portraits of the main contributors to the review.
Rare complete second year.

First edition.
Half red shagreen binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, some tears to leading edges, top edge gilt.
Some rubbing to joints, a discoloration mark to margin of front board, boards marginally browned, some light foxing to interior, the first three leaves tending to detach.
Numerous contributions including those by Alphonse Daudet, Charles-Marie-René Leconte de Lisle, Anatole France, Léon Cladel, Edgar Allan Poe, Paul Arène, Paul Nadar, François Coppée, Maurice Rollinat, Jules Troubat, André Gill, Georges Rodenbach, Emmanuel Des Essarts...
Rare complete third year.

First edition.
Half red shagreen binding, spine with five raised bands, headcaps worn down, marbled paper boards, marbled endpapers and pastedowns, some tears on the leading edges, corners slightly bumped, top edge gilt.
Light rubbing on the joints, a discoloration mark in the margin of the front board, boards marginally browned, some light interior foxing.
Numerous contributions including those by Alphonse Daudet, Maurice Barrès, Charles-Marie-René Leconte de Lisle, Anatole France, Léon Cladel, Paul Arène, Paul Nadar, François Coppée, Maurice Rollinat, Sully-Prudhomme, Eugène Vermersch, Jules Romain, Georges Rodenbach, Stanislas de Guaita...
Rare complete fourth year.

Superb invitation poster-card for the 1930 edition of the Bal des Quat'Z'Arts, still bearing its stub in the lower section. Very fine color illustration by Yves Brayer and O. Rabaud depicting a menacing Aragonese knight being charmed by an oriental dancer.
The theme of the famous fine arts students' ball, which took place on June 21 at the Porte de Versailles, was the capture of Granada by the Aragonese knights - on the invitation, one can read the following text: "Le sultan Abou-Abdillah se fait vider de Grenade par les bandes d'Aragon, ainsi que la chose s'est très véridiquement passée en 1492. Viens voir ça ma jolie, et accourt avec nous vers l'Alhambra, pour y boire le vin d'Espagne et danser la danse de Mograbines, au son des violes." ["Sultan Abou-Abdillah is being driven out of Granada by the bands of Aragon, just as this thing truly happened in 1492. Come see this, my pretty one, and hurry with us to the Alhambra, to drink Spanish wine and dance the dance of the Mograbines, to the sound of viols."]

Also printed is this prudent disclaimer from the organizers fearing some inevitable excesses and joyful demonstrations: "le comité dégage sa responsabilité des poursuites que pourrait entraîner l'exhibition du nu sur la voie publique." ["the committee disclaims responsibility for any prosecution that might result from the exhibition of nudity on public thoroughfares."]

Light traces of wear along the upper edge.

The first Bal des Quat'z'Arts, a grand celebration organized by students of the École nationale des beaux-arts de Paris, took place on April 23, 1892. This tradition continued until 1966.
« Depuis que nous allons au bal des Quat' z' Arts, nous avons vu déjà plusieurs fois Babylone travestie à la mode Quat' z' Arts, rien ne change et le bal des Quat' z' Arts demeure, ne ressemblant à rien d'autre. Il a précédé les ballets russes et les revues de music-hall à grand spectacle, il ne leur a rien emprunté par la suite, fidèle à ses propres traditions. Cette fête dans un décor de palais reconstitué « à la blague », la somptuosité remplacée par l'ingéniosité, tout cela ne se retrouve que là. L'esprit quat' z' art existe et se perpétue, il s'est manifesté une fois de plus dans la lumière, dans le charivari des cuivres et des tambours, dans les danses forcenées, les bousculades, le tumulte d'une foule maintenue par la traditionnelle garde noire ». ["Since we have been going to the Quat'z'Arts ball, we have already seen Babylon disguised in the Quat'z'Arts fashion several times, nothing changes and the Quat'z'Arts ball remains, resembling nothing else. It preceded the Russian ballets and the grand music-hall revues, it borrowed nothing from them afterwards, faithful to its own traditions. This celebration in a palace setting reconstructed 'as a joke,' sumptuousness replaced by ingenuity, all this can only be found there. The quat'z'art spirit exists and perpetuates itself, it manifested itself once more in the light, in the cacophony of brass and drums, in the frenzied dances, the jostling, the tumult of a crowd controlled by the traditional black guard"] André Warnod, Comoedia, 1933.

Illustrated edition, with frontispiece to the first volume, of a portrait of Joan of Arc drawn by Gaucher as well as 21 figures drawn by Lebarbier, Marillier, Monnet, Monsiau, all engraved by Baquoy, Choffard, Delignon, Delvaux, Duhamel, Dupréel, Lemire, Lingée, Malbeste, Patas, Pauquet, Ponce and Romanet...
Half black shagreen bindings, smooth spines decorated with blind fillets, some rubbing to headcaps and joints, marbled paper boards, marbled endpapers and pastedowns.
Some minor foxing.

First edition, one of 58 numbered copies on pure Lana rag paper, deluxe copy.
Spine and boards lightly and marginally sunned without consequence.
Handsome full-margined copy.

Original albumen photograph representing Jules Verne, carte-de-visite format, mounted on heavy cardboard from the Nadar studio "51 rue d'Anjou St Honoré".
Pen annotation on verso, with advertising information for the Nadar studio. Gold medal. Universal Exhibition 1878. Blue stamp; Publisher J. Kuhn, Paris.
Jules Verne met Nadar in 1861 and the two men became friends, the man left a deep impression on him and his adventures inspired him for Five Weeks in a Balloon [Nadar would join with Jules Verne to create a Society for the encouragement of balloon transport], From the Earth to the Moon and Around the Moon. The author describes him thus in From the Earth to the Moon: "He is a man of 42 years, tall, but already a little stooped, like those caryatids who carry balconies on their shoulders. His strong head, a veritable lion's mane, shook at moments a fiery hair, which made him a true mane. A short face, broad at the temples, adorned with a bristling mustache like a cat's whiskers and small somewhat disheveled tufts, a myopic gaze, completed this eminently feline physiognomy."
Handsome portrait of the writer by Nadar where he appears particularly warm and benevolent.

First edition illustrated with 101 lithographs by Daumier and 2 frontispieces by Nanteuil. Each issue contains 3 pages of text and one captioned lithograph. The volumes dated 1840 are reprints. These lithographs were originally published separately from 1836 to 1838, and were reduced in size for this volume.
Contemporary half calf binding with lavender tint. Smooth spine decorated with mirror rococo tooling. Spine uniformly darkened. Joints cracked. One scratch on the upper cover. Evidence of rubbing. Lithograph 36 has a repaired tear running lengthwise across the entire page. Very light scattered foxing. Small dampstain to lower margin of lithographs 48 to 57. Paper generally somewhat browned.
Satire of society through the character of Robert Macaire, an unscrupulous businessman

First edition, one of 42 numbered copies on Rives laid paper, the only deluxe copies.
Handsome full-margined copy.

First edition.
A small tear reglued at foot of spine.
Issue illustrated with a drawing by Louis Dejean "Aurel".
Other contributions by Francis Carco "Les journaux" ["The newspapers"], Emile Sicard "Francis Jammes", Jean-Louis Vaudoyer "Les plaintes de Jézabel" ["The complaints of Jezebel"], Paul Souchon "La fausse nymphe" ["The false nymph"]...

First edition illustrated with 22 plates of animals, natives and landscapes, five of which are folding.
Contemporary marbled brown sheep binding. Smooth spine decorated with a central urn tool and 2 other tools at headcaps. Roulettes in place of raised bands and at head. Frame roulette on boards. Chocolate title-label, black volume labels, all in sheep. Rubbing. Scattered pale foxing. Good copy.
François Levaillant (1753-1824) is a French explorer and ornithologist. In 1781, the treasurer of the Dutch East India Company sent him to Cape Province, in South Africa. He then collected numerous specimens in the region, bringing back more than 2000 bird skins to France. A second voyage (1783-1784) took him north of the Orange River, into Namaqualand. He would later publish the Histoire naturelle des oiseaux d'Afrique. All his books achieved great success throughout Europe. His ornithological collection would join the Leiden museum, France not acquiring it. Some bird names he invented are still in use. Some time later, species would bear his name, like Levaillant's Cuckoo. This second voyage describes Namaqualand, Damaraland, Bechuanaland and the Kalahari Desert.

Second edition with some parts in first edition as expanded with two new pieces: "L'occasion" and "Le carrosse du Saint Sacrement".

Half red straight-grained morocco binding with corners signed Blanchetière at the top of the first endpaper. Smooth spine decorated with a large mirror tool and roulettes. Separating fillets on the boards. Very fresh copy, uncut, however some brown spots on Le carrosse du saint sacrement.

Very handsome copy.

Provenance: from the library of Jacques Crépineau, famous collector of Romantic books, with his bookplate. Theater historian and director of the Michodière theater.

This is Prosper Mérimée's first work composed of 6 theatrical pieces. "First dramatic manifestation, in France, of Romantic creation, the Théâtre de Clara Gazul is an original pastiche that shows a moralist's irony, but also a parodic exaggeration of Spanish culture (cries, tears, revenge, killings)." "More intended for reading than for performance, the work achieved considerable success from its publication." Larousse Encyclopédie

First edition illustrated with humorous drawings by Trez, a Service de Presse (advance) copy.
Handsome copy.
Autograph inscription signed by Trez to the historian of Paris Gilbert Guilleminault.

First edition, with statement of sixth edition.
Bradel binding in full cream white cloth, smooth spine decorated with a black floral motif, double fillet and black date at foot, contemporary binding.
Endpapers partially shadowed, some marginal foxing affecting mainly the first and last leaves.
Rare autograph inscription signed by Joris-Karl Huysmans on this text to P. Edeline.

First edition published in 2900 copies, ours being one of the copies on Alfa paper reserved for the press service.
Light foxing affecting mainly the edges.
Literary contributions by Thomas Stearns Eliot "Som de l'Escalina", Paul Valéry "Le livre de Christophe Colomb", Léon-Paul Fargue "Mimes", Valery Larbaud "Le patron des traducteurs"...
Commerce, literary review founded by Marguerite Caetani, appears in the form of twenty-nine "quarterly notebooks 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 does not simply showcase the most prominent authors of French literature: it plays a role as "discoverer" of young talents and unearths forgotten capital texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Two stains on the spine which also has a small tear at the head, a stain at the lower right corner of the first cover.
Literary contributions by Léon-Paul Fargue "Une violette noire", Benjamin Fondane "Ulysse", Henri Michaux "Un certain plume", Jean Follain "Poèmes", André Gide "Oedipe", Georges Meredith "Amour moderne", Louis Brauquier "Panama".
Commerce, a literary review founded by Marguerite Caetani, presented itself as twenty-nine "quarterly notebooks 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 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 2,900 copies, ours being one of the Alfa paper copies.
A crease at the head of the front cover, light foxing to edges.
Literary contributions by Henri Michaux "Le fils du macrochéphale", André Suarès "Fiorenza", Paul Valéry "Petite préface aux poésies de T'Au Yuan Ming", T'Au Yuan Ming "Oraison funèbre sur sa mort, traduction de Liang Tsong Taï"...
Commerce, a literary review founded by Marguerite Caetani, appeared as twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms 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 2,900 copies, ours being one of the Alfa paper copies reserved for the press service.
Spine slightly faded.
Literary contributions by Ossip Mandelstam "Le timbre égyptien", René Daumal "Poèmes", Paul Valéry "Moralités", Valery Larbaud "Du sel ou du sable"...
Commerce, a literary review founded by Marguerite Caetani, appeared as twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms 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.
Copy in blue temporary wrappers.
Handsome copy, with an engraving pasted to the verso of the second board of the temporary wrappers.

Edition published anonymously and issued the same year as the first edition.
Half red calf binding, smooth spine decorated with gilt fillets, gilt friezes at head and foot, marbled paper boards, marbled endpapers and pastedowns.
Occasional light foxing.

The first edition, of which there were no deluxe copies, with mention of eighth edition.
Publisher's wraparound band attached.
Our copy contains numerous corrections and modifications in the author's hand, made to provide the final corrections to his publisher before definitive publication.

First edition of this speech delivered at the session of May 27, 1895 of the Chamber of Deputies.
Adhesive tape stains on the first and last pages of the text, copy unstapled.
Alfred Naquet denounces and expresses concern about the virulent antisemitism agitating France.

The first edition, published in a small number of copies.
A rare and handsome copy.

New edition for which no deluxe copies were printed.
Publisher's full red boards binding, smooth spine.
Handsome copy complete with its illustrated dust jacket which has two small tears at the head of the spine and front cover.
Autograph inscription dated and signed by Henri Queffelec to a friend named Jacqueline.

Illustrated edition with copperplate engravings by Jean-Gabriel Daragnès, one of 200 numbered copies on Arches paper, the only issue after 25 on Japan paper.
Some light worming of no consequence, otherwise a handsome copy.
Autograph inscription signed by Paul Valéry: "Cet exemplaire de la Jeune Parque appartient à mon neveu Jean Valéry. Paul Valéry." ["This copy of La Jeune Parque belongs to my nephew Jean Valéry. Paul Valéry."]

The first edition, of which there were no deluxe copies.
Tears with lacks at head and foot of spine, marginal creases to covers.
Work illustrated with 62 portraits not bound in the text.

First edition, one of the numbered first printing copies printed on press, with service de presse stamp at head of first cover.
Half navy blue shagreen binding with corners, spine with five raised bands, gilt date at foot, marbled paper boards, combed paper endpapers and pastedowns, covers and spine preserved, top edge gilt.
Handsome copy despite a small tear at head of first cover.
Signed autograph inscription from Jean Mélia to Léon Côte.

The first edition, of which there were no deluxe copies.
Handsome copy, iconography.
Signed and inscribed copy by Jean-Pierre Chevènement to François Dècle: "... qui, je l'espère, trouvera dans ce livre une autre manière de comprendre notre histoire..." ["...who, I hope, will find in this book another way to understand our history..."]

First edition.
Some light foxing. One hole affecting the text on page 395, the following leaf shows two repaired tears without loss.
Half black shagreen binding, smooth spine decorated with triple gilt compartments, black embossed paper boards, marbled endpapers and pastedowns, corners slightly bumped, contemporary binding.
Illustrated work, as frontispiece to the first volume, with a portrait of Eugène-François Vidocq by Eugène Devéria.
Manuscript signature of Eugène-François Vidocq below his portrait.
Our copy is exceptionally enhanced with a precision and manuscript modifications on the title page: he added "de Paris" after his patronymic and embellished the title of the work with parentheses and lines underlining each printed sentence; the title on the half-title page is also underlined.
Rare.

First edition printed in 980 numbered copies on vélin du marais paper, ours one of the 100 hors commerce.
Handsome copy.
Work illustrated with a frontispiece by André Dunoyer de Segonzac.
Handsome unsigned autograph thought by Paul Géraldy on the half-title page: "Une ancienne tradition veut encore aujourd'hui qu'à Paris, quand on donne une pièce au public pour la première fois, le nom de l'auteur ne figure pas sur les affiches. Les spectateurs sont avertis que c'est une pièce de théâtre, et non pas un auteur, qui leur est présentée. Quand tout est terminé, le rideau se relève. Un des comédiens s'avance et nomme l'auteur, pour référence, accessoirement." ["An old tradition still holds today that in Paris, when a play is given to the public for the first time, the author's name does not appear on the posters. The spectators are informed that it is a play, and not an author, that is being presented to them. When everything is finished, the curtain rises. One of the actors steps forward and names the author, for reference, incidentally."]

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Handsome copy despite some light foxing on the edges.
Literary contributions by Federico Garcia Lorca: "Le martyre de sainte Eulalie", Valery Larbaud: "Une nonnain", Liam O'Flaherty: "L'aviron, traduction de Valery Larbaud", Marcel Jouhandeau "La Bosco", Rudolf Kassner: "La chimère"...
Commerce, a literary review founded by Marguerite Caetani, took 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 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.
Handsome copy despite some light foxing on the edges.
Literary contributions by Paul Claudel: "Les cinq premières plaies de l'Egypte", Jacques Prévert: "Tentative de description d'un dîner de têtes à Paris-France", Georges Ribemont-Dessaignes: "Faust", Robert Desnos "Siramour", Rudolf Kassner: "L'individu ert l'homme collectif"...
Commerce, a literary review founded by Marguerite Caetani, took 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 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.
Handsome copy.
Literary contributions by Paul Valéry: "Réponse", Valery Larbaud: "Le vaisseau de Thésée", Thomas Stearns Eliot: "Difficulté d'un homme d'état, traduction de Georges limbour", Georges Garampon "Réveil du début de l'été", Henri Michaux: "Nous autres", Georges Roditi: "L'abdication du matin", William Falkner "Une rose pour Emily, traduction de Maurice-Edgar Coindreau", Bernard Groethuysen...
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms part of the competitive tradition of French reviews of the 1920s and does not merely showcase the most prominent authors of French literature: it plays the role of "discoverer" of young talents and unearths forgotten seminal texts.

First edition, one of 35 numbered copies on B.F.K. de Rives pure rag vellum, the only deluxe copies.
Very handsome copy.

First edition, one of 35 numbered copies on handmade laid paper from Rives, the only deluxe copies.
A very fine and rare copy.

First edition, one of 20 numbered copies on vélin chiffon du marais, the most limited deluxe paper before 30 on Holland paper.
A very fine and rare copy.

First edition.
A minor tear at foot of spine.
Handsome copy complete with its folding table at beginning of volume.

First edition, one of 10 lettered copies on Japan paper, deluxe issue.
Some foxing to margins of first cover, a tear to upper right corner of second cover.
A full-margined copy.
Autograph inscription signed by Ignace Legrand to the Venezuelan painter and engraver Elisa Elvira Zuloaga: "A madame Zuloaga, hommage de l'auteur Ignace Legrand."

First edition, one of the numbered copies of the first issue printed, service de presse punch mark at head of front board.
Bound in half navy blue morocco-grained shagreen with corners, spine with five raised bands, date gilt at foot, marbled paper boards, endpapers and pastedowns of combed paper, covers and spine preserved, top edge gilt.
Handsome copy.
Signed autograph inscription from Jean Mélia to Léon Côte and his wife.

« Books ! Books form America ! They have traveled all the way over the Ocean from where the sun sets behind the tower of the Woolworth Building to where the sun rises behind the spine of Notre-Dame. They bring us a whiff of the atmosphere of the New World, a pulse of its thought, a ray of its beauty. »


The rare first edition of the inaugural speeches for the American library at the Sorbonne, December 13, 1920.
One page of photographic portraits of the authors.

« Sartre affirmait que la grande révélation pour les lecteurs français de l'entre-deux guerres fut celle des romanciers américains, Hemingway, Faulkner, Dos Passos, Steinbeck. C'est au cours des mêmes années que l'histoire américaine fit sa percée dans les Universités françaises, tout en se limitant, à la différence du roman, à des cercles très étroits et spécialisés. Elle s'imposa dans un petit nombre d'institutions Collège de France, Sorbonne, Ecole des Hautes-Etudes... » ["Sartre claimed that the great revelation for French readers of the inter-war period was that of American novelists, Hemingway, Faulkner, Dos Passos, Steinbeck. It was during these same years that American history made its breakthrough in French Universities, while limiting itself, unlike the novel, to very narrow and specialized circles. It established itself in a small number of institutions: Collège de France, Sorbonne, Ecole des Hautes-Etudes..."] (Fohlen Claude. Les débuts de l'histoire américaine en France. In: Revue Française d'Etudes Américaines, N°13, février 1982. Historiens français des Etats-Unis. pp. 27-40.)
Founded the same year as the American Library in Paris, thanks to a donation from the Carnegie Foundation, the American Library, attached to that of the Sorbonne, marks the official beginning of American History studies in France: « Deux mille livres, choisis parmi les plus représentatifs et les meilleurs, dans les catégories de l'histoire, de la biographie et des mémoires, des documents originaux, de la géographie humaine, économique et sociale, de la religion et de la morale, de la pédagogie, du droit, et enfin de la littérature, offrent aux professeurs et aux étudiants les sources principales où ils peuvent puiser la connaissance exacte (...) de la nation américaine » ["Two thousand books, chosen from among the most representative and the best, in the categories of history, biography and memoirs, original documents, human, economic and social geography, religion and morals, pedagogy, law, and finally literature, offer professors and students the main sources from which they can draw exact knowledge (...) of the American nation"].
This important gift was originally intended to support Charles Cestre's efforts in his teaching of American civilization and to guarantee, after the First World War, Franco-American understanding and friendship: « The knowledge of America's historical, moral and literary record will be the best warrant that no misunderstanding creeps in between her and France » (Speech by Charles Cestre)
Published in a very small number of copies reserved for members attending the Inauguration Ceremony, this rare booklet honors American culture in France's most prestigious university, while at the same time and two streets from the Sorbonne, Sylvia Beach was welcoming in her Latin Quarter bookshop the writers of the Lost Generation who would revolutionize French and Anglo-Saxon literature.

First edition.
Cntemporary marbled roan binding, smooth spine with partialy faded roll-tooled and ruled gilt motifs, burgundy roan title-label, spine-ends restored, joints restored at head and foot, marbled paper pastedowns and endpapers, gilt ruled leading edges, upper corners bent, marbled edges.
Some minor foxing, browned leaves, printed library stamp and pencil annotations to one endpaper.
Provenance: Louis Humbert library, with his bookplate on front pastedown.
Rare signed inscription by Charles Nodier to the royalist journalist, disciple of Félicité de La Mennais, staunch critic of Romanticism Pierre-Sébastien Laurentie: "A Monsieur Laurentie, son dévoué Charles Nodier."

First edition, of which there were no deluxe copies.
Handsome copy, with a press clipping pasted at the foot of the page bearing the autograph inscription, the sales price reference has yellowed at the foot of the back cover.
Autograph inscription dated and signed by Professor Christian Cabrol to Pierre Troillard.

First edition.
Handsome copy despite small, harmless stains on the edges.
Autograph inscription dated and signed by Alain Juppé to a woman named Ginette.

First edition of this issue.
Light stains on the covers, a small lack to the lower right corner of the first cover, handsome interior condition.
The magazine "Jazz," celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, comprising 15 issues plus 2 supplements.
Contributions by Pierre Mac Orlan "Vieille et jeune Bretagne" ["Old and young Brittany"], Jacques Dyssord "Clemenceau", Pierre Ichac "Un auteur dramatique chez les mangeurs d'homme" ["A playwright among the cannibals"], Claude Aveline "Le souvenir de Bourdelle" ["The memory of Bourdelle"], Eli Lotar "Amsterdam", Louis Hirschauer "Retour du Soudan" ["Return from Sudan"], André Hunebelle "Art abstrait" ["Abstract art"]...
Issue illustrated with works by Carlo Rim and Georges Grosz as well as numerous photographs by Germaine Krull, Yvonne Chevalier, Eli Lotar, Jean Collar, Sougez...

First edition of this issue.
Some tears to the spine, a lack to the lower left corner of the back cover.
The magazine "Jazz", celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, totaling 15 issues plus 2 supplements.
Contributions by Léo Larguier "La brocante en l'an 2030", Jacques Maret "Peintures sous verre", Emile Condroyer "Islande", André Beucler "Batoum", Jean Schlicklin "Bréhat"...
Issue illustrated with numerous photographs by Germaine Krull, Sébastien Gallais, Paul Nadar, Henri Manuel, De Smet...

First edition of this issue.
Two tears to the spine, some stains to margins of covers.
The magazine "Jazz" celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, totaling 15 issues plus 2 supplements.
Contributions by Joseph Conrad "Atterrissages et départs", Henri de Montherlant "Les conduites de taureaux en Camargue", Florent Fels "La route", Titaÿna "Panama", Pierre Lazareff "Vie intime des artistes du music-hall", Paul Chauveau "Jean Cocteau l'imposteur", Urbain Faure "plongeurs de nacre... pêcheurs de perles"...
Issue illustrated with works by Jean Cocteau, Henri-Pierre Gassier as well as numerous photographs by Jean Dreville, Eli Lotar, Kertesz, Carlo Rim, Titaÿna, Pierre Ichac, Germaine Krull, Urbain Faure...

First edition of the French translation, of which there were no deluxe copies.
Very slight tears to spine, not serious.
Signed autograph inscription from the translator, Roger Giroux, to Michel Mohrt.

The first edition, of which there were no deluxe copies.
Spine and boards marginally discoloured, foxing on edges.
Signed and inscribed copy from Paul Bonnecarère to film industry figure Jean-Pierre Richard, son of Carlo Rim, enhanced with a signed autograph tribute from Joan Hemingway.

First edition of this issue.
Small tears of no consequence to spine, some light stains at foot of front cover.
The magazine "Jazz," celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, comprising 15 issues plus 2 supplements.
Contributions by Jacques Dyssord "Rue de Lappe," Florent Fels "Le port d'Amsterdam," Joseph Delteil "Le Paradis terrestre," Henri Thétard "Fêtes foraines," Waldemar George "Expressionisme," Carlo Rim: "La rue chinoise"...
Issue illustrated with works by Moïse Kisling, Louis Touchagues, Jean Cocteau, Bécan, Carlo Rim as well as numerous photographs by Germaine Krull, Achay, Manuel frères...

First edition of this issue.
Very light marginal worming to covers, handsome copy.
The magazine "Jazz," celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, comprising 15 issues plus 2 supplements.
Contributions by Titaÿna "La vie à bord des grands paquebots," Carlo Rim "Lubaki, peintre nègre," Georges Altman "Vladimlir Iliitch Lénine," Serge "Promenade en avion," André Hunebelle "Images du verre," Legrand-Chabrier "Contorsions," Ivan Goll "Sodome et Berlin," Georges Thiry "Antoine, photographe nègre"...
Issue illustrated with works by Carlo Rim, Antoinette Lubaki and Sem as well as numerous photographs by Eli Lotar, Antoine, Rap, Gergely, Hansa Luftbild, Sougez, Keystone, Jean Painlevé...

First edition of this issue.
Marginal stains to covers, pleasant interior condition.
The magazine "Jazz", celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and was published monthly between December 1928 and March 1930, comprising 15 issues plus 2 supplements.
Contributions by Titaÿna "Bagdad", Ilya Ehrenbourg "Slovaquie", Marcel Zahar "Centenaire du bec de gaz", Carlo Rim "Rues", Pierre Scize "Le cinéma"...
Issue illustrated with works by Carlo Rim, Honoré Daumier, Eugène Delacroix, Francisco de Goya, Paul Gavarni as well as numerous photographs by Germaine Krull, Laszlo Moholy Nagy, Ilya Ehrenbourg, Achay, Plicka...

First edition of this issue.
Light marginal foxing to the covers, minor tears to the spine without consequence, handsome interior condition.
The magazine "Jazz", celebrated for the quality of its illustrations and photographs, was founded in 1929 by Titaÿna with Carlo Rim as editor-in-chief, and appeared monthly between December 1928 and March 1930, totaling 15 issues plus 2 supplements.
Contributions by Titaÿna "Alep", Florent Fels "Joris Ivens", Jean Dorsenne "L'Océanie à travers les artistes", Carlo Rim "Rues", Legrand-Chabrier "Frégoli"...
Issue illustrated with works by Carlo Rim, Serge and Sennep as well as numerous photographs by Germaine Krull, Joris Ivens, Brunoff, Titaÿna, Castelli, Douaze, Manuel...