Paris (France)

First edition, one of 90 numbered copies on Holland paper, deluxe issue.
A very handsome full-margined copy.

First edition, one of 90 numbered copies on Holland paper, deluxe issue.
A very handsome full-margined copy.

First edition, a Service de Presse (advance) copy.
One small stain of no consequence on the edge.
Autograph inscription signed by François Nourissier to Alfred Fabre-Luce and his wife Charlotte.

New edition.
Publisher's full mustard yellow cloth binding, smooth spine.
Light foxing spots on the top edge.
Handsome copy complete with its cellophane wrapper, bookplate pasted on an endpaper.
Autograph inscription signed by Jean d'Ormesson to Alain Kerloc'h.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Some worming affecting principally the endpapers and fore edge.
Fine signed autograph inscription from Angelo Rinaldi: " A Dominique Aury qui, la première a lu ce livre, et qui, la seule, a vu l'image dans le tapis - ajoutant cette gentillesse et cette récompense à tant de marques d'amitié, pour lui dire toute ma gratitude. Angelo Rinaldi. Paris 174." ["To Dominique Aury who was the first to read this book, and who alone saw the image in the carpet - adding this kindness and this reward to so many marks of friendship, to express all my gratitude to her. Angelo Rinaldi. Paris 174."]

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Complete with publisher's (advertising) slip.
Signed autograph inscription from Bertrand de Jouvenel to Alfred Fabre-Luce.

First edition on ordinary paper.
Some worming to spine and top edges, retaining publisher's wraparound band.
Autograph inscription signed by Edgar Faure to René and Raymond Bousquet.

First edition on ordinary paper.
Spine lightly sunned without gravity.
Fine autograph inscription signed by Marc Chadourne to Alfred Fabre-Luce: "... pour qu'il retrouve sur nos pistes croisées les domaines d'un monde qui ne rêve plus..." ["...so that he may find again on our crossed paths the domains of a world that no longer dreams..."]

Original color print, on laid paper, signed at bottom left of the plate.
A few discrete red stains affecting the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the twentieth century, celebrating the talent of French creators and artists during the flourishing of Art Deco.
The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications « s'adressent aux bibliophiles et aux mondains esthètes » ["are addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, later adopted in 1946 by Christian Dior. The prints are created using the metallic pochoir technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then « Art, modes et frivolités » ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » ["In 1910, he observes, there was no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts such as George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations show no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton marks a decisive stage in the history of fashion. Combining aesthetic demands and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the « petit journal mourant » ["dying little journal"] that Nast had purchased a few years earlier: Vogue magazine.

Original color print, on laid paper, signed at top left of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the twentieth century, celebrating the talent of French creators and artists during the flourishing of Art Deco.
The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications « s'adressent aux bibliophiles et aux mondains esthètes » ["are addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, later adopted in 1946 by Christian Dior. The prints are created using the metallic pochoir technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then « Art, modes et frivolités » ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » ["In 1910, he observes, there was no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts such as George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations show no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton marks a decisive stage in the history of fashion. Combining aesthetic demands and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the « petit journal mourant » ["dying little journal"] that Nast had purchased a few years earlier: Vogue magazine.

Original color print heightened with palladium, printed on laid paper, signed at the bottom right of the plate.
Original engraving created for the illustration of La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2,000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reported the words of the editor-in-chief: "In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of creating a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlighted and sublimated the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of women, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed at the top right of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2,000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, heightened in colors and some highlighted in gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reported the words of the editor-in-chief: "In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of creating a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlighted and sublimated the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton was a decisive step in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of women, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, unsigned.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were addressed to bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, later adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, enhanced in colors and some highlighted with gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already contributed to the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » ["In 1910, he observed, there was no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts including George Barbier, Bernard Boutet de Monvel, and Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton marks a decisive stage in fashion history. Combining aesthetic excellence and visual unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and established, through this alchemy, a completely new image of woman - slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed at bottom right of the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists at the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "were addressed to bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, later adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, enhanced in colors and some highlighted with gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already contributed to the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » ["In 1910, he observed, there was no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts including George Barbier, Bernard Boutet de Monvel, and Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the era: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton marks a decisive stage in fashion history. Combining aesthetic excellence and visual unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and established, through this alchemy, a completely new image of woman - slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed in the lower right of the plate.
Some discreet stains, of no concern.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It comprises 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "address bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin typeface, adopted in 1946 by Christian Dior. The prints are created using the metallic stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observes, there was no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts such as George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations show no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents from the worlds of arts, letters and fashion and establishes, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton will largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed in the lower right of the plate.
Original engraving created for the illustration of La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the height of the Art Deco movement.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It comprises 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "address bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin typeface, adopted in 1946 by Christian Dior. The prints are created using the metallic stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observes, there was no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts such as George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations show no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton is a decisive step in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents from the worlds of arts, letters and fashion and establishes, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton will largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had purchased a few years earlier: Vogue magazine.

Original color print, printed on laid paper, signed at center bottom of the plate.
Original engraving created for the illustration of La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, heightened in colors and for some highlighted in gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités". Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observed, there was no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the illustrator's idea of the fashion of the day.
La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brought together for the first time the great talents of the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "dying little journal" that Nast had bought a few years earlier: Vogue magazine.

First edition in French, one of 45 numbered copies on handmade paper, the only deluxe copies.
Bookplate pasted on the page facing the front free endpaper.
Spine and boards slightly discolored as is generally the case.

First edition in French, one of 41 numbered copies on pure laid paper, the only deluxe copies.
Bookplate pasted on the page facing the half-title page.
Spine and boards slightly faded as usual, handsome copy.

First edition in French, one of 41 numbered copies on pure laid paper, the only deluxe copies.
Bookplate pasted on the page facing the half-title page.
Spine and boards slightly faded as usual, handsome copy.

First edition in French, one of 41 numbered copies on pur fil, the only deluxe copies.
Bookplate pasted on the page facing the half-title page.
Spine and covers slightly faded as usual, handsome copy.

First edition in French, one of 31 numbered copies on pur fil, the only deluxe copies.
Bookplate pasted on the page facing the half-title page.
Spine and covers slightly faded as usual, handsome copy.

First edition, one of 25 numbered copies on Annam paper, deluxe copy.
Illustrated with four copperplate engravings by Charles Guyot.
Spine slightly sunned, handsome copy.

Autograph prescription signed by Dupuytren, written in black ink on the recto of a sheet of white paper.
Fold marks inherent to postal transmission.
Prescription recommending "absolute bed rest, every fortnight a moxa around the sick knee. These moxas must be the width of a 3-franc coin. They must not be maintained but left to themselves and be replaced by others as they dry out. A full bath in hot salted water, every 3 or 4 days for one hour's duration. Habitation in airy dry places exposed to the south."
Moxibustion, an ancient method of Chinese and Japanese medicine, consists of warming - using moxas (from Japanese mogusa, a variety of mugwort) - an acupuncture point and making heat penetrate through the skin.

[NEW YORK SCHOOL] Alfred L. COPLEY

Collection of six photographic negatives showing haemorrhages under a microscope
Collection of six photographic negatives (5 on plastic and 1 on glass) showing haemorrhages under a microscope made in the 1950s by Alfred L. Copley in his Parisian laboratory. Each negative, except one, is accompanied by a technical sheet on Copley's laboratory letterhead.

Under the pseudonym L. Acopley, this scientist and artist from the School of New York produced emblematic works of abstract expressionism. A doctor by training, he was particularly interested in hemorheology, in other words the study of the flow properties of blood. The negatives that we have to offer are a valuable testimony to his research and were an undeniable inspiration for his pictorial works.

His works today are preserved at the National Museum of Modern Art in Tokyo, at the Art Institute of Chicago, at the Stedelijk Museum in Amsterdam and at the Israel Museum in Jerusalem.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full blue grained sheep bindings, blue top edges, smooth spines decorated with gilt fillets.
Two small lacks to the cellophane at the head of the spine of the fifth volume, three tiny lacks to the cellophanes of the second and fourth volumes at the head of the spines, otherwise handsome set.
The set is complete with its cellophanes, its dust jackets (except for the second volume) and its slipcases.
Our copy is also complete with its 6 folding genealogical tables of the houses of Bouillon, Bourbon, Condé, Conti, Elbeuf, Guise, Soissons, Lorraine, Rohan, Le Tellier which are discussed in the "Mémoires" of the Duke de Saint-Simon.

First edition in volume.
Publisher's white cardboard binding, smooth spine, illustrated front cover.
Work illustrated with humorous drawings by Jacques Faizant.
Handsome copy despite covers slightly and partially yellowed at their margins.
Autograph inscription signed by Jacques Faizant to Jeanne Cacouault.

First edition in volume.
Publisher's full white cardboard binding, smooth spine, illustrated front cover.
Work illustrated with humorous drawings by Jacques Faizant.
Handsome copy.
Signed autograph inscription from Jacques Faizant to Jeanne Cacouault.

First edition in volume.
Publisher's binding in full white boards, smooth spine, illustrated front cover.
Work illustrated with humorous drawings by Jacques Faizant.
Handsome copy, a mention "bon anniversaire 1971" ["happy birthday 1971"] discreetly inscribed in blue ballpoint pen on the verso of the front cover.
Autograph inscription signed by Jacques Faizant to Jeanne Cacouault.

First edition published by André Castelot of these memoirs of the grandson of the Duke of Berry, one of 300 numbered copies on vellum, the only deluxe copies.
Half red shagreen binding with corners, spine lightened with five raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt.

Extremely important edition, comprising a large number of works appearing here in their first edition. The complete set of these 27 volumes is rare (Clouzot). The titles present in first edition are: Mattea, Lettres d’un Voyageur, La Dernière Aldini, Les Maîtres mosaïstes, L’Uscoque, Spiridion, Les Sept Cordes de la lyre, Gabriel, Pauline, and Un hiver à Majorque.
Illustrated with a portrait of the author at the head of the first volume.

Bound in contemporary half brown sheep, spines uniformly faded, with four raised bands decorated with double gilt panels, double gilt fillets at head and foot, marbled-paper boards, marbled endpapers and pastedowns, marbled edges, a few very lightly rubbed corners, contemporary bindings. Some occasional foxing, a light dampstain affecting the final leaves of the twenty-first volume.

A very rare complete set, in contemporary bindings.

Edition illustrated with 29 original engravings by Pierre-Yves Trémois etched and engraved and printed in 225 numbered copies on Rives vellum.
Slipcase slightly and marginally split without consequence.
Handsome copy.

First edition, one of 95 numbered copies on laid paper, deluxe copy with 95 Holland.
Half brown shagreen binding with corners, spine slightly faded with five raised bands decorated with cold fillets, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt.

First edition, one of the numbered copies on laid paper.
Half brown shagreen binding with corners, spine slightly faded with five raised bands set with cold fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt.

First edition, one of 25 hors commerce copies numbered on Madagascar paper, deluxe issue after 10 Chine and 21 Holland.
Half brown shagreen binding with corners, spine with five raised bands set with cold fillets, marbled paper boards, endpapers and pastedowns, original wrappers preserved, top edge gilt on deckled edges.
Some minor worming without significance.
Autograph inscription signed by Emile Henriot to Jérome Tharaud and members of his family.

First edition illustrated with a frontispiece by Tony Johannot engraved by Andrew, Leloir and Best and mounted on China paper.
Full dark blue Russian morocco binding, spine with four raised bands set with gilt garlands, spine also decorated with triple gilt compartments and ornamented with gilt typographical motifs, gilt friezes at head and foot, gilt date at foot, gilt roulettes on headcaps, triple gilt fillet frame on covers enhanced at corners with gilt typographical motifs, raspberry watered silk endpapers and pastedowns, seven-fold gilt fillet frame on pastedowns, following endpapers of pebbled paper, bookplate pasted on an endpaper, gilt fillets on leading edges, superb romantic pastiche binding signed Noulhac.
Some foxing.
Copy magnificently bound in Noulhac's romantic pastiche binding.

First edition, one of 30 numbered copies on pure rag du Marais paper, the only deluxe copies with some pure rag du Marais hors commerce copies.
Half black shagreen binding with corners, spine with five raised bands set with cold fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt.
Handsomely bound copy.

Illustrated edition with 25 original lithographs by Yves Brayer, one of 150 numbered copies on pure rag Lafuma paper.
Covers and spine entirely browned, otherwise handsome copy.

First edition, one of 100 numbered copies on alfa paper, the only deluxe copies.
Half green shagreen binding with corners, spine with four raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt retaining deckled edges.
Spine discolored and sunned.

First edition, a Service de Presse (advance) copy.
Signed and inscribed by Francis Jourdain to maître Maurice Garçon.

First edition on ordinary paper, with a false statement of fifth edition.
A handsome copy considering the poor quality of this wartime paper rationed by the Nazi occupiers.

First edition printed on ordinary paper.
Autograph inscription signed by Jean Cassou to Jacques Henri Jouheaud: "... ce vieux livre que sa jeune amitié a rajeuni, de tout coeur..." ["... this old book that his young friendship has rejuvenated, wholeheartedly..."]

The first edition, of which there were no deluxe copies.
Handsome copy.
Moving autograph inscription signed by Georges Didi-Huberman to a close couple of friends: "Pour mes Hubermont's chéris - avec toute ma tendresse. Georges" ["For my dear Hubermont's - with all my tenderness. Georges"].

New edition of the French translation illustrated with 118 engravings in the text.
Half bottle green shagreen binding, spine with four raised bands set with gilt dotted lines and decorated with gilt fleurons, some rubbing to the bands, marbled paper boards, pebbled paper endpapers and pastedowns.
Some foxing.

First edition printed in a limited edition of 200 numbered hors commerce copies.
Introduction by General Marquis de Brantes.
Handsome copy.
Autograph inscription dated and signed by General de Brantes, great-great-grandson of J.G. Lacuée, to Alfred Fabre-Luce.

First edition, one of 85 numbered copies on alfa paper, the only deluxe copies after 15 on pur fil.
Half midnight blue shagreen binding with corners, spine with five raised bands set with blind fillets, marbled paper covers, endpapers and pastedowns, original covers and spine preserved, top edge gilt retaining deckled edges.
Handsome copy agreeably bound.

First edition of the French translation, of which there were no deluxe copies, one of 170 numbered copies reserved for subscribers.
A small tear at the head of the first cover, otherwise a handsome copy of these memoirs by Julio Alvarez Del Vayo who was a member of the Spanish Socialist Workers' Party and Minister of Foreign Affairs during the Spanish Civil War.

First edition in French, of which there were no deluxe copies, one of 250 numbered copies reserved for subscribers.
Light worming to first endpaper.

First edition published by the Cercle Taleb-Moumié, of which there were no deluxe copies, one of 300 numbered copies reserved for subscribers.
Handsome copy.

First edition, one of 100 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.
About Littré, Claude Bernard, Louis Pasteur, Jean Charcot, Honoré de Balzac, Marcel Proust, Gustave Flaubert, Emile Zola, Eugène Delacroix, Stendhal, Prosper Mérimée, Georges Clemenceau, Paul Valéry, Charles Baudelaire...

First edition, one of 35 numbered copies on pure linen paper, the only deluxe copies.
Very handsome copy.

First edition, one of 40 numbered copies on Lafuma vergé pur fil paper, deluxe copies after 20 on Arches.
Back cover slightly darkened without significance, handsome interior condition.

First edition, one of 100 numbered copies on pur fil paper, the only deluxe copies.
Handsome copy.

First edition, one of 200 numbered copies on deluxe paper for each volume, the only deluxe copies.
Half brown shagreen bindings with corners, spine with five raised bands decorated with blind fillets, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edges gilt retaining deckled edges.
Fine copy handsomely bound.

First edition printed on ordinary paper.
Handsome copy.
Autograph inscription signed by Maurice Pons to Mademoiselle Ourévitch.

Autograph letter signed by George Sand addressed to publisher Léon Curmer. One page written in black ink on a double sheet.
This letter was published in the complete correspondence compiled by Georges Lubin.
"Monsieur, J'ai parcouru votre recueil avec beaucoup d'intérêt, et j'accepte la collaboration que vous m'avez offerte, mais je ne pourrais m'occuper de vous satisfaire que dans six semaines ou deux mois. Si cette époque vous convient veuillez bien me le faire savoir ainsi que les conditions de la rédaction." ["Sir, I have perused your collection with great interest, and I accept the collaboration you have offered me, but I could not undertake to satisfy you for six weeks or two months. If this timing suits you, please let me know as well as the conditions of the writing."] The "recueil" ["collection"] in question here is none other than Les Français peints par eux-mêmes. Sand would not, however, collaborate on this monumental compendium of types, preferring instead, several years later, Le Diable à Paris published under the direction of her close friend, publisher Hetzel.

First edition, one of 41 numbered copies on pur fil paper, the only deluxe copies.
A very fine copy.

First edition, one of 15 numbered copies on vélin du Marais paper, the only deluxe copies.
Minor worming to spine.

First edition in French, one of 70 numbered copies on alfa mousse paper, the only deluxe copies.
Half tawny shagreen binding with corners, spine with four raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt retaining deckled edges.
Spine and boards marginally lightened.
Fine copy handsomely bound.

First edition, one of 100 numbered copies on alfa paper, the only deluxe copies.
Half chocolate brown shagreen binding with corners, spine slightly faded with five raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt retaining deckled edges.
Fine copy handsomely bound.

First edition, one of 150 numbered copies on pur fil du Marais paper, the deluxe issue after 100 Arches copies.
Half bordeaux shagreen binding with corners, spine with four raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, cover preserved.
Spine and boards very slightly and marginally lightened, without consequence.
Copy attractively bound.
Autograph inscription signed by André Maurois to Bernard Gauche: "... ces trois Mousquetaires...", manuscript signature of André Maurois below the justification page.

First edition, one of 25 hors commerce copies numbered on Madagascar paper, the deluxe issue after 16 Japan copies put into commerce.
Half caramel shagreen binding with corners, spine with five raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt.
Handsome copy attractively bound.
Autograph inscription signed by Emile Henriot to Maurice Parturier.

First edition, one of 15 numbered copies on alfa mousse paper, the only deluxe copies.
Half red shagreen binding with corners, lightened spine with five raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt retaining its deckled edges.
A handsomely bound copy.

First edition, one of 99 numbered copies on alfa mousse paper, the only deluxe copies.
Handsome copy.
Signed autograph inscription from Alain Robbe-Grillet to Claude Couffon.

First edition, one of 100 numbered copies on Holland paper, the only deluxe copies.
Half red shagreen binding with corners, spine with five raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt on deckled edges.
Spine and boards slightly and marginally lightened, otherwise a handsome copy attractively bound.

The first edition, of which there were no deluxe copies.
Signed autograph inscription from Willy de Spens to Christine Arnothy.

First edition, one of 700 copies on colour paper, ours numbered in pencil.
Copy complete of its folded rainbow dust jacket which has small angular pieces missing including on the flaps, good internal condition.
Text by Michel Tapié.
Work illustrated with 32 images by Jean Dubuffet.
Handwritten presentation dated and signed by Jean Dubuffet to the writer, journalist and theatre historian Paul-Louis Mignon.

First edition on ordinary paper.
Handsome copy.

First edition on ordinary paper.
Light foxing to edges of no significance.
Handsome copy.

New edition.
Slight foxing to edges of no significance, otherwise a handsome copy.

First edition, one of 52 numbered copies on alfa paper, the only deluxe copies.
Half red shagreen with corners, spine very slightly faded with five raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, retaining deckled edges.
A handsome copy attractively bound.

First edition illustrated with reproductions of sculptures by Ludmila Tcherina.
Full black paper boards, smooth spine, illustrated front cover, corners and headcaps slightly bumped.
Autograph inscription dated and signed by Ludmila Tcherina: "Au proffesseur (sic) Jean Malaurie c'était le soir du grand jour "panthéonien" où le feu même gela ! Comme vous voyez... je ne vous oublie pas." ["To Professor Jean Malaurie it was the evening of the great 'Pantheon' day when even fire froze! As you can see... I haven't forgotten you."]

Edition illustrated with 31 original etchings by Jacques Ramondot and printed in 145 nominative copies on Fabriano laid paper.
Spine of chemise and slipcase lightened, boards lightly and marginally shaded without gravity.
Bookplate pasted opposite the colophon.
Our copy is complete with the very beautiful multicolored poster folded in 4, reproducing the decoration of the chemise and slipcase.
Each of the three texts is printed on laid paper of different color: grey for "Les Pâques à New York", taupe grey for "La Prose du Transsibérien" and mustard yellow for "Le Panama ou les Aventures de mes sept Oncles".

Illustrated edition in first and only printing with 18 hors-texte and one etched header, with 2 title vignettes by Julian-Damazy colored in watercolor. Initial letters also heightened with watercolor. Limited to 400 copies. One of 300 on Holland paper numbered 186.
Contemporary full green morocco binding with mosaic work, signed Blanchetière at the bottom of the front pastedown, with slipcase covered in beautiful handmade paper in gold, green and white, and bordered with brown morocco. Spine with 4 raised bands decorated with 4 compartments in pink morocco mosaic with dotted fillets following the contours. A central iron mosaic in green. Author, title and date gilt at tail. Boards with mosaic work of a wide pink morocco frame with Phrygian caps in the corners, dotted and gilt fillets. Pastedown with pink morocco border and gilt fillets. Top edge gilt. Covers and spine preserved. Spine now uniformly brown. Superb paper, perfectly fresh. Uncut copy with full margins.
Very handsome copy.
One of the particularly fresh and successful tales by the famous ERCKMANN-CHATRIAN duo, set in 1792 in the Vosges. The novel tells the story of a sutler left for dead on the battlefield of Anstatt. This novel resurrects glorious times, the struggle of thirty thousand volunteers from Hoche's army against eighty thousand soldiers of Brunswick and Wurmser.

Statement of third edition. Title pages in red and black.
Contemporary half red shagreen binding. Spine with raised bands. Gilt title and date. Top edge gilt. Uncut copy. Some rubbing. Scattered foxing.
Fine edition, highly regarded, revised against the original manuscript.
Handsome copy.

First edition, one of the few numbered copies on alfa paper for the first volume, one of the few numbered copies on Japan bamboo paper for the second, the only deluxe copies.
Half chocolate brown shagreen bindings with corners, spines with four raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, covers and spines preserved, top edges gilt retaining deckled edges.
A handsome set attractively bound.

First edition in French, one of 20 numbered copies on alfa paper, the only deluxe copies after 1 copy on vellum d'Arches specially printed for Queen Elizabeth II.
Half blue shagreen binding with corners, spine with five raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt retaining deckled edges.
Spine slightly faded, otherwise a handsome copy attractively bound.

First edition, one of 50 numbered copies on alfa paper, the only deluxe copies.
Half havana shagreen binding with corners, spine with four raised bands set with cold fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, corners slightly bumped, top edge gilt retaining its deckled edges.
Spine lightly sunned, fine copy handsomely bound.
Autograph inscription signed by Paul-Marie de la Gorce to Bernard Gauche, manuscript signature of Paul-Marie de la Gorce below the justification page.

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by Erik Orsenna to René de Obaldia.

First edition of which there were no deluxe copies for each of the volumes.
Handsome set.
Dated and signed autograph inscriptions from Pierre Vidal-Naquet to Yvonne and Roger Rey on each of the volumes.

First edition. Printed on laid paper. Illustrated covers on Japan paper. Watercolor illustrations by Albert Lynch, engraved in colored etching by Eugène Gaujean. 20 colored engravings (including 10 full-page), 10 illustrated colored initials, numerous tailpieces and vignettes in black.
Contemporary full mosaic shagreen binding in blue and brown. Spine with raised bands decorated with 4 fleurons in ornate compartments. Head and tail rolls. Bordeaux morocco title label, ornate brown shagreen date label. Covers with mosaic work featuring a large rectangular frame very richly decorated in the manner of lace-work bindings, corner and angular tools, multiple framing fillets. Broad inner lace-work. Double endpapers. Edges gilt. Covers preserved.
Very handsome copy, perfectly fresh, with wide margins.
Famous history of feminine fashion under Octave Uzanne, particularly Parisian, in the 19th century. Nymphs and Marvellous Women, Romantic Elegantes, etc... Beautiful publication.

First edition illustrated with 15 original copperplate engravings, including 10 in color, by Maurice de Vlaminck, one of 250 numbered copies on Arches laid paper.

The work is also illustrated with 2 portraits by Amedeo Modigliani depicting Maurice de Vlaminck and his wife.

Full Empire green morocco binding, spine with two prominent raised bands extending as triangles in blind on the covers, spine decorated with three gilt lozenges with gilt title and separated by a transverse gilt bar, marbled paper endpapers and pastedowns, triple gilt fillets framing the pastedowns, covers and spine preserved, top edge gilt, Empire green morocco-edged slipcase, marbled paper boards, contemporary binding signed by the workshops of C. Muller, Nancy bookbinder.

Manuscript signature by Maurice de Vlaminck in pencil below his frontispiece portrait.

Spine slightly darkened, otherwise a handsome copy.

First edition on ordinary paper.
Handsome copy complete with its wraparound band.
Autograph inscription signed by Jean d'Ormesson to a woman named Jeanne.

First edition, one of 218 numbered copies on alfa paper, deluxe issue after 29 on pure linen.
Half navy blue shagreen binding with corners, spine with five raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, original covers and spine preserved, top edge gilt retaining deckled edges.
Handsome copy attractively bound.
Manuscript signature of Raymond Recouly on the half-title page.

The first edition, of which there were no deluxe copies.
Signed autograph inscription by Pierre Paraf: "A mes amis Les Etudiants Juifs de France en cordial et dévoué hommage. Pierre Paraf." ["To my friends the Jewish Students of France with cordial and devoted homage. Pierre Paraf."]
Provenance: from the library of the Jewish Students of France with the printed stamp on the verso of the first cover.

First edition on ordinary paper.
Handsome copy
Autograph inscription dated and signed by Philippe de Coninck to Denise Got.

Illustrated edition with 34 original color compositions by Albert Robida engraved by Bertrand and printed in 115 numbered and nominative copies on vélin du Marais.
Full red morocco binding, spine with four raised bands studded with black dots and decorated with triple compartments (two gilt and one black), covers framed with triple gilt fillets and a black morocco fillet, marbled paper endpapers and pastedowns, pastedowns decorated at corners with stylized gilt floral motifs enhanced with brown mosaic morocco pieces forming their petals, covers and spine preserved, all edges gilt, red morocco-edged slipcase, marbled paper boards, white felt lining, elegant contemporary binding dated 1903 and signed Meunier.
A very handsome copy superbly executed.

First edition, one of 50 numbered copies on alfa paper, the only deluxe copies.
Half aubergine shagreen binding with corners, spine with five raised bands set with blind fillets, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt on deckled edges.
Conclusion by Louis Armand.
Handsome copy pleasantly bound.

First edition of this selection of texts collected by Dominique Fourcade.
Spine creased, complete with publisher's mimeographed slip.
Precious autograph inscription signed by Dominique Fourcade to André Masson.