First edition illustrated with 11 original black woodcut engravings by Paul-Emile Colin and 15 original engravings and typographical ornaments printed in bistre by Pierre-Eugène Vibert, one of 25 numbered copies on Japan paper containing a collection of artist's proofs by both painter-engravers on China paper.
Full mauve morocco binding, faded spine with five raised bands, gilt date at foot, some rubbing to bands and joints, watered silk endpapers in mauve, brown morocco doublure decorated with vegetal and floral frieze executed with brown and violet mosaic morocco pieces, covers and spine preserved, all edges gilt, slipcase with mauve morocco entry, faded, marbled paper boards, binding signed Canape.
Copy perfectly executed in a full morocco binding with doublure by Canape.
Illustrated edition with 15 original compositions by Jacques Wagrez engraved with etching by L. Boisson, one of 150 numbered copies on Marais vellum.
Half bordeaux morocco with corners binding, smooth spine decorated with gilt cartouches enhanced with gilt typographic motifs enriched with yellow, green and blue mosaic morocco pieces, place and date gilt at foot, fillet frame on pebbled paper boards, combed paper endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding signed Ruban.
Handsome copy perfectly executed in a half mosaic morocco binding by Ruban.
First edition illustrated with 38 hors-texte engravings (10 in color) after Fragonard, Eisen, Boucher, Moreau le jeune, Huet, Schall, one of 275 numbered copies on Holland paper, the only issue after 25 Japan.
Full midnight blue morocco binding, spine with five raised bands set with gilt dots decorated with double gilt compartments enhanced with gilt typographic motifs enriched with red, place, and blue mosaic morocco pieces, publisher and date gilt at foot, gilt roulettes on headcaps, three small nicks on joints and bands, triple gilt fillet frame on boards, marbled paper endpapers and pastedowns, gilt dentelle frame on pastedowns, covers and spine preserved, top edge gilt, contemporary binding signed Stroobants.
Handsome copy perfectly executed in a full mosaic morocco binding by Stroobants.
Complete typescript of a draft film script entitled “Le Cow-boy de Normandie.” Fourteen typed pages bound in a squared paper cover, inscribed in Boris Vian’s hand: “Projet de scénario – Boris Vian 6 bis Cité Véron Paris 18e.” Accompanied by the original envelope from the S.A.C.D.
This script was later reproduced in the collection Rue des ravissantes and adapted as a short film by Clémence Madeleine-Perdrillat in 2015.
This parody of a western tells the story of Jim Lacy, a disillusioned cowboy who leaves Nevada in search of a more genuine land: Fleurville, in Normandy.
Provenance: Fondation Vian.
Ink and watercolour portrait of the poet Paul Verlaine by his friend Marie Crance, bearing the artist's signature and the handwritten caption “Paul Verlaine à l'hôpital”.
A single sheet, presented in a frame with a mount. An inscription on the back of the frame—“written in the margin (by the framer): ‘For Messrs. Thénot and Lercey, 25 April 1894’”—provides a likely terminus post quem for the drawing.
Marie Crance (1860–1945), nicknamed Marie-aux-fleurs, was at the time the companion of the illustrator Frédéric-Auguste Cazals, whom she married in 1912. A laundress, maid, and occasional singer in the poet’s favourite dives, she was also a loyal friend and caretaker to Verlaine. She tended his ailing leg when he avoided doctors and took refuge in modest hotels on the outskirts of Paris. Cheerful, unpretentious, and full of life, she also visited him during his hospital stays at Broussais, Tenon, Cochin, and Saint-Antoine, where she made this bust portrait of the poet—his piercing gaze and stiffened figure shaped by age and chronic rheumatism. Verlaine dedicated a sonnet to her in the second edition of Dédicaces, along with a charming drawing (Verlaine, Lettres inédites [...], ed. Georges Zayed, 1976, p. 45):
« Je veux donc dire de ma voix la mieux timbrée,
Et les tracer du bec de ma meilleure plume,
Vos mérites et vos vertus dans l’amertume
Douce de vous savoir d’un autre énamourée
Mais d’un autre... »
A moving portrait of the wandering poet, curiously resilient, his form dissolving into the softness of the watercolour.
Very rare first edition for Le Gouté des porcherons, with the complete title Nouv. ed. augm. des Citrons de Javotte, histoire de carnaval. Et enrichie d'une Lettre amoureuse de M. Jambe de Creux, charbonnier à mademoiselle Catau, ravaudeuse. Le tout pour servir de Dessert au Déjeuner de La Rapée.
Third edition of La Pipe cassée and fourth for Bouquets poissards and Bouquets galants.
Contemporary half-sheep binding, smooth spine decorated with gilt fillets and a blonde sheep title-label, paste-paper boards. Some rubbing and minimal paper lacks to boards. First leaves somewhat stained without gravity.
Les Porcherons is a former district of the Paris suburbs between La Pologne to the West and the faubourg Montmartre to the East.
All the texts of these poissard songs are very valuable for the study of 18th-century Parisian slang.
Only three copies on the American continent: Newberry, Toronto and Montreal.
