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Paris (France)

Paris (France)

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60783 results
  2. Lettre autographe signée adressée à Marcel Duhamel à propos du film Les Portes de la nuit de Marcel Carné
    Yves MONTAND
    Lettre autographe signée adressée à Marcel Duhamel à propos du film Les Portes de la nuit de Marcel Carné
    Paris 21 janvier 1946|21 x 27 cm|1 page 1/2 sur un feuillet

    Early autograph letter signed by the young leading man Yves Montand, addressed to Marcel Duhamel regarding Marcel Carné’s film Les Portes de la nuit. One and a half pages written in blue ink on ruled paper. Fold marks from mailing and two punch holes in the left margin, not affecting the text.
     
    Unpublished, this letter was read on France Culture during the program « La Boîte à lettres » in November 2014.

    €2,800
  3. "Quelquefois je m'imagine ce que devrait être l'Académie Goncourt..."
    Lucien DAUDET
    "Quelquefois je m'imagine ce que devrait être l'Académie Goncourt..."
    Signed autograph letter addressed to Lucien Descaves
    Paris 28 mai 1936|13.40 x 21 cm|2 pages sur un feuillet
    Autograph letter signed by Lucien Daudet addressed to Lucien Descaves; two pages written in black ink on a sheet of blue paper. Folds inherent to mailing.
    Fine letter discussing Alexandre Arnoux, talent and the Prix Goncourt: "Alexandre Arnoux est un écrivain comparable a Vallery (sic) Larbaud, c'est-à-dire un homme remarquable à qui a manqué on ne sait quelle chance ou quelle ambition. [...] Quelquefois je m'imagine ce que devrait être l'Académie Goncourt, dans son véritable esprit Goncourt, et son prestige ici et en Europe, si les Dix étaient vous, mon frère, Claudel, Gide, Max Jacob, Cendrars, Malraux, Neveux, etc." ["Alexandre Arnoux is a writer comparable to Vallery (sic) Larbaud, that is to say a remarkable man who lacked we know not what chance or what ambition. [...] Sometimes I imagine what the Goncourt Academy should be, in its true Goncourt spirit, and its prestige here and in Europe, if the Ten were you, my brother, Claudel, Gide, Max Jacob, Cendrars, Malraux, Neveux, etc."]Alphonse Daudet, Lucien's father, was the first president of the Goncourt Academy in 1897.
    €350
  4. "Vous, moi, quelques uns avons aimé Céline quand il avait un grand talent"
    Lucien DAUDET
    "Vous, moi, quelques uns avons aimé Céline quand il avait un grand talent"
    Unpublished signed autograph letter addressed to Lucien Descaves
    Paris 29 décembre 1942|13.60 x 17.90 cm|6 pages sur un double feuillet et un feuillet simple
    Autograph letter signed by Lucien Daudet addressed to Lucien Descaves; six pages written in black ink on a double sheet and a single sheet. Creases inherent to the mailing.
    Fine and long unpublished letter addressed to Lucien Descaves, to whom Daudet had not given news for two years. He outlines broadly the tragic events that occurred since: "Since that time, I remained in Paris, I witnessed the days of June 40 [...] I undertook, to forget my life, to write a life of my father [...] Then in August, I understood that I was very ill [...] I was operated on, reoperated on, in November I was dying, I knew nothing anymore, then a phlebitis. [...] A month later I learned of my brother's death."
    All these sad misadventures do not prevent him from thinking about the Goncourt Academy which he evokes at length in this missive. Indeed, his brother Léon Daudet having died a few months earlier, the academicians are seeking a successor and Lucien's name figures among the favorites: "As soon as the newspapers mentioned my name for the Goncourt Academy, I was very embarrassed." He nevertheless states the reasons why he does not wish to join the ten: "Because I could not appear, my brother being dead, to say 'my turn' [...] And finally, it is difficult to write when one is the son of Alphonse Daudet, but when in addition one is the brother of Léon Daudet [...] the game was lost in advance for me." It is finally La Varende who will be elected on the recommendation of René Benjamin and Sacha Guitry and despite his certainties ("I would present myself one day or another to the Academy") Lucien Daudet will never join the prestigious jury.
    Lucien has attached to his first letter another sheet in which he comments on Germaine Beaumont's latest novel: "One must not have the slightest idea of what a novel is, a true novel, to not have understood that for years no one had written a novel of such density." This literary consideration is the occasion for Daudet to address the Céline case, who - still in France at this time - has just published his third pamphlet Les Beaux Draps: "You, I, a few others loved Céline when he had great talent. And then all the imbeciles discovered him when he imitated himself and it was no longer anything but the waffle iron..."
    €450
  6. Revue générale des matières colorantes et des industries qui s'y rattachent. Produits chimiques, matières premières, blanchiment, teinture, impression et apprêt des fibres textiles et du papier, etc... Tome deuxième formant l'année 1898 en 12 fascicules mensuels
    COLLECTIF, Léon LEFEVRE
    Revue générale des matières colorantes et des industries qui s'y rattachent. Produits chimiques, matières premières, blanchiment, teinture, impression et apprêt des fibres textiles et du papier, etc... Tome deuxième formant l'année 1898 en 12 fascicules mensuels
    Editions France-Empire|Paris 1er Janvier au 1er Décembre 898|13.50 x 19 cm|relié
    First edition.
    Half bronze sheep binding, spine slightly faded with four raised bands set with black fillets, head of spine rubbed and worn, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
    Each monthly fascicle is decorated with one or two plates of 8 dye samples, in all 15 plates for the year 1898.
    The September plate is detached.
    The journal is also illustrated with text figures.
    €200
  8. Traité de chimie appliquée à l'industrie
    Adolphe RENARD
    Traité de chimie appliquée à l'industrie
    Librairie polytechnique Baudry & Cie|Paris 1890|15.50 x 25 cm|broché
    First edition.
    Half brown shagreen binding, spine with five raised bands set with gilt garlands and decorated with gilt floral motifs, minor rubbing traces on the spine, blind fillets on brown cardboard boards, four scratches on the front board, marbled endpapers and pastedowns, contemporary binding.
    Some foxing particularly affecting the edges.
    Work illustrated with 225 figures in the text.
    Rare.

    €150
  14. [PHOTOGRAPHIE] Portrait photographique d'Annie Girardot
    ALPHA-IMAGE-PRESSE (Annie GIRARDOT)
    [PHOTOGRAPHIE] Portrait photographique d'Annie Girardot
    Paris 1956|13 x 18.20 cm|une photographie
    Photographic portrait of Annie Girardot, vintage silver gelatin print in black and white. Alpha-Image-Presse studio stamps to verso.
    Mimeographed slip pasted to verso: "Le Prix Suzanne Bianchetti décerné annuellement à une jeune révélation du cinamé français, a été attribué à la charmante Annie Girardot. La voici tenant à la main la médaille à l'effigie de Suzanne Bianchetti et qui matérialise le prix. Elle a obtenu le prix pour son rôle dans son premier film "L'homme aux clefs d'or"." ["The Suzanne Bianchetti Prize awarded annually to a young revelation of French cinema, has been given to the charming Annie Girardot. Here she is holding the medal bearing the effigy of Suzanne Bianchetti which materializes the prize. She received the prize for her role in her first film 'The Man with the Golden Keys'."]
    €60
  22. [PHOTOGRAPHIE] Portrait photographique de Marcel Aymé
    Thérèse LE PRAT (Marcel AYMÉ)
    [PHOTOGRAPHIE] Portrait photographique de Marcel Aymé
    Paris s. d. [ca 1950]|22.70 x 30 cm|une photographie
    Black and white photographic portrait of Marcel Aymé by Thérèse Le Prat in a period silver gelatin print on baryta paper. Manuscript signature by Thérèse Le Prat in white ink at the bottom left of the photograph.Photographer's stamp on verso and pencil annotation.
    Fine copy despite a fold to the upper right corner.
    We have been able to locate only one other example of this photograph at the Médiathèque de l'Architecture et du Patrimoine in Charenton-le-Pont.
    €400
  32. Carte postale autographe signée adressée à André Dupuis
    Jules MASSENET
    Carte postale autographe signée adressée à André Dupuis
    Paris 1909|14 x 9 cm|une carte postale
    Signed autograph postcard from Jules Massenet addressed to André Dupuis and written in black ink on the verso of a black and white photographic view of Egreville. With envelope.
    "Your excellent letter arrives to me on the morning of September 16th - & I was unaware that Thaïs had been performed this week..."
    Thaïs is an opera in three acts by Jules Massenet, libretto by Louis Gallet, after the eponymous novel by Anatole France.
    €300
  36. Un homme libre
    Maurice BARRÈS
    Un homme libre
    Georges Crès et Cie|Paris 1912|13 x 19.50 cm|relié
    New edition, one of 5 copies printed on China paper, deluxe copy after 3 on old Japan paper, illustrated with a frontispiece portrait of the author in bistre.
    Bradel binding in half red morocco, smooth Jansenist spine very slightly faded and showing very light scratches, blind fillet on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, binding signed Ch. Lanoë successeur de P. Ruban.
    Handsome copy.
    €180
  37. Histoires incertaines
    Henri de RÉGNIER
    Histoires incertaines
    Mercure de France|Paris 1919|13 x 19.50 cm|relié

    First edition, one of 470 numbered copies on Holland paper, the only deluxe copies with 59 on China paper.


    Full violet morocco binding, spine with five raised bands uniformly sunned, date and place gilt at foot, double gilt fillet on edges and headcaps, endpapers and pastedowns - framed with wide gilt dentelle - of paste paper, all edges gilt on witnesses, covers and spine preserved, binding signed David. Upper corner of first cover lightly rubbed.


    Bookplate pasted on front pastedown.
    Handsome copy of this collection containing three fantastic tales: "L'entrevue", "Le Pavillon fermé" and "Marceline ou la punition fantastique".

    €300
  42. Rimbaud le voyou
    Benjamin FONDANE
    Rimbaud le voyou
    Denoël & Steele|Paris 1933|11.50 x 18.50 cm|relié sous chemise-étui
    The first edition, of which there were no deluxe copies.
    Bradel binding in full blue cloth, smooth spine uniformly faded.
    Our copy is presented in a half blue morocco chemise, smooth spine and paste-paper boards, paper lining, slipcase of the same paper and bordered in blue morocco, signed by P. Goy and C. Vilaine.
    Dedicatee's bookplate pasted on a pastedown.
    Rare autograph inscription dated and signed by Benjamin Fondane on this important text: "A Renaud de Jouvenel en témoignage de bonne amitié, avec l'hommage de Benjamin Fondane."
    €3,000
  43. La tentative amoureuse
    André GIDE
    La tentative amoureuse
    Librairie de l'Art Indépendant|Paris 1893|15 x 19.50 cm|relié
    First edition printed in 162 copies, ours one of 150 numbered copies on tinted vellum, the only issue with 12 on Whatman.
    Bradel binding in half emerald green morocco, smooth spine stamped with gilt title lettered lengthwise, pebbled paper boards, front cover preserved, binding signed P. Goy and C. Vilaine.
    Signed autograph inscription from André Gide "au poëte Angiolo Orvieto en témoignage de sympathie" ["to the poet Angiolo Orvieto in testimony of sympathy"].
    Rare testimony to his relationship with Angiolo Orvieto, Florentine poet and librettist, who founded the periodical Il Marzocco in 1896, and devoted a study to the writer the following year.
    The two poets were united by their admiration for Chopin, who inspired Orvieto to write an opera and Gide his Notes sur Chopin (1948).
    €2,000
  44. Portrait photographique de Charles Destouches, oncle de Louis-Ferdinand Céline et sa famille
    (Charles DELHAYE DESTOUCHES) (Louis-Ferdinand CÉLINE)
    Portrait photographique de Charles Destouches, oncle de Louis-Ferdinand Céline et sa famille
    Photographic Portrait of Charles Destouches, Uncle of Louis-Ferdinand Céline, and His Family
    A. Lauga|Paris s. d. [ca 1900]|14.20 x 10.50 cm|une photographie

    Photographic portrait of Charles Destouches, uncle of Louis-Ferdinand Céline, pictured with his wife and their young daughter Charlotte Destouches—Céline’s cousin known as “Lolotte”—on albumen paper mounted on a card from the Parisian studio A. Lauga.
     
    Small loss to lower right corner. Some glue residue along the edges. Handwritten caption on verso.

    €1,700
  47. L'odyssée de Cartier - Cartier ré-enchante le monde
    CARTIER
    L'odyssée de Cartier - Cartier ré-enchante le monde
    Cartier|s. l. • [Paris] 2012|25.50 x 32.50 cm|relié sous étui
    Book published for the launch of Bruno Aveillan's film and printed on heavy coated paper.
    Work illustrated with magnificent full-page compositions in black, red and gold and accompanied by seven envelopes containing Cartier models.
    Press kit containing the history of the Cartier house which announces, for the brand's 165th anniversary, the release of the film "L'Odyssée de Cartier".
    Copy in mint condition, the interior pouches have never been opened.
    €600
  51. Rare et inédit portrait en tondo d'Edith Follet
    (Louis-Ferdinand CÉLINE) Edith FOLLET
    Rare et inédit portrait en tondo d'Edith Follet
    Reullinger|Paris circa 1920|-|Photographie|diamètre 11 cm
    Rare and unpublished tondo portrait of Edith Follet, Louis-Ferdinand Céline's second wife, whom he married in 1919, on albumen paper mounted on Reullinger studio cardboard.

    The photograph has a repaired marginal tear and manuscript captions "Édith Follet" "1920" inscribed on the verso.

    This very elegant portrait of the illustrator Edith Follet, unpublished to our knowledge, dates from the early 1920s and puts a face to the "graceful brunette of cold distinction," who illustrated Céline's medical thesis, often considered his very first book, foreshadowing Voyage au bout de la nuit.

    Céline met Édith Follet in 1918 through the young woman's father, the highly respected Rennes doctor Athanase Follet. En route to his first awareness tours against tuberculosis within the Rockefeller mission, Céline dined at the doctor's home in the company of his charming daughter:
    "Il avait des yeux extraordinaires, d'un bleu qui changeait selon ses sentiments.
    Quand il était contrarié, son regard s'éclaircissait. Ce grand garçon d'un mètre quatre-vingts me donnait l'impression d'être un homme" ["He had extraordinary eyes, of a blue that changed according to his feelings. When he was upset, his gaze would lighten. This tall young man of six feet gave me the impression of being a man"], she confided sixty-eight years later. After his baccalaureate and months of chaste tête-à-têtes with the young woman five years his junior, Louis Destouches married Édith Follet on August 10, 1919 in Quintin.
    €2,500
  52. Portrait photographique de jeunesse du père de Louis-Ferdinand Céline accompagné de ses trois frères
    (Louis-Ferdinand CÉLINE) (René, Georges and Charles DESTOUCHES)
    Portrait photographique de jeunesse du père de Louis-Ferdinand Céline accompagné de ses trois frères
    Paris circa 1875|13.20 x 21.80 cm|une photographie

    Original photograph mounted on rigid cardboard, showing Fernand Destouches, father of writer Louis-Ferdinand Céline (top right) posing alongside his brothers René, Georges and Charles - from top to bottom and left to right.
    Edges of the rigid cardboard slightly bumped.
     
    This portrait of the four Destouches brothers in uniform with laurel collar, dates from their happy schoolboy years at the Le Havre lyceum. The photograph, a true incarnation of a carefree and bygone past, must undoubtedly have held importance in the eyes of the four brothers, who would reproduce as adults the exact pose of this childhood portrait for a second, family portrait, preserved in the collection of François Gibault (Anton, Sonia, « Louis-Ferdinand Céline, d'un Havre à l'autre : entre autofiction, transposition et imaginaire », Le Territoire littéraire du Havre dans la première moitié du XXè siècle, 2013, fig. 20, photograph taken around 1905).
     
    Our photograph is reproduced on page 11 of the Album Céline (Gallimard, 1977).

    €3,000
  53. Boris Godounov
    Boris ZWORYKINE, Alexandre POUCHKINE
    Boris Godounov
    L'Edition d'art H. Piazza|Paris 1927|17 x 24 cm|broché sous étui
    Edition illustrated with 15 original compositions colored in stencil by Boris Zworykine, one of 145 numbered copies on imperial japan paper, complete with its suite in black, the deluxe copies (tirage de tête) after 35 other Imperial Japan containing a double suite and a watercolor.
    Spine very slightly lightened, corners of the chemise slightly dull, beautiful copy.
    The cover, frames, headers and cul-de-lampes are also by Boris Zworykine.
    €2,500
  54. Les Indes noires. Le Chancellor
    Jules VERNE
    Les Indes noires. Le Chancellor
    Bibliothèque d'Education et de Récréation J. Hetzel et Cie|Paris 1903-1904|18 x 28.50 cm|relié
    New edition, illustrated with drawings by J. Ferrat including several polychrome plates hors-texte produced by Belin Frères and appearing here for the first time.
    Publisher's "golden globe" binding signed Engel, first cover plate by Blanchelande, spine with lighthouse, second cover of Engel "i" type, with the monogram JH in straight letters.
    Les Indes Noires are the Scottish coal mines. An operator discovers a deposit and builds a true underground city, a young girl is discovered there who seems never to have seen daylight. The underground city is a utopia, ideal vision of a hidden world.
    Le Chancellor is an adventure novel presented as the Journal du passager J.-R. Kazallon and tells the epic of the shipwrecked passengers of the English ship the Chancellor.
    Original blue endpapers marginally and slightly faded as usual, otherwise superb copy.

    €7,000
  55. Histoire du chevalier des Grieux et de Manon Lescaut
    ABBé PREVOST
    Histoire du chevalier des Grieux et de Manon Lescaut
    Javal et Bourdeaux|Paris 1927|24.50 x 29 cm|relié
    Illustrated edition, one of 175 copies printed on japon impérial with 3 states, one in colors with remarques, one in colors without remarques and one in a single color. The drawing, announced in the justification, is absent but our copy is enhanced with two color proofs with remarques printed on old paper and justified in pencil.
    Work illustrated, in first printing, with 15 watercolors by René Lelong, engraved on copper with wash and stipple by Delzers and printed in colors with registration.
    Full France blue morocco binding, smooth spine, covers decorated with silver-colored paper plates on three sides, France blue morocco enhanced with a septuple gilt fillet with return of the silver paper plates framing three sides of the pastedowns, the latter and endpapers of marbled paper, original covers and spine preserved, top edge gilt on deckled edges, slipcase bordered with blue morocco, binding signed by J. Van West.
    Superb copy executed in a charming Art Deco binding.
    €1,200
  58. Annotations en marge de la Genèse
    Marcel JOUHANDEAU
    Annotations en marge de la Genèse
    Gallimard|Paris 1947|12 x 19 cm|broché
    First edition, one of 13 numbered copies on pur fil, deluxe copy.
    Handsome copy.
    Handsome full-page autograph inscription dated and signed by Marcel Jouhandeau to the art dealer Ernest de Frenne: "Pour Ernest de Frenne, cette petite plaquette aurait dû être dédiée à un prêtre anglais le P. Burdett, Francis Burdett. Au moins aurais-je écrit son nom sur cet exemplaire. C'est lui qui est à l'origine de cette annotation. Bien sympathiquement. Marcel Jouhandeau." ["For Ernest de Frenne, this little booklet should have been dedicated to an English priest, Father Burdett, Francis Burdett. At least I would have written his name on this copy. He is at the origin of this annotation. Most cordially. Marcel Jouhandeau."]


    €300
  62. Réponse de M. Victor Hugo au discours de M. Saint-Marc Girardin, prononcé dans la séance du 16 janvier 1845
    Victor HUGO
    Réponse de M. Victor Hugo au discours de M. Saint-Marc Girardin, prononcé dans la séance du 16 janvier 1845
    Typographie de Firmin Didot frères|Paris 1845|20.50 x 27 cm|relié
    First edition.
    Signed autograph inscription from Victor Hugo to Mélanie Foucher: "A Madame Victor Foucher Hommages (?) V." ["To Madame Victor Foucher Respects (?) V."]
    Bradel binding in full pebbled paper, smooth spine decorated with a burgundy morocco label, title lengthwise, binding signed Thomas Boichot.
    Some very minor worming.
    Handsome copy.
    €2,800
  63. Réponse de M. Victor Hugo au discours de M. Sainte-Beuve, prononcé dans la séance du 27 février 1845
    Victor HUGO
    Réponse de M. Victor Hugo au discours de M. Sainte-Beuve, prononcé dans la séance du 27 février 1845
    Typographie de Firmin Didot frères|Paris 1845|20.50 x 27 cm|relié
    First edition.
    Autograph inscription from Victor Hugo to Mélanie Foucher: "à ma précieuse soeur Mélanie" ["to my precious sister Mélanie"]
    Bradel binding in full paste paper, smooth spine decorated with a black morocco label, title lengthwise, binding signed Thomas Boichot.
    Inscription slightly trimmed. Some very minor worming.
    €2,800
  65. Jacques le Fataliste et son maître
    Denis DIDEROT
    Jacques le Fataliste et son maître
    Chez Buisson|à Paris An Cinquième de la République [1796]|12 x 20.70 cm|relié
    First edition, posthumous, on Holland paper.
    Contemporary full marbled brown calf binding. Spine with raised bands, decorated. Red morocco title label, black morocco volume label. A slight lack to the lower joint at the tail. Signs of rubbing. Scuffing to the upper board with a lack of leather. One corner slightly bumped. Pages 247 and 257, lacking the right corner of the margin. Paper generally fresh. This copy has been bound in a single volume, following the 1772 edition of Diderot's Works in 6 volumes (Volume VI, II). Good copy.
    The introductory text, in memory of Diderot, is by Jakob-Heinrich Meister, friend of Necker and successor to Frédéric Melchior Grimm at the Correspondance littéraire.
    The novel, conceived from 1765, appeared in serial form in this review from 1778 to 1780. The published version was not, however, definitive, since Diderot constantly expanded it until his death, and the work which, in 1771, counted 125 pages, reached 200 in 1778, 208 in 1780, 287 in 1783. Yet the work, well before its French publication, was already known in Germany thanks to Schiller's translation (in 1787 in his review Thalia). Following this version, Doray de Longrais gave a French version of the same story. In 1792, Germany discovered the complete text thanks to a new translation, that of Mylius. Finally, in 1796 the original text was published in France, from a copy presumably provided by Grimm or Goethe.
    An unclassifiable work that freed itself from all novelistic rules, the book draws its plot from the picaresque novel and inherits the freedom of a book that profoundly influenced Diderot: The Life and Opinions of Tristram Shandy, by Sterne.


    €3,500
  68. Les Fioretti de Jeanne d'Arc
    Jean-Jacques BROUSSON
    Les Fioretti de Jeanne d'Arc
    Ernest Flammarion|Paris 1931|14 x 18.50 cm|relié
    First edition, one of 50 numbered copies on pure thread paper, the only deluxe copies after 10 Holland.
    Full black morocco binding, spine with four raised bands, front board decorated with a beautiful repousse calf plaque representing Joan of Arc in profile with her signature and arms engraved in the upper corners, double fillet stamped in blind framing the plaque, painted and gilt paper pastedowns lined with black morocco decorated with rich gilt dentelle framing on three sides, painted and gilt paper endpapers, gilt dentelle on the leading edges and headcaps, covers and spine preserved, top edge gilt on deckled edges, elegant unsigned binding.
    Fine copy established in a rare repousse leather binding.
    €450
  69. Les tombeaux des personnes illustres
    ISIDORE LE LABOUREUR
    Les tombeaux des personnes illustres
    Chez Antoine Vuarin • [ Antoine Le Bouc]|à Paris 1642|22 x 34.50 cm (In-folio)|relié

    First edition published by Antoine Le Bouc in 1642 and later reissued for sale in 1684, with a cancel slip pasted over the original imprint, bearing the updated address of Antoine Vuarin. This intriguing bibliographical feature suggests that a portion of the original printing remained unsold. Notably, the work was never reprinted. Epistle addressed to Cardinal Richelieu.
    Fine allegorical frontispiece by Avice. The illustrations include a genealogical chart of the House of Orléans; two genealogical tables of the House of Luxembourg; four plates demonstrating the Marquis de Gesvre's descent from Charlemagne; a plate detailing the quarterings of the Marquis de Noirmoustier's arms; a genealogical table of the Bourbons; and 106 in-text heraldic shields (approximately 10x15 cm), all engraved by Pierre Nolin.
    Contemporary full brown calf binding. Spine with raised bands, richly gilt. Surface abrasion to upper board, and three wormholes. One small wormhole at the upper inner margin, developing into a narrow gallery from p. 60, then gradually diminishing. Minor tear (1 cm) in the outer margin of the Luxembourg genealogical plate. Lacks the preliminary blank before the frontispiece.
    A very attractive copy, remarkably well-preserved.

    €2,200
  70. L'aiglon
    Edmond ROSTAND
    L'aiglon
    Eugène Fasquelle|Paris 1928|14.50 x 20.50 cm|relié
    New edition, limited to 3000 copies on wove paper. No.953.
    Rare art-deco Jotau binding, in full vermillion red bakelite, joints mounted on piano-type hinges, beveled boards at edges, front board struck with three horizontal recessed fillets and decorated with a frieze of chiseled wheels, this same frieze is set with a silver metal plate bearing the engraved title of the work, small plate of the same on the spine. Original wrappers preserved. Small lacks of bakelite on the first three pivots at foot otherwise superb copy, with perfect freshness of paper.
    Binding bearing the signature on the second pastedown in a medallion: Jotau, for Joseph Taupin, with the mention inside the second board: "patented S.G.D.G.". This binding was made between 1920 and 1933. Soft cardboard slipcase.

    €2,000
  72. Paris dansant
    Georges MONTORGUEIL, Adolphe Léon WILLETTE
    Paris dansant
    Théophile Belin|Paris 1898|22 x 30 cm|relié
    First edition printed with 200 copies on vellum, illustrated with a frontispiece and 12 colour intaglio engraved plates by Willette, printed in bistre in the text and in colour for the insets by Vigna-Vigneron, comprising the frontispiece in 7 versions including 4 for the decomposition of the colour and 12 insets in 2 versions, that is black and white and colour.

    Bound in pale pink suede, spine in two false compartments, multicoloured patchwork garland glued to the boards, comb-patterned endpapers, shimmering covers and spine preserved, all leaves have been mounted on guards, brown cloth slipcase, binding signed D. M. and dated 2015.

    "Belle publication côtée, une des meilleures de l'artiste, qui mérite plus d'attention. Vigna, habile artiste restaurateur de gravures anciennes, a innové un artistique procédé de reproduction en couleurs qui respecte l'original" (Carteret). “Beautiful popular publication, one of the artist's best, which deserves more attention. Vigna, a skilled artist restorer of old engraving, invented an artistic colour reproduction process that respects the original” (Carteret).
    €1,800
  73. "Vous avez toujours des façons charmantes de vous rappeler à vos amis, même quand ils se souviennent"
    Stéphane MALLARMÉ
    "Vous avez toujours des façons charmantes de vous rappeler à vos amis, même quand ils se souviennent"
    Signed autograph card addressed to Alidor Delzant
    Paris 13 octobre 1893|11.40 x 8.90 cm|une carte recto verso - enveloppe jointe
    Signed autograph card from Stéphane Mallarmé addressed to Alidor Delzant written in black ink on both sides. With envelope.
    Alidor Delzant was a lawyer, collector and bibliophile. A friend of the Goncourts, he devoted a work to them and was Edmond's secretary and testamentary legatee.
    A friendly card in which Mallarmé thanks Alidor Delzant for a surprise sent: "Ma fille a trouvé à la maison, dès notre retour ces jours-ci, la caisse remplie de regards en coulisse ; elle vous remercie beaucoup et Madame Delzant. Vous avez toujours des façons charmantes de vous rappeler à vos amis, même quand ils se souviennent." ["My daughter found at home, upon our return these past days, the crate filled with sidelong glances; she thanks you very much and Madame Delzant. You always have charming ways of reminding your friends of yourself, even when they remember."] The "regards en coulisse" are likely apricots or prunes.

    €1,500
  78. Lucrèce Borgia
    Victor HUGO
    Lucrèce Borgia
    Calmann Lévy|Paris 1881|14 x 19.50 cm|relié
    New edition, one of 40 numbered copies on Whatman, the only deluxe copies announced.
    Half red morocco binding, spine with five raised bands, date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt on deckled edges, binding signed by P. Goy & C. Vilaine.
    Precious signed autograph inscription from Victor Hugo: "A mon cher Théodore de Banville. Victor Hugo." ["To my dear Théodore de Banville. Victor Hugo."]
    Precious inscription from the master to one of the pillars of the Parnassian school.
    €4,800
  79. Lettre autographe signée à Michael Smithies : "Voilà un de mes rêves : parler à Oxford et cette fois encore le destin s'y oppose."
    Jean COCTEAU
    Lettre autographe signée à Michael Smithies : "Voilà un de mes rêves : parler à Oxford et cette fois encore le destin s'y oppose."
    Paris s. d. [17 décembre [1955]]|20.80 x 26.80 cm|une page sur un feuillet
    Autograph letter signed by Jean Cocteau addressed to Michael Smithies. One page written in blue ballpoint pen.
    Two transverse folds inherent to the mailing.
    Interesting letter filled with disappointment: "Here is one of my dreams: to speak at Oxford and once again fate opposes it. I have just been very ill..." One easily understands Cocteau's state of health following the sentence, very confused: "on me me chambre la montagne vers ces dates".
    "Think of the sentence I underline and let us organize something for the near future." The poet's dream would be fulfilled the following year; promoted to the rank of doctor of letters honoris causa by Oxford University on June 12, 1956, he would deliver the Discours d'Oxford on the 14th.
    €700
  84. Les aventures d'Abdalla, ou son voyage a l'isle de Borico. Traduction de l'Arabe
    Jean-Paul BIGNON, Antoine René de Voyer d' ARGENSON
    Les aventures d'Abdalla, ou son voyage a l'isle de Borico. Traduction de l'Arabe
    Chez J. G. B. Musier|A La Haye [The Hague] • & A Paris 1773|9.50 x 17 cm|2 volumes reliés
    Edition with some parts in first edition, rare. The first volume, written by Bignon appeared from 1712 to 1714 under the name of the announced prefacer and translator: Sandisson; the second volume, consisting of a sequel and conclusion to the stories of Abdalla is by M. de Paulmy; certain biographers give Louis Daniel Colson as author (orientalist and one of the authors of the History of China). First illustrated and collected edition with 6 figures and 2 title vignettes; the vignettes are signed Eisen and engraved by Legrand, the figures are before letters and are undoubtedly by the same. The work is listed by Cohen (Livres à gravures du XVIIIe) under Sandisson.
    Contemporary marbled full brown calf bindings. Decorated smooth spines. Red morocco title and volume labels. Restorations to headcaps and corners, gilt retouched. Worming on the upper board of volume II. Scattered foxing. Brown stain in upper margin on the first 50 leaves. Brown stain in margin on 3 leaves in volume II. Overall, good copy.
    Witty and parodic oriental novel. It recounts the journey and adventures of a pious Muslim, Abdalla, sent by his master, the sultan of the Indies, in search of water that provides eternal youth. This narrative is also a documentary on the Orient in which the abbé implements the knowledge that Western travelers brought back from their various journeys to India and Indonesia, it is also the vision that the Western clergy had of Muslims and the Orient. It offers a collection of marvelous tales that borrow their elements from both East and West. Like the Thousand and One Nights, it is filled with multiple stories and tales mixing genies and magic. The novel, published after Galland's translation of the Thousand and One Nights would enjoy great success.


    €650
  85. Le chariot d'enfant
    Gérard de NERVAL, Joseph MÉRY
    Le chariot d'enfant
    D. Giraud & J. Dagneau|Paris 1850|11.50 x 18.70 cm|relié
    Rare first edition, printed in 500 copies, of the French translation of this Indian tale established by Gérard de Nerval and G. Méry on ordinary paper, only 2 copies would have been printed on colored paper in deluxe format.
    Modern half black sheep binding, smooth Jansenist spine. Title and date in gilt. Black, gold and brown paper boards. Uncut copy, full-margined. Scattered foxing. Good copy.



    €500
  86. Unique ensemble de documents et manuscrits relatifs à la confidentielle adaptation théâtrale d'Au beau rivage par un admirateur manceau de René Fallet
    René FALLET
    Unique ensemble de documents et manuscrits relatifs à la confidentielle adaptation théâtrale d'Au beau rivage par un admirateur manceau de René Fallet
    Le Mans • , Paris • & Jaligny-sur-Besbre 1972|divers|divers supports

    Unique collection of documents (photographs, posters, etc.) and manuscripts relating to the confidential theatrical adaptation of Au beau rivage by an admirer from Le Mans of René Fallet.
    In 1972, Claude-Denis Renard from Le Mans, a great admirer of René Fallet, contacted the latter so that he would accept a theatrical adaptation of his novel Au beau rivage published in 1970 and for which he received the Humor Prize. Animated by his usual kindness, the writer joyfully accepted, forgetting to inquire about the contingencies linked to the exploitation rights of the novel held by the production company Prothea, whose reaction was not long in coming. Indeed, Mme de Almeida, in charge of managing the Fallet file, expressed numerous reservations regarding the exploitation of the name "Au beau rivage." The play would finally be performed under certain conditions and its title would be transformed to "Bistro story" for only six exclusive performances in Le Mans.

    The collection we offer consists of the following documents:
    - An autograph letter (17x23.5cm) signed and dated 11/04/72, written on Hotel George V letterhead: "Moi aussi je suis content que toute cette vérole se soit arrangé (sic) au mieux. Je signe des trucs ou écris sans y prêter trop d'attention et puis cela me retombe sur la tête. Mais je suis aise que la gentillesse ne soit pas toujours punie [...] J'accompagnerai bien sûr madame d'Almeida au Mans. Trouvez moi donc un maillot de coureur taille 4 du club local, je fais collection de maillots, je viens de ramener de Bruxelles celui de champion de Belgique. Bonne chance pour "Bistrot story" (marrant) 13 à vous, R. Fallet" ["I too am happy that all this mess worked out for the best. I sign things or write without paying too much attention and then it comes back to bite me. But I'm glad that kindness is not always punished [...] I will of course accompany Madame d'Almeida to Le Mans. Find me a runner's jersey size 4 from the local club, I collect jerseys, I just brought back the Belgian champion's from Brussels. Good luck with 'Bistrot story' (funny) 13 to you, R. Fallet"]
    - An autograph postcard (13.5x9cm) signed and dated 16/05/72, written on the verso of the reproduction of a photograph representing him with a doll, posted from his stronghold of Jaligny sur Bresbe in the Bourbonnais in which he thanks the director Claude-Denis Renard for his hospitality.
    - Two typed letters (21x27cm) dated March 6 and 21, 1972 and signed by Mme d'Almeida typed on letterhead of the production company Prothea, managing the rights for "Au beau rivage" and authorizing the theatrical adaptation under certain conditions.
    - An autograph letter (21x27cm) signed by the same and dated April 28, 1972, written on the same letterhead, ensuring the presence of René Fallet, difficult to reach in the middle of the resumption of the Belgian cycling season, at the first performance of "Bistro story" on May 7, 1972.
    - A telegram (21x12cm) from Mme d'Almeida dated 28/05/1972 confirming her coming accompanied by Fallet to a performance
    - The text of the play under the title "Au beau rivage" typed under cover bearing some annotations probably in Claude-Denis Renard's hand (21x29cm)
    - The program of the theatrical adaptation under the title "Au beau rivage" and its cast (21x29cm)
    - The small poster of the play "Au beau rivage" with three small marginal tears (29x42cm)
    - The manuscript and illustrated mock-up with an original drawing representing the protagonists of "Bistrot story" on tracing paper (44.5x75.5cm)
    - Two states of the large poster of "Bistrot story" on tracing paper (44.5x75.5cm)
    - The small poster of the play under the title "Bistrot story" framed (26x42cm)
    - Two black and white photographs of René Fallet, one original (18x13cm) in silver print and a reprint (18x12.5cm), taken during performances of "Bistrot story"

    €1,400
  87. Sacré nom d'une Bible !
    Roland BACRI
    Sacré nom d'une Bible !
    Balland|Paris 1973|21 x 27 cm|broché
    First edition illustrated with drawings by Pino Zac.
    Handsome copy despite a scratch on the first cover.
    Fine and humorous autograph inscription from Roland Bacri to Régine Deforges: "Pour Régine Deforge (sic) une des plus belles Eve à se mettre sous l'Adam. Le Bacri moine spirituel dans l'attente à Sion. Roland Bacri." ["For Régine Deforge (sic) one of the most beautiful Eves to put under Adam. The spiritual monk Bacri waiting in Sion. Roland Bacri."]
    €200
  89. "La Ronde" - Lithographie originale sur Chine - L'Estampe Moderne
    Henri LE SIDANER
    "La Ronde" - Lithographie originale sur Chine - L'Estampe Moderne
    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin) 1898|34.50 x 21 cm|une feuille
    Rare original lithograph, executed by Henri Le Sidaner Théophile Alexandre Steinlen for L'Estampe Moderne, series number 14 published in June 1898.
    One of 50 deluxe copies printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on verso, some foxing.
    Lithograph inspired by a poem by Van Lerberghe entitled "Les entrevisions".
    A magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of previously unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe issue: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
    This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
    French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomania." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
    Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
    A handsome copy.
    €500
  90. "Bal de barrière" - Lithographie originale sur Japon - L'Estampe Moderne
    Théophile Alexandre STEINLEN, Edmond & Jules de GONCOURT
    "Bal de barrière" - Lithographie originale sur Japon - L'Estampe Moderne
    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin) 1898|19.50 x 36 cm|une feuille
    Rare original lithograph, executed by Théophile Alexandre Steinlen for L'Estampe Moderne, series number 14 published in June 1898.
    One of 50 deluxe copies printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, with the numbered stamp of the deluxe issue on verso, some foxing.
    Lithograph inspired by an extract from Germinie Lacerteux by the Goncourts.
    A magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of previously unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each delivery of four prints was issued in 2000 copies sold at 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe issue: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
    This print of handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but to its particular affinities with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
    French collectors' interest in artistic posters intensified at the beginning of the 1890s. Octave Uzanne, to describe this fever, invented the term "affichomania." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
    Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a work of art in its own right, on the same level as the luxury illustrated book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
    A handsome copy.
    €800
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