Paris (France)

New edition of the French translation printed in 1000 numbered copies on alfa paper.
Publisher's binding after Paul Bonet's original design.
Handsome copy despite a small tear to one lower corner.

Sixteenth edition revised and corrected.
Full pine green shagreen binding, lightened spine with four raised bands decorated with gilt compartments adorned with gilt typographical motifs, gilt roulettes on headcaps, one joint slightly cracked at head, frame of black, blind and gilt fillets on boards decorated at their centers with gilt romantic arabesques, endpapers and pastedowns of white moiré silk in lace pattern, frame of double gilt fillet on pastedowns, all edges gilt, gilt fillets on leading edges, corners slightly bumped, contemporary binding.
Some foxing.

First edition, one of 527 numbered copies on vellum.
Handsome copy.
Work illustrated with 2 etchings by Démétrios Galanis.

First edition, one of 105 numbered copies on pur fil, the only deluxe copies.
Handsome copy.
Autograph inscription signed by Roger Grenier on the half-title page.

First edition, one of 25 numbered copies on alfa, ours one of 10 hors commerce, the only deluxe copies.
Spine browned.

First edition, one of 105 numbered copies on pur fil, the only deluxe copies after 30 Holland.
Handsome copy.

First edition, one of 135 numbered copies on wove paper, the only deluxe copies.
Two bookplates pasted on an endpaper.
Handsome copy.
Signed and inscribed by José Cabanis to Monsieur Régnier.

First edition, one of 135 numbered copies on wove paper, the only deluxe copies.
Handsome copy.

First edition on ordinary paper.
Spine sunned with a tiny tear at foot, small stains on boards.
Work illustrated with reproductions of works by Jean Lurçat.
Fine autograph inscription signed by Jean Marcenac to the poet Charles Dobzynski: "A mon frère Charles que j'aime pour les raisons du coeur et de la terre..." ["To my brother Charles whom I love for reasons of the heart and of the earth..."] enriched with an autograph inscription signed by Jean Lurçat.

First edition on ordinary paper.
A small stain at the foot of the first cover.
Autograph inscription dated and signed by Jean-Pierre Luminet to the poet Charles Dobzynski: "... grand-maître de l'opéra comique..." ["... grand master of comic opera..."]

Edition from the Petits Classiques françois collection, printed in 500 copies at the expense and under the supervision of Charles Nodier and the publisher using Didot l'Aîné typefaces.
Half navy blue morocco binding with corners, spine with five raised bands decorated with double blind-stamped compartments, a few small scratches to the spine, marbled paper boards, marbled endpapers and pastedowns, marbled edges, two corners slightly bumped.
Handsome copy despite some light foxing.

Edition forming part of the Petits Classiques françois collection, printed in 500 copies at the expense and under the care of Charles Nodier and the publisher with the typefaces of Didot l'Aîné.
Half navy blue morocco binding with corners, spine with five raised bands decorated with double blind-stamped compartments, marbled paper boards, marbled endpapers and pastedowns, marbled edges, two corners slightly bumped.
Handsome copy despite some minor foxing.

Edition forming part of the Petits Classiques françois collection, printed in 500 copies at the expense and under the care of Charles Nodier and the publisher with Didot l'Aîné typefaces.
Half dark blue morocco binding with corners, spine with five raised bands decorated with double cold-stamped compartments, small traces of rubbing on the spine, marbled paper boards, marbled endpapers and pastedowns, marbled edges, corners slightly bumped.
Some light foxing.

Edition forming part of the Petits Classiques françois collection, printed in 500 copies at the expense and under the care of Charles Nodier and the publisher with Didot l'Aîné typefaces.
Half navy blue morocco binding with corners, spine slightly faded with five raised bands decorated with double blind compartments, minor rubbing traces of no significance to spine, marbled paper boards, marbled endpapers and pastedowns, marbled edges.
Some minor foxing.

Rare original photograph on albumen paper, in carte de visite format, mounted on a board, depicting Gustave Courbet.
Handwritten annotations on the back.
We have been able to find only one other copy of this photograph at the New York International Center of Photography.

First edition illustrated with numerous illustrations by Gregory Masurovsky.
Numerous contributions including Michel Butor, Georges Raillard, Grégory Masurovsky, Shirley Goldfarb...
Spine lightly sunned.
Autograph inscription dated and signed by Gregory Masurovsky to Georges Raillard.

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
Contributions by Stringfellow Barr "L'amérique est déprimée" ["America is depressed"], Georges Friedmann "De Boston au Mississipi" ["From Boston to Mississippi"], other contributions by Rabi "Méditations au sortir des ténèbres" ["Meditations on emerging from darkness"], V. Siebrecht "La situation sociale en Allemagne" ["The social situation in Germany"]...
Occasional light foxing.

Autograph letter signed by Charles Auguste Émile Durant known as Carolus-Duran, famous portraitist of high society during the Third Republic. One folded sheet.
The artist gives his authorization to the famous journal L'Illustration to reproduce one of the portraits ("le portrait en gris de Melle XXX") ["the grey portrait of Miss XXX"] that he presented at the first Salon du Champ de Mars, in 1890. This painting received good reviews, notably in the Revue des Deux mondes: "[...] M. Carolus Duran est pourtant un portraitiste rare et supérieur par la sincérité qu'il apporte à rendre, dans tout son éclat et toute sa variété, la première et saisissante apparence des êtres vivans, par l'aisance et par la verve avec lesquelles il les campe et les anime dans la vérité de leurs allures, de leur air, de leurs ajustemens. [...] la troisième, Mlle S..., une toute jeune fille, une brunette fraîche et rose, en toilette de ville, porte un délicieux costume gris, avec ceinture et jabot rosés" ["M. Carolus Duran is nevertheless a rare and superior portraitist through the sincerity he brings to rendering, in all its brilliance and variety, the first and striking appearance of living beings, through the ease and verve with which he positions and animates them in the truth of their bearing, their air, their attire. [...] the third, Miss S..., a very young girl, a fresh and rosy brunette, in town dress, wears a delightful grey costume, with pink belt and jabot"] (Georges Lafenestre, "Les Salons de 1890", 3rd period, volume 99, 1890).

First edition on ordinary paper, with sixth edition statement.
Booklet illustrated with an unpublished portrait of the artist by himself engraved on wood by G. Aubert as well as reproductions of works by Odilon Redon.
Spine slightly sunned, handsome interior condition.

Autograph letter signed by sculptor Francisque Duret to Adolphe Saint Vincent Duvivier, head of the secretariat of the École impériale des beaux-arts.
"J'ai retenu Paul Armand, modèle arabe pour ma quinzaine à l'école et je prie Monsieur Duvivier de lui donner les instructions nécessaires et de prendre son adresse [...]" ["I have retained Paul Armand, Arab model for my fortnight at the school and I ask Monsieur Duvivier to give him the necessary instructions and to take his address [...]"]

First edition.
Some worming to the second cover.
Contributions by Federico Garcia Lorca "La Doncella, el marinero y el estudiante", André Salmon "Poèmes", Jean Rubin "An apology", Paul Weiss "Poèmes en prose"...

First edition.
Some light foxing, three small paper lacks to the head of the covers of the second volume.
Contemporary half red shagreen bindings, spines with five raised bands, marbled paper boards, marbled endpapers and pastedowns, speckled edges.

Edition illustrated with vignettes, from the Petits Classiques françois collection, printed in 500 copies at the expense and under the supervision of Charles Nodier and the publisher, using Didot l'Aîné's typefaces.
Half navy blue morocco binding with corners, spine with five raised bands decorated with double blind-stamped compartments, marbled paper boards, marbled endpapers and pastedowns, marbled edges, two corners slightly bumped.
Handsome copy despite some light foxing.

Edition from the Petits Classiques françois collection, printed in 500 copies at the expense and under the supervision of Charles Nodier and the publisher, using Didot l'Aîné's typefaces.
Half navy blue morocco binding with corners, spine with five raised bands decorated with double blind-stamped compartments, marbled paper boards, marbled endpapers and pastedowns, marbled edges, two corners slightly bumped.
Handsome copy despite some light foxing.

Edition from the collection Petits Classiques françois printed in 500 copies at the expense and under the care of Charles Nodier and the publisher with the typefaces of Didot l'Aîné.
Half navy blue morocco with corners, spine with five raised bands decorated with double blind compartments, marbled paper boards, marbled endpapers and pastedowns, marbled edges, two corners very slightly bumped.
Handsome copy despite some minor foxing.

Autograph letter signed by the painter specialized in Empire scenes Nicolas Toussaint Charlet to his publisher: "Avez vous eu l'obligeance de voir avec M. Bostein au sujet de mon traité c'est on ne peut plus urgent car il va falloir livrer. Vous savez combien il y a de raisons de traîner ces affaires ; donc il faut battre le fer tant qu'il est chaud. [...]" ["Have you had the kindness to see M. Bostein about my treatise, it is most urgent as we will have to deliver. You know how many reasons there are to drag out these affairs; therefore we must strike while the iron is hot. [...]"]

Amusing autograph letter signed by the engraver Nicolas Toussaint Charlet to the Gihaut brothers, engravers, inviting them to dinner and asking them to bring Champagne wine.
"Charlet invite M.M. Gihaut frères, éditeurs de l'oeuvre de Géricault etc...
à venir dîner dimanche avec lui, s'ils étaient hommes à envoyer dimanche matin quelques bouteilles de Champagne ou les acompterait.
Nous serons 12. Il faudrait au moins 4 bouteilles
Il compte sur eux il n'y a aucun moyen de refuser
Salut et amitié
Charlet" ["Charlet invites MM. Gihaut brothers, publishers of Géricault's works etc...
to come dine with him on Sunday, if they were men to send some bottles of Champagne on Sunday morning or would advance payment for them.
We will be 12. At least 4 bottles would be needed
He counts on them there is no way to refuse
Greetings and friendship
Charlet"]

First edition on ordinary paper.
Handsome copy despite a crease mark at the foot of the text block.
Signed autograph inscription from Jean Marcenac to the poet Charles Dobzynski and his wife Eliane: "... ce livre écrit pour eux..." ["... this book written for them..."]
Our copy is enhanced with two manuscript corrections by the author on pages 48 and 144.

First collected edition.
Illustrated with lithographs by Bazaine, Gromaire, Picasso, Villon...
Handsome copy despite the spine very lightly sunned without consequence.
Autograph inscription signed by Henri Pichette to Charles and Eliane Dobzynski: "... ce livre écrit souvent avec des déchirements..." ["... this book often written with heartbreak..."]
The illustration by Jean Bazaine, as frontispiece, has been heightened by him in watercolor.

First edition, one of the numbered copies.
Illustrated with 2 drawings by Françoise Blanc.
Handsome copy.
Autograph inscription signed by Christian Gali to Charles Dobzynski on the title page enhanced with an original signed drawing by Françoise Blanc on an endpaper.

First edition of this issue of the important humanist journal founded by Emmanuel Mounier, one of 50 numbered copies on Alma du Marais paper, the only deluxe copies.
This issue features a main section titled "Portuguese Poets: Ruy Bello, Adolfo Casais Montero, Raul de Carvalho, Fernando Echeverria, José Gomes Ferreira, Herberto Helder...
Other articles: M. Moreira Alves "Repression in Brazil", R. Federman "Happiness in S. Beckett"...
Stains to second cover and some light foxing.

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
This issue features a main section entitled "Révision du pacifiisme" ["Revision of pacificism"] with articles by: Franck Emmanuel "Le pacifisme des forts" ["The pacifism of the strong"], Emmanuel Mounier "Les équivoques du pacifisme" ["The ambiguities of pacifism"], Paul Ricoeur "L'homme nonviolent et sa présence à l'histoire" ["The nonviolent man and his presence in history"]...
Other articles: Louis Pauwels "Commencement" ["Beginning"], Charles Piquois "Le bagnard" ["The convict"]...
Some light foxing of no consequence.

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
This issue features a main section entitled "La révolte des étudiants dans le monde" ["Student revolt around the world"]: Latin America, Japan, China, United States, Germany, Italy, England, Spain, Poland, France with articles by Ida Berger, Yoshihiko Hanawa, Luigi Longo, Jacques Julliard, Manuel Tunon de Lara...
Some minor foxing of no consequence.

First edition of this issue of the important humanist review founded by Emmanuel Mounier, one of 50 numbered copies on alma du Marais paper, the only deluxe copies.
This issue is devoted to the proletarian condition and the workers' struggle with articles by Francis Jeanson "Définition du prolétariat", Jacques-René Rabier "L'évolution quantitative du prolétariat", Jean Daric "Mortalité et classes sociales", Emile Rideau "Conscience extra-prolétarienne", Jean-Marie Domenach "La combativité ouvrière", Jean Lacroix "Prolétariat et philosophie"...
Occasional light foxing.

First edition, one of the rare deluxe copies printed on Japan paper and not on Holland paper, contrary to what is indicated in the table of contents of each issue.
Contributions by Albert Mérat "Vers", Charles Morice "Dans le marbre", Maurice du Plessys "Pour Marie-aux-fleurs", Ernest Raynaud "L'opale", Ernerst Raynaud "Albert Mérat", Ernest Delahaye "Etude sur Rimbaud"...
Handsome copy complete with its double wrapper covering only the rare deluxe copies.

First edition, one of the rare deluxe copies printed on Japan paper.
Contributions by Albert Mérat "Chambres anciennes", Jean Bourguignon "Humour et humoristes", Léon Maillard "Honoré de Balzac", Henri Marsac "La prairie et le ruisseau", Emile Maison "Ceci n'est pas une bluette", Ernest Delahaye and Cazals "Pauvre Lélian"...
Handsome copy complete with its double wrapper covering only the rare deluxe copies.

First edition, one of the rare deluxe copies printed on Japan paper and not on Holland paper, contrary to what is indicated in the contents of each issue.
Contributions by Jean Moréas "Poésie", Jules Laloue "Eglogue", Frédéric-Auguste Cazals "Un café littéraire", Ernest Raynaud "Promenade au salon", Henri Marsac "Douze aquarelles d'Albert Trachsel"...
Handsome copy complete with its double wrapper covering only the rare deluxe copies.

First edition, one of the rare deluxe copies printed on Japan paper.
Contributions by Jean Moréas "L'amour dérobé", Eugène Ledrain "Louis Ménard", Frédéric-Auguste Cazals, Lucien Hubert "Bibelots", Albert Mérat "Les prêtres" and "Les moines"...
A handsome copy complete with its double wrapper covering only the rare deluxe copies.

First edition, one of the rare deluxe copies printed on Japan paper and not on Holland paper contrary to what is announced in the table of contents.
Contributions by Albert Mérat "Les exemples", Aimé Passereau "Les joyeusetés", Léon Frapié "Léon Riotor", Léon Maillard "Jules Valadon", Paul Fleurot "La fête de Diderot"...
Handsome copy complete with its double wrapper covering only the rare deluxe copies.

First edition, one of the rare deluxe copies printed on Japan paper and not on Holland paper contrary to what is announced in the table of contents.
Contributions by Paul Verlaine with the unpublished poem "A mon fils", Georges Izambard "Mai", Frédéric-Auguste Cazals "Le Procope", Ernest Raynaud "Promenade au salon", Lionel des Rieux "Stances", Albert Mérat "Trois âges : Attique ; Moyen-Age ; Renaissance française ; le triomphe de la république"...
Handsome copy complete with its double wrapper covering only the rare deluxe copies.

First edition.
Handsome copy despite a crease mark at the head of the first cover.
Dated autograph inscription signed by René Depestre, in Spanish, to a woman named Elisa.

First edition, a Service de Presse (advance) copy.
Bradel binding in full pebbled paper, smooth spine, grey sheep title label, two corners slightly bumped, covers and spine preserved, contemporary binding.
Handsome autograph inscription signed by Jean Martet to Tristan Bernard: "... qui n'a pas l'air d'y toucher et qui va jusqu'au fond des âmes..." ["... who doesn't seem to be affected by it and who goes to the depths of souls..."]

First edition, one of 160 numbered copies on Stella coated paper, ours specially printed for Monsieur Gottraux.
Publisher's full beige cloth binding, smooth spine very slightly browned.
Photographs by Robert Doisneau.
The work consists of the presentation of 97 painters and sculptors and 18 writers.
Our copy includes, like the 160 deluxe copies, the original lithograph by André Lhote which he signed on the plate.

Invitation card to the evening "Présence de Nazim Hikmet," organized in tribute to the poet who had died the previous year and which took place at Salle Pleyel on December 8, 1964, with notable attendees including Aragon, Charles Dobzynski, Jean-Paul Sartre and Michel Piccoli.
A very fine copy in excellent condition.
A citizen of a society with heavy constraints, the Turkish poet Nazim Hikmet (1901-1963) aspired from his earliest age to freedom. Initially through his poems which he composed - and he was one of the very first poets in his country to dare - in free verse, but also through very early political engagement. From 1920, he joined the independence movement led by Mustafa Kemal Atatürk, whom he would support until his accession to the presidency in 1924. But young Hikmet continued his travels to the Soviet Union, became a member of the clandestine communist party and never stopped writing poetry. Arrested numerous times for Marxist propaganda or incitement to revolt, he served several short prison sentences before finally being sentenced in 1938 to 28 years and 4 months of detention. At the initiative of the Union of Progressive Young Turks, a support committee was then created in Paris, chaired by Tristan Tzara and supported by several important French intellectuals such as Jean-Paul Sartre, Louis Aragon, Pablo Picasso, Philippe Soupault and Charles Dobzynski. Hikmet would spend twelve years behind bars before being released in 1950 following a general amnesty granted by the new democratic government. Irony of fate and ultimate affront, this same government asked him in 1951, when he was forty-nine years old, to perform his military service. Hikmet then left Turkey clandestinely to join Moscow and was stripped of his nationality. The poet in exile then traveled between the Russian capital, Beijing, Cuba, Prague, Warsaw and Paris where he reunited with his French friends and asked Charles Dobzynski to translate his poems. At that time, he was the only contemporary Turkish writer whose texts were rendered into French. His works, banned from sale until the 2000s in his native country, would only circulate through Western translations. Reviled by the Turkish government, the subversive poet was celebrated beyond his borders, and achieved great success in France where his poems were set to music (Yves Montand, Bernard Lavilliers...). In 1955, he received the International Peace Prize, the Soviet equivalent of the Nobel. At his death in 1963, Philippe Soupault devoted a radio program to Nazim Hikmet, recommending to his listeners that they immerse themselves in reading the verses of Paris, ma rose... The one who was nicknamed in his country the "blue-eyed giant" would only be rehabilitated in 2009 and Turkish nationality would be restored to him posthumously.

First edition of this journal edited by Charles Dobzynski, which, according to our research, only published four issues in three volumes.
A handsome and rare set despite the slightly sunned spines and a repair using adhesive tape at the head of issue number 1.
Contributions by C. Dobzynski, H. Sloves, S. Aleichem translated by E. Fleg, S. Asch translated by Claude Paris, E. Kaganowski, R. Feigelson, H. Barbusse with an unpublished letter, B. Chagall translated by I. Chagall, I. Opatochou translated by Claude Paris...
The double issue 3-4 being devoted to the centenary of Sholem Aleichem's birth.

First edition on ordinary paper.
Illustrated cover by P. Paquet soiled, one joint cracked and reglued, stains to endpapers, rear cover soiled, handsome interior condition.
Rare copy.

First edition on ordinary paper.
Handsome copy.
Autograph inscription dated and signed by Jean-Pierre Luminet to the poet Charles Dobzynski: "... pour commencer en littérature cette année mondiale de l'astronomie 2009, 400 ans tout juste après que l'oeil de Galilée se soit (sic) tourné pour la 1ère fois vers les étoiles..." ["... to begin in literature this world year of astronomy 2009, exactly 400 years after Galileo's eye turned for the first time towards the stars..."]

Extremely rare original albumen photograph, carte-de-visite format in a medallion, mounted on cardboard.
We have been unable to find any copy of this photograph in international public collections.

Edition illustrated by Fontanarosa, one of the numbered copies on pure thread paper.
Publisher's full brown leather bindings, faded spines with four raised bands, front covers enhanced with Gothic lettering and a border of stylized floral motifs, owls stamped in blind on rear covers, top edges gilt.
Some small dark spots on the spines.
Handsome complete set with slipcases.

First edition illustrated with drawings by Vladimir Velickovic.
Handsome copy.
Signed and inscribed by André Velter to Charles Dobzynski "... de la pratique du scalp : un poème à blanc." ["... on the practice of scalping: a poem in white."] enriched with the manuscript signature of Vladimir Velickovic.

Edition en format livre de forme.
Petites rousseurs en marges du premier plat.
Envoi autographe signé d'Eugène Guillevic à Jean-Baptiste Para.

Illustrated edition with 144 original color compositions by Georges Lepape, one of the numbered copies on Rives laid paper.
Handsome set despite minor soiling to the bottom edges of the slipcases.

The first edition, published in a small number of copies.
Half red shagreen binding, spine with five raised bands set with gilt fillets, double gilt fillets on marbled paper boards, marbled endpapers and pastedowns, marbled edges, contemporary binding.
Some light foxing, corners slightly bumped.

First edition in French, printed on ordinary paper.
Handsome copy despite a small marginal stain on the back cover.
Signed autograph inscription from Lawrence Durrell to Maurice Noël.
Provenance: from the library of Maurice Noël with his amusing bookplate pasted on an endpaper and his motto: "Adada sur mon bidet. Tout et rien !" ["Adada on my bidet. Everything and nothing!"]

First edition in French, a Service de Presse (advance) copy.
Handsome copy.
Signed autograph inscription from Lawrence Durrell to Maurice Noël.
Provenance: from the library of Maurice Noël with his amusing bookplate pasted on an endpaper and his motto: "Adada sur mon bidet. Tout et rien !" ["Adada on my bidet. Everything and nothing!"]

First edition, one of 950 numbered copies, the only issue after 50 deluxe copies on chiffon du Marais paper.
Our copy is enhanced, like the 50 copies of the deluxe issue, with the original lithograph signed in the plate by Zadkine

First edition printed on ordinary paper.
Handsome copy despite a small repaired tear at foot of spine.
Work illustrated with numerous drawings by Sapho.
Signed autograph inscription from Sapho to Anne-Marie Vaneau with an original drawing representing a woman from the front, perhaps the dedicatee.
Our copy is expanded with a large original drawing by Sapho, executed in black felt-tip pen in the manner of Pablo Picasso on a paper tablecloth from the brasserie La Coupole - famous gathering place of the Montparnos, representing the faces of a group of 9 friends and which was entitled by Sapho "Où est mon autocar de camarades?"
The drawing has been captioned at top left in blue felt-tip pen, probably by Anne-Marie Vaneau "La Coupole, 8 Mai 1985 24h30. Poncho - Benoit - Anne-Marie (dessin de Sapho).

First edition on ordinary paper.
Spine and boards slightly and marginally sunned and foxed, adhesive paper marks at head and foot of endpapers.
We include a postcard reproducing an ink and pastel by Michel Butor on which he wrote an autograph inscription dated and signed for Anne Sarraute.

First edition.
Spine and boards slightly and marginally lightened, a fold mark at foot of front board.
Work illustrated with a portrait of Rabindranath Tagore as frontispiece.

First edition, one of 150 numbered copies on Arches vellum, the only deluxe copies.
Rare and handsome copy.
Text by Louis Aragon in French followed by its English translation.
Work illustrated with lithographs by Alain Le Yaouanc.
Manuscript signatures by Alain Le Yaouanc and Louis Aragon at the colophon.
Our copy is complete, as stipulated in the justification page, with its original lithograph by Alain Le Yaouanc, which he justified and signed.

First edition.
Some small wormholes.
Contributions by Robert Giraud "Poèmes", Gabriel Pomerand "Lettre ouverte", Jean Fin "Histoire d'un conte", Jacques Jouheaud "Lettre et poème", Maxime Gorki "Lettre contre l'antisémitisme".

First edition.
Some minor foxing.
Contributions by Jean Cocteau "Les noces de sable", Ossip Zadkine "Poème", Philippe Soupault "Lorsque tout finit bien"...

First edition on ordinary paper.
Spine and boards slightly and marginally sunned and foxed, adhesive tape stains at head and foot of endpapers.
Signed autograph inscription from Michel Butor to his friend art critic and Nouveau Roman specialist Georges Raillard in the form of an original fold on the printed dedication page.

First edition, a Service de Presse (advance) copy.
Adhesive paper stains at head and foot of endpapers.
Signed autograph inscription by Michel Butor to his friend the art critic and Nouveau Roman specialist Georges Raillard, enhanced with an original collage and fold occupying two pages.
Includes a piece of the envelope on which Michel Butor wrote Georges Raillard's address, when he was director of the French Institute of Barcelona.

First edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Spine lightly sunned, small light stains on the front cover which also has a scrape at foot.
Signed and inscribed by Félicien Marceau to Bernard Wallet.

First edition published anonymously, one of 125 copies on simili-Japan paper.
Bradel binding in turquoise half cloth with corners, smooth spine decorated with gilt fleuron, double gilt fillet and gilt date at foot, tan morocco title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, contemporary binding.
Handsome copy.
Our copy is complete with the China paper facsimile of Charles Monselet's letter which shows heavy foxing as is usual with China paper.
Work illustrated with an original etching frontispiece by Georges Clairin and, at the end of the volume, an original etching by Félicien Rops.

First edition printed in 300 numbered copies on laid paper and justified by the author in the colophon.
Small stains to boards, slight tear at head of spine.

New edition.
Half navy blue morocco binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding signed in blind by Petitot.
A tiny angular lack at head of first endpaper.
Autograph inscription signed by Anatole France to Madame Félix Roussel: "... ce très mauvais livre..." ["... this very bad book..."]

New edition.
Half navy blue morocco binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary unsigned binding but attributable to Petitot.
A small tear at head of spine at one raised band.
Autograph inscription signed by Anatole France to Madame Henriette Lefebure.

New edition for the first volume, first edition on ordinary paper for the following three.
Half navy blue morocco bindings, spines with five raised bands, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edges gilt, contemporary bindings signed in blind by Petitot.
Handsome set despite slight scratches to the spines.
Signed autograph inscriptions by Anatole France to Madame Félix Roussel on the last three volumes.

Edition illustrated with drawings by Edmond Baudoin.
Handsome copy.
Publisher's soft binding.
Our copy is enriched with an autograph inscription and original signed drawing by Edmond Baudoin in black ink depicting a woman's face.

First edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Félicien Marceau to Michel Serres.

First edition.
Handsome copy.
Precious signed autograph inscription from Régis Debray to Michel Serres: "A Michel S. son toujours admiratif Régis D." ["To Michel S. his ever admiring Régis D."]

First edition, of which there were no deluxe copies.
Half navy blue morocco bindings, spines with five raised bands showing some minor rubbing, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edges gilt, contemporary bindings signed Petitot.
Autograph inscription signed by Anatole France to Madame Félix Roussel on the first volume.

First edition, one of 20 numbered copies on pure laid paper, ours one of 5 lettered and hors commerce copies, the only deluxe copies.
Handsome copy despite slight sunning at head and foot of spine.
Autograph inscription signed by Catherine Paysan to art publisher Alex Grall and his wife Monique: "Pour vous, cher Alex, en grande affection et complicité de coeur." ["For you, dear Alex, with great affection and complicity of heart."]

New edition, one of 69 numbered copies on Ingres laid paper, deluxe issue.
Introduction by Edith Silve.
Handsome copy.
Autograph inscription dated and signed by Edith Silve: "A monsieur Baguenier Désormeaux, ce livre où l'on voit bien comment Léautaud sut être protecteur de toutes... les bêtes !" ["To Monsieur Baguenier Désormeaux, this book where one can clearly see how Léautaud knew how to be protector of all... the animals!"]

Original photograph of Pierre-Marie-Joseph Proudhon produced using the gelatin silver process mounted on cardboard from the Reutlinger studio in Paris.
This photograph was taken in Charles Reutlinger's studio at the request of painter Gustave Courbet, who was then creating a portrait of the philosopher now preserved at the Petit Palais museum in Paris. Proudhon died on January 20, 1865 before posing for Courbet, making this image one of the painter's only sources of inspiration for his posthumous portrait: "go to Reutlinger and ask him on my behalf [...] for the large portrait he made of the philosopher according to my pose. I want to paint him at 146 rue Notre-Dame-des-Champs, with his children, his wife, as befits the wise man of this time and the man of genius" (Letter to Jules Castagnary, January 20, 1865, cited in Chakè Matossian, Saturne et le Sphinx : Proudhon, Courbet et l'art justicier).

Autograph letter signed by painter Pierre Puvis de Chavannes, 10 lines on one sheet.
The painter presents his resignation from the Société des artistes français, which he leaves with painter Ernest Meissonier with whom he founded the Salon du Champ de Mars, managed by the Société nationale des beaux-arts bringing together other dissidents from the official Salon des Champs-Elysées.

"Monsieur le Président,
J'ai l'honneur de vous envoyer ma démission de membre du comité et celle de membre de la Société des artistes Français. Veuillez agréer avec mes plus sincères regrets, l'expression de mes sentiments de haute considération.
P. Puvis de Chavannes" ["Mr. President,
I have the honor to send you my resignation as a committee member and as a member of the Société des artistes Français. Please accept, with my most sincere regrets, the expression of my highest consideration.
P. Puvis de Chavannes"]

Illustrated edition with drawings by André Hubert executed by Pierre Crampe, one of 500 numbered copies on pur fil dame blanche paper, deluxe issue.
Publisher's full cloth Bradel binding in vellum style, smooth spines with titles and fleurs-de-lys in blind, marbled endpapers and pastedowns, top edge gilt, marbled paper slipcases edged with cloth and imitation leather.
Spine of second volume slightly soiled, otherwise a very fine copy.

Very rare original albumen photograph in carte-de-visite format and medallion, mounted on yellow cardboard with red edges.
We have found no other copy of this photograph in international public collections.
Although undated, this photograph would have left J. Thierry's studio on June 12, 1869, as indicated in the Bibliographie de la France: "June 12, 1869, no. 779 -- Hervé. -- Michel Masson. -- Florian Pharaon. -- Jules Vallès. -- H. Daumier. -- Mme Montaubry. Paris, phot. {J. Thierry}. PORTRAITS -- CARTES". J. Thierry and A. Thierry actually designating the same person or, at least, the same studio.
We thank Mr. Eric Bertin, researcher in 19th-century art and literary history, for this kind and very valuable information.

Edition illustrated with 4 copperplate engravings by Morel after drawings by Chaudet.
Contemporary full red morocco binding, spine with five raised bands richly decorated with gilt dentelles, fillets and fleurons, boards framed with double gilt dentelle, gilt roulette on leading edges and headcaps, marbled endpapers and pastedowns - framed with gilt dentelle, all edges gilt.
This poem is still considered today as the masterpiece of descriptive poetry of the 18^th century; Voltaire wrote about it: "it is the only work of our century that will pass to posterity."
Very handsome full-margined copy.

An edition of 500 copies, this one of 100 copies on Japon imperial paper, with a black-and-white suite of Léon Carré's 20 color illustrations.
Publisher's blue paper covers with gilt arabesques in relief, spine very slightly creased and sunned, the chemise with a few tears, slipcase with slight tears to two edges.

First edition printed in 400 copies and illustrated with 8 plates outside the text, including one folding plate, as well as a portrait of the author as frontispiece. Berbiguier destroyed almost all copies after publication.

Contemporary bindings in half brown sheep, smooth spines decorated with quadruple fillets, dentelles and gilt fleurons, red morocco title and volume labels, grained paper boards, all edges marbled.
Two minor wormholes at the head of the second volume. Enigmatic and very fine pinhole marks at regular intervals on all three spines.
Bookplate of the R. & B. L. library pasted on the front pastedown of the first volume.
« L'époque où Berbiguier compose ses mémoires est propice aux croyances démonologiques, suite à la grande Inquisition et à l'illuminisme du XVIIIe siècle, qui marquent profondément le XIXe siècle à travers, entre autres, un engouement pour l'occultisme. Ce n'est donc guère étonnant que la figure de Satan imprègne Les Farfadets et que la sorcellerie se manifeste dans le récit sous la forme de la persécution. Le XIXe siècle voit également le développement de la psychiatrie, par l'entremise de travaux de grands aliénistes, tels que Henry Ey et Philippe Pinel, dont Berbiguier sera justement le patient. Pinel, que l'auteur considère littéralement comme le « représentant de Satan » dans sa nomenclature des farfadets, ne réussira guère à le délivrer des supplices des démons invisibles, réels uniquement pour le seul tourmenté. » ["The period when Berbiguier composed his memoirs was propitious for demonological beliefs, following the great Inquisition and the illuminism of the 18th century, which profoundly marked the 19th century through, among other things, a craze for occultism. It is therefore hardly surprising that the figure of Satan permeates Les Farfadets and that witchcraft manifests itself in the narrative in the form of persecution. The 19th century also saw the development of psychiatry, through the work of great alienists, such as Henry Ey and Philippe Pinel, of whom Berbiguier would indeed be a patient. Pinel, whom the author literally considers as the 'representative of Satan' in his nomenclature of farfadets, would hardly succeed in delivering him from the torments of invisible demons, real only for the sole tormented one."] (Ariane Gélinas, « Le "Fléau des farfadets", Écrire (sur) la marge : folie et littérature, Postures, no 11, 2009)

Handsome copy, very rare in elegant contemporary binding, of this astonishing text written by "the most famous of hallucinated monomaniacs" (Dictionnaire encyclopédique des sciences médicales).

Photographic portrait of Eugène Delacroix

Original photograph on albumin paper, in a visiting-card format, laid down on card. Foxing.
Very rare copy of this photograph, only found at Carnavalet, Louvre and Orsay museums.