First collective edition, for which no deluxe paper copies were issued, one of the press service copies.
Preface by Louis Aragon.
Precious autograph inscription signed by Louis Aragon to his friend Charles Dobzynski, whose wedding witness he was, along with Elsa Triolet: "A Dob, Louis."
First edition on ordinary paper.
Paper slightly toned as usual, with a few insignificant spots on the edges.
Amusing and fine signed autograph presentation inscription from René Fallet to his friend Jean-Jacques Vaure; "Pour J.J. Vaure chantre mou d'Argenteuil 13 amicalemebt. René Fallet 16/11/51. Note de l'auteur : celui qui acceptera qu'on lui prête ce livre est un salaud. Pas tant que Vaure, mais presque."
First edition, one of 20 deluxe copies on Holland paper, the only large-paper issue, reimposed in octavo format (the ordinary edition being in duodecimo).
Cf. Vicaire III, 305-306. Carteret I, 222.
Contemporary full stiff ivory vellum, smooth spine, marbled endpapers and pastedowns.
Fine copy.
Bibliographers mention 25 copies, which seems difficult to account for, as the limitation is clearly stated on the verso of the half-title. This procedure was customary for the author (Les Six aventures, 1857, was issued in the same dual printing).
Precious presentation copy inscribed and signed by Maxime Du Camp to the celebrated critic Jules Janin (1804–1874), who later affixed his engraved bookplate to the front endpapers.
Second edition, the only complete one (cf. Cordier, Sinica, 1430).
Spine split with small angular losses, scattered foxing.
It deals with educational institutions, examinations, and public instruction under the various dynasties.
Appended are notes on the method used in China to study the pronunciation of characters, on the organization of the Chinese administration, and on a collection of examination questions for candidates to literary degrees.
Two memoirs bound in one volume with continuous pagination. The engineer Edouard-Constant Biot (1803-1850), son of the mathematician Jean-Baptiste Biot and pupil of Stanislas Julien, rapidly became an outstanding sinologist whose works are still consulted today.
First edition of this finely crafted narrative retracing the journey of the author, appointed in December 1854 as First Secretary to the French legation in Persia, under the direction of Prosper Bourée.
Some foxing.
Bound in half bottle-green shagreen, spine with four raised bands decorated with triple gilt compartments, blind-tooled borders on morocco-grained cloth boards, school emblem gilt-stamped at the centre of the upper cover [Lycée de Nevers], marbled endpapers and pastedowns, sprinkled edges, contemporary binding.
The journey was undertaken by sea from Marseille to Bushir, then by caravan to Isfahan and Tehran: Malta, Alexandria, Cairo, Jeddah, Aden, Muscat, Tehran, Isfahan.
First edition. "At the close of a distinguished diplomatic career devoted mainly to Latin America, Baron Gros was one of the architects of the 'opening' of China and Japan in the 1860s."
Contemporary Bradel binding in full cherry calf, spine decorated with gilt fillets, boards slightly and marginally soiled.
Library stamp to the upper right corner of the half-title, a few small spots of foxing.
A pleasing and rare copy.
First edition on ordinary paper.
Handsome, fine autograph inscription signed by Albert Camus : "à Albert Béguin qui trouvera ici les raisons de mes désaccords avec Esprit, avec mon bien cordial souvenir...[to Albert Bégiun who will find here the reasons for my disagreements with the Spirit, in friendly remembrance…]"
A little light spotting primarily to upper cover and ffep.
Retaining its advertising notice, entitled "Lettres sur la révolte".
First edition, one of the review copies.
Preface by Raymond Queneau.
Rare and appealing copy.
Rare signed autograph presentation from Boris Vian to Marc Bernard.
First edition.
Small corner losses to the boards, clean and appealing interior condition.
Bradel binding in full combed paper, smooth spine with a black morocco label lettered lengthwise, binding signed by Thomas Boichot.
Rare signed autograph inscription by Ferdinand de Lesseps "à mon ami 'chéri' Rousseau".
Very rare first edition.
Beige half calf binding, spine decorated and ruled in gilt, some rubbing to the joints, dark yellow paper boards, marbled endpapers, edges speckled. Missing top spine end, rubbed joints and some scratches.
Notes about the author in ink by a former owner on the page facing the half-title page: "condamné à mort le 24 mars 1794” (executed on 24 March 1794)
Extremely rare inscribed copy signed by Anacharsis Cloots to the revolutionary Nicolas Joseph Pâris, "Pour NJ Pâris de la part de l'auteur” (For NJ Pâris from the author) Friend of Danton and Cloots, court clerk of the Paris Revolutionary Tribunal, Pâris was well known under his pseudonym which he borrowed, like his friend Cloots, from the history of the ancient Republics.
First edition of this seminal work by Anacharsis Cloots, of which the “various other writings are only detached parts” (Léonard Gallois, Histoire des Journaux et des journalistes de la Révolution française, 1846), exceedingly rare. We have not been able to find any other inscribed copy.
Our copy is inscribed to another revolutionary, present during the great trials of the Reign of Terror. He became famous for warning Danton of Robespierre and Marat's plot against him, as told by Victor Hugo in Quatre-vingt-treize [Ninety-Three]: “It was at the time when the copying clerk, Fabricius Pâris, watched through the key-hole the proceedings of the Commitee of Public Safety; not an act of supererogation, be it observed, for it was this very Pâris who notified Danton on the night of the 31st of March 1794.”
First edition.
Black half morocco binding, spine with four raised bands adorned with gilt dotted fillets and double gilt compartments decorated at the corners, gilt date and the inscription "Ex. de J. Drouet" at the tail, marbled paper boards and endpapers, preserved covers and spine, top edge gilt, binding signed by René Aussourd.
Some minor foxing, mainly at the beginning and end of the volume.
Precious signed and inscribed copy by Victor Hugo to Juliette Drouet, the great love of his life: ‘To you, my lady. Humble homage. V.'
This copy comes from the library of Pierre Duché, who acquired Juliette Drouet's entire library and commissioned René Aussourd to bind the volumes uniformly, marking each with an identifying inscription at the foot of the spine.
Bookplates pasted on a pastedown and a flyleaf.
In late 1878, after more than forty years together, Victor Hugo and Juliette Drouet finally moved in together at Avenue d'Eylau, in the small town house where the poet would spend his final years. "From that moment on, Juliette's life became little more than an unbroken sorrow, a servitude of every hour. She herself suffered from stomach cancer, knowing she was condemned—to die of hunger!" (Louis Guimbaud, Victor Hugo et Juliette Drouet, Paris, 1927). Despite her illness and severe physical weakness, she remained devotedly at Hugo's side as his caregiver. It was during this time that Bastien Lepage painted a strikingly realistic portrait of her: "From her goddess-like face, once serene and noble, the relentless illness had made a frail human visage, drawn and hollowed, furrowed with wrinkles—each one telling a story of pain." (ibid.)
Religions et religions was published two years before Juliette's death; is was one of the last books Hugo dedicated to the unwavering love of his life. In a final tribute to her lifelong devotion, he later offered her a photograph inscribed: "Fifty years—that is the most beautiful marriage."
Copy from the most intimate source.
First edition, one of 90 copies on Holland paper, ours being one of a few lettered hors commerce copies.
Bradel binding in half brown box, smooth spine, decorated paper boards, brown endpapers and pastedowns, original covers preserved, top edge gilt, binding signed by Goy & Vilaine.
Precious autograph inscription signed by Paul Valéry: « A Victoria Ocampo, - a sus piès de Vd - ce petit rien qu'elle a bien voulu désirer. »
A superb dedication that marks the beginning of the enduring friendship between the two writers, beyond all differences.
At Valéry's death in 1945, Victoria Ocampo would recall their first meeting in December 1928 during a writers’ dinner to which the young Argentine, newly arrived in Paris, had been invited.
A founding moment of their friendship and of the mutual admiration testified by their moving correspondence, it is against the measure of this first impression that Victoria Ocampo described her relationship with the poet and « les sentiments contradictoires que suscitèrent en [elle] la rencontre de l'œuvre et de l'homme qui la conçut : émerveillement, étranglement, admiration, accablement, bonheur. Effets, sur une Sud-Américaine, amoureuse du génie français, d'une des plus grandes intelligences européennes, lorsqu'elle s'en approcha - un peu tremblante - comme d'un feu qui vous attire et vous tient à distance du même coup. »
There is no doubt that Valéry’s impression was no less intense, since he addressed to her, soon after, this humble dedication reminiscent of Victor Hugo’s treasured inscriptions to Juliette Drouet « à vos pieds, Ma Dame ».
As the fallen poet’s epistolary confidante during the harsh years of war, Ocampo would pay him, at his death, a fervent homage « par-delà l'intelligence et la bêtise, par-delà la vie. Avec mon respect, mon culte, ma tendre affection si nouée à l'humain. Avec tout ce qui en moi, tant que je vivrai, ne cessera de le sentir vivant, ne cessera d'être le lieu périssable où son immortalité commence. »
A few small spots of foxing.
A perfectly preserved copy.
Edition published the same year as the first. Illustrated with a portrait of the author, three folding plates, a folding map of Longwood house and two folding maps.
Some foxing.
Full black calf bindings, smooth spines with gilt romantic motifs, boards with central motif in blind, boards ruled in gilt, a small restoration to the margin of the first volume's upper board, handmade endpapers and pastedowns, marbled edges, spine-ends ruled in gilt, contemporary romantic bindings.
Rare signed and inscribed copy to a veteran of the Napoleonic wars, on the title page of the first volume: "A Mr. Foucauld, ancien s. [sous] officier de la Grande Armée. Passy 19. 7bre 1840 par le Cte de Las Cases" [To Mr. Foucauld, former second officer of the French Imperial Army. Passy 19. September 1840 by Count de Las Cases]
This inscription by the famous memorialist dates from the year Napoleon's mortal remains were returned to France, a few days before the Belle Poule frigate arrived in St. Helena to collect the coffin. Las Cases inscribed this copy at a turning point in history, as the world was once again turning to the remote island where the Emperor was exiled and buried. A second resurrection was to occur with the triumphant return of the imperial coffin:
"Frozen sky, pure sun. - Oh! shines in history,
Of the mournful imperial triumph torch!
May the people forever keep you in their memory,
Beautiful day like glory,
Cold as the grave" (Le Retour de l'Empereur, Victor Hugo).
The famous compilation of memories and confidences of Napoleon in exile was considered from the beginning to be a true masterpiece which had a lasting effect on Napoleonic legacy. Inscriptions by Las Cases on his most famous work are extremely rare. Las Cases wrote these words to another faithful servant of the Empire, at a time when one of the most important events in Napoleonic history was unfolding: the long voyage of so-called “Mission des cendres”. Las Cases was to be part of this expedition and abandoned due to ill health. He was replaced by his son who had shared his captivity in St Helena and was to publish, like his father, an account of his journey with the Emperor's remains. Las Cases did, however, attend the lavish funeral ceremony at the Invalides, true to his words from the Mémorial: "The heavens blessed my efforts by allowing me to go all the way".
An exceptional copy with a rare meaningful signed autograph inscription, on the iconic work at the origin of Napoleonic mythology, handsomely set in a contemporary binding with Romantic gilt motifs.
Edition illustrated with 16 original watercolours by Auguste Leroux, engraved on copper by Delzers and Feltesse, one of 90 numbered copies on Imperial Japan paper.
Bound in navy blue half morocco with corners, spine with four raised bands decorated with gilt pointillé and triple gilt panels with typographic motifs, gilt date at foot, gilt fillet borders on marbled paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, gilt edges, contemporary binding signed by Bernasconi.
As stated in the justification of the print run for the copies on Imperial Japan paper, our copy is complete with its two suites: one in colour with remarques and the other in colour.
In addition, our copy is exceptionally enriched with 2 original drawings by Auguste Leroux, one heightened with watercolour, signed with his initials and placed at the beginning of the volume, just after the justification of the print run.
A fine copy, perfectly bound and enriched with two original drawings.
First edition printed in 130 copies, all nominative and numbered, on Rives vellum.
Full chocolate-brown morocco binding, spine with four double raised bands framed by black fillets extending onto the covers, gilt date at foot, gilt rolls on the caps, endpapers and pastedowns of hand-made paper, quintuple gilt fillet borders on the pastedowns, double gilt fillets on the board edges, original wrappers and spine preserved, top edge gilt.
Illustrated with a frontispiece, 15 plates and 6 vignettes by Georges Leroux engraved on copper by Raoul Serres.
This copy is supplemented, at the end of the volume, with a suite of the 22 illustrations together with the printed menu for the dinner of 30 June 1930 of the Société bibliophilique des "Cent centraux bibliophiles".
In addition, the work includes, mounted on a tab, four original preparatory sketches in black pencil and, following them, an original drawing by Georges Leroux, dated, signed, and executed for the representation of the menu of the dinner of 30 June 1930 held by the "Cent centraux bibliophiles".
Manuscript signatures of Rosny aîné and Raoul Serres on the verso of the original menu drawing.
A very handsome copy accompanied by five original drawings by Georges Leroux, finely bound in full morocco.
First edition of the author's second work, one of 10 numbered copies on Holland paper, the only deluxe paper issue.
Bound in yellow half morocco with corners, spine with five raised bands, gilt date at foot, a small black spot at head of spine, floral and moiré patterned paper boards, pale green paper endpapers and pastedowns, original wrappers preserved, gilt edges, bookplate of Gérard Pesme Baron de Saint-Genies pasted on a pastedown, binding signed by Thomas Boichot.
Half-title entirely toned.
A fine copy, handsomely bound.
First edition, very rare. "Aucun exemplaire de ce livre imprimé aux frais de la duchesse d'Orléans avant 1814 ne fut distribué de son vivant (Tourneux, Bibl. de l'hist. de Paris pendant la Révolution fr., IV, 21752)
Cf Quérard, VIII, 258. Brunet, II, 1136. Tourneux, 21572.
Some leaves browned or foxed.
Contemporary Bradel bindings in full purple paper boards imitating long-grain morocco, spines slightly faded, decorated with gilt fillets, friezes, and fleurons, gilt crowned monogram at the head of the spines, entirely uncut, headcaps slightly worn, some wear to the corners of volumes 3 and 4, bindings contemporary to the publication.
Some leaves slightly browned.
The work is a reply to Montjoie’s defamatory pamphlet, Histoire de la conjuration d'Orléans (1796), which would later be reprinted and condemned under the reign of Louis-Philippe. It was written by a controversial figure, the politician and conventionnel from Toulouse, Jacques-Marie Rouzet de Folmon (1743-1820).
Kuscinski (Dict. des conventionnels, pp. 540-541) notes that Rouzet accompanied the dowager duchess of Orléans into exile, after securing her release from the Luxembourg prison. They both returned to France in 1814, and "au dire de Mme Cavaignac, il aurait fini par l'épouser, ce qui aurait presque complètement brouillé la mère avec ses enfants. Rouzet a été enterré à Dreux dans les caveaux de la chapelle de la famille d'Orléans."
Provenance: Precious copy bound for Louis-Philippe, Duke of Orléans, with his crowned gilt monogram at the head of the spines and the stamp of the Bibliothèque du roi, Palais Royal, on the title pages.
The endpaper of the first volume bears the handwritten note: "à l'armoire des médailles, par o[rdre] du Roi", referring to the reserve of precious, or confidential, books of the royal library.
Rare and appealing copy in contemporary boards, entirely uncut, complete with the 3 leaves of errata bound at the end.
The last two volumes are unopened.
The set is preserved in two modern slipcases of half long-grain red morocco, flat spines decorated with gilt fillets.
Rare first edition of the French translation prepared by Thomas-François Dalibard at the request of the Comte de Buffon (cf Wheeler Gift 367d. Waller 11339. DSB V, pp. 129-139).
Full mottled calf, spine with five raised bands ruled in gilt and decorated with double gilt compartments with floral tools, red morocco lettering-piece, gilt rolls on the caps (partly rubbed), restorations to head and tail of spine as well as to the corners of the boards, marbled endpapers and pastedowns, gilt fillets on the edges, marbled edges, contemporary binding.
Some foxing, a dampstain to the upper right corner of the first endpaper.
The English first edition was published in London in 1751 under the title "Experiments and observations on electricity made at Philadelphia in America" (cf. Norman 830 for that edition).
First edition (a second edition appeared in 1896) illustrated with 6 facsimiles and a large folding map.
Not in Tailliart.
Foxing, spine cracked with small losses, a few corner defects to the boards, also lightly soiled at the margins.
Adolphe Hanoteau (1814-1897) pursued his entire military career in Algeria, attaining the rank of brigadier general; he devoted most of his work to the study of the Kabyle language, customs, and institutions. Tamasheq is a Tuareg language spoken primarily by the Tuaregs of Mali.
First edition, no copies printed on deluxe paper.
Illustrated, a pleasant copy
Precious and very fine autograph inscription, dated and signed by Samuel Mbajum: "Paris, 30 June 2014, au ministre Bernard Kouchner, avec ma sympathie pour votre combat humanitaire, en espérant que vous m'aiderez à plaider le plus largement possible la cause de ces oubliés de l'histoire franco-africaine, et aussi des débats sur la commémoration de la Grande Guerre."
First edition published in book form, expanded with the French translation established by G. Pauthier. (cf. Cordier, "Sinica", 1399-1340.)
A portion of the work had first appeared in 1832 in the "Revue Encyclopédique" of May–June, and was also issued separately in a 23-page printing.
The text is presented in French with a Latin version and the Chinese text facing.
The Chinese characters were produced using movable types engraved on steel punches and cast by Marcellin-Legrand, engraver to the Royal Printing Office.
A small angular loss at the foot of the lower cover required a minor restoration on the last page of the volume; slight, inconsequential tears at head and tail of spine.
First edition on ordinary paper.
Work illustrated with wood engravings by Henri Jadoux.
A pleasing copy.
Autograph inscription signed by Sacha Guitry in pencil to Henry Sorensen.
Original colour print printed on laid paper and signed in the plate lower left.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print printed on laid paper and signed in the plate lower right.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour engraving, printed on laid paper, signed in the plate lower right.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print printed on laid paper and signed in the plate lower right.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print printed on laid paper and signed in the plate lower right.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print printed on laid paper and signed in the plate lower right.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
New edition printed on laid paper.
Some light foxing affecting mainly the endpapers.
Full marbled sheep binding, spine with five raised bands set with gilt garlands decorated with double compartments adorned with gilt typographical motifs, traces of rubbing on spine, gilt rolls on headcaps almost completely faded, triple gilt fillets framing the boards, some scratches on boards, marbled endpapers and pastedowns, gilt edges on leading edges which show some rubbing.
The work consists of 12 parts each comprising 6 engraved plates plus three engraved plates: the half-title page, the title page with a portrait of Gille Marie Oppenort and, finally, a plate with the letter "B" represented three times.
Original colour print printed on laid paper and signed in the plate lower left.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print printed on laid paper and signed in the plate lower left.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print heightened in gold, printed on laid paper and signed in the plate lower left.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original double-page colour engraving heightened in gold, printed on laid paper, signed in the plate lower left.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour engraving, richly heightened with gold, printed on laid paper, signed in the plate lower right.
An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.
Original colour print, printed on laid paper and signed in the plate lower left.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print printed on laid paper and signed in the plate lower right.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print printed on laid paper and signed in the plate higher right.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print printed on laid paper and signed in the plate lower left.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print heightened in gold, printed on laid paper and signed in the plate lower left.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print, printed on laid paper and signed in the plate lower left.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print, printed on laid paper and signed in the plate lower right.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
Original colour print, printed on laid paper and signed in the plate lower left.
Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.
