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Paris

Paris

Local nameParis
CountryFrance
Name Variants
  • Barbès-Rochechouart
  • Batignolles
  • Bikini

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58709 results
  1. Le vertige de l'or
    Stewart Edward WHITE, Léon BOCQUET

    Le vertige de l'or

    Albin Michel|Paris 1930|11.50 x 18.50 cm|relié
    First edition in French of which there were no deluxe copies, a Service de Presse (advance) copy.
    Half caramel marbled sheep binding, spine faded with two raised bands decorated with a central gilt fleuron, gilt date and double fillet at foot, traces of rubbing to spine, lemon shagreen title-label, joints rubbed, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Autograph inscription signed by the translator, Léon Bocquet, to the poet Jean Ott.
    €50
  2. Fêtes carillonnées
    Henri GROS, André MABILLE DE PONCHEVILLE

    Fêtes carillonnées

    Perrin & Cie|Paris 1929|13.50 x 19 cm|relié
    First edition printed on alfa paper.
    Half marbled caramel sheep binding, spine with two raised bands decorated with a central gilt fleuron, gilt date and double fillet at foot, slight rubbing traces on spine, olive shagreen title label, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Autograph inscription signed by André Mabille de Poncheville to poet Jean Ott.
    Work illustrated with wood engravings by Henri Gros.
    €50
  3. René Mongeot
    Emile JOUVENEL

    René Mongeot

    Eugène Figuière & Cie|Paris 1913|12 x 19 cm|relié
    First edition on ordinary paper.
    Half mauve cloth binding, smooth spine faded, decorated with a central gilt fleuron, gilt date and double fillet at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Autograph inscription signed by Emile Jouvenel to poet Jean Ott: "... à mon maître et à l'ami dont l'âme noble me console des lâches, si nombreux dans les lettres..." ["... to my master and to the friend whose noble soul consoles me for the cowards, so numerous in letters..."]
    €50
  4. Chez les marsouins. Mémoires. - Journal de bord. - Lettres et nouvelles
    Emile JOUVENEL

    Chez les marsouins. Mémoires. - Journal de bord. - Lettres et nouvelles

    Eugène Figuière & Cie|Paris 1914|13 x 19 cm|relié
    First edition printed on laid paper.
    Half mauve cloth binding, smooth spine faded decorated with a central gilt fleuron, double gilt fillet at tail, marbled paper boards, marbled endpapers and pastedowns, covers preserved, top edge gilt, contemporary binding.
    Autograph inscription signed by Emile Jouvenel to his friend the poet Jean Ott which has been slightly trimmed at head.
    €50
  7. Les vingt et un jours d'un neurasthénique
    Octave MIRBEAU

    Les vingt et un jours d'un neurasthénique

    Charpentier|Paris 1901|12 x 18.50 cm|relié
    First edition on ordinary paper.
    Contemporary half shagreen over marbled paper boards, spine with a gilt cartouche with gilt decorative motifs, gilt date to foot of spine, a frame of gilt fillets to covers, marbled endpapers and pastedowns, covers preserved, top edge gilt.
    Handsome autograph inscription from Octave Mirbeau to Lucien Guitry : "... bonjour... mais chut... ne lisez pas ça... Avec toute mon amitié...[hello…but damn it…don't read this…With all friendship…]"
    Tiny tears with occasional miniscule lacks (not significant) to head of the final few pages.
    €1,500
  14. Jehan Bodel avec des commentaires sur le "Congé de Baude Fastoul"
    Émile LANGLADE

    Jehan Bodel avec des commentaires sur le "Congé de Baude Fastoul"

    F.R. de Rudeval|Paris 1909|16 x 25 cm|relié
    First edition, of which no deluxe copies were issued.
    Half brown shagreen binding, spine with five raised bands set with double black fillets, gilt date at foot, traces of rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Signed autograph inscription from Emile Langlade to the poet Jean Ott.
    €60
  15. Pèlerinage en Artois
    Arthur MAYEUR, Émile POITEAU

    Pèlerinage en Artois

    Editions Maurice d'Hartoy|Paris 1933|18 x 24 cm|relié
    First edition, one of 100 service de presse copies on colored paper.
    Half marbled caramel sheep binding, spine with two raised bands decorated with gilt central fleuron, gilt date and double fillet at foot, some light rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, one upper corner bumped, top edge gilt, contemporary binding.
    Very fine signed autograph inscription from Emile Poiteau to the poet Jean Ott ending in verse.
    Illustrated with wood engravings and drawings by Arthur Mayeur.
    €60
  16. Vers salutaires, poésies humoristiques
    André LAVEZZARI, Ernest DEPRÉ

    Vers salutaires, poésies humoristiques

    Imprimerie Frazier-Soye|Paris 1926|18 x 24.50 cm|relié
    First edition, one of 94 numbered copies on Rives laid paper.
    Half brown shagreen binding, spine with five raised bands set with black double fillets, gilt date at foot, some light rubbing to spine, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, two corners slightly bumped, contemporary binding.
    Fine signed autograph inscription from Ernest Depré to the poet Jean Ott in the form of a quatrain.
    Illustrated with 37 drawings by André Lavezzari.
    Preface by Jean Richepin.
    €60
  17. L'Hexagramme. Revue adamite, tête de collection du N°1 de la 1ère année au N°76 de la 7ème année
    COLLECTIF

    L'Hexagramme. Revue adamite, tête de collection du N°1 de la 1ère année au N°76 de la 7ème année

    L'Hexagramme|Paris Janvier 1907 - Novembre-Décembre 1913|15.50 x 24 cm|76 fascicules reliés en 6 volumes
    First edition of this rare review blending poetry and esotericism.
    Half black cloth bindings, smooth spines decorated with gilt double fillets, gilt dates, marbled paper boards, one board with a scratch, marbled endpapers and pastedowns, some rare original covers preserved, contemporary bindings.
    Contributions by Camille de Sainte-Croix, Victor-Emile Michelet, Jean Ott, Han Ryner, Georges & Edmond Simon-Savigny, Charles Delmont, Manoel Gahisto...
    We include 7 autograph letters signed by Georges Simon-Savigny to Jean Ott relating to the review's activity.

    Rare cornerstone of this curious Adamite review.

    Provenance: from the personal archives of the poet Jean Ott.
    €700
  18. L'enfant d'Austerlitz
    Paul ADAM

    L'enfant d'Austerlitz

    Paul Ollendorff|Paris 1902|12 x 18.50 cm|relié
    First edition on ordinary paper.
    Half pink cloth binding, smooth faded spine decorated with gilt floral motif, gilt double fillet and date at foot, marbled paper boards, original wrappers preserved, top edge gilt, binding signed by A. Mertens.
    Signed autograph inscription from Paul Adam to the poet Jean Ott.
    Our copy is enhanced with a signed autograph postcard from the author addressed to the same.
    We also include the funeral announcement for the requiem mass for the repose of Paul Adam.
    Work illustrated with plates.


    €80
  19. Vue d'optique - Vue du palais royal à Bruxelles.

    Vue d'optique - Vue du palais royal à Bruxelles.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the Royal Palace of Brussels.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €180
  20. Vue d'optique - Vue perspective du pont de la Trinité de Florence.

    Vue d'optique - Vue perspective du pont de la Trinité de Florence.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the Trinity Bridge in Florence.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €150
  21. Vue d'optique - Vue intérieure de Saint Pierre de Rome.

    Vue d'optique - Vue intérieure de Saint Pierre de Rome.

    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolour, depicting an interior view of St. Peter's Basilica in Rome.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    A fine impression with very fresh colours.
    €150
  22. Vue d'optique - Vue du fameux théâtre de Marcellus à Rome.

    Vue d'optique - Vue du fameux théâtre de Marcellus à Rome.

    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolour, depicting a view of the Theatre of Marcellus in Rome.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    A fine impression with very fresh colours.
    €180
  23. Vue d'optique - Vue intérieure de la cathédrale de Dorth.

    Vue d'optique - Vue intérieure de la cathédrale de Dorth.

    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting an interior view of Dorth Cathedral.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €150
  24. Vue d'optique - Vue de l'église St Giles à Édimbourg.

    Vue d'optique - Vue de l'église St Giles à Édimbourg.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of St Giles Church in Edinburgh.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €180
  25. Vue d'optique - Vue de la chapelle St Paul à Édimbourg prise de la place d'Yorck.

    Vue d'optique - Vue de la chapelle St Paul à Édimbourg prise de la place d'Yorck.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Hand-colored aquatint optical view, depicting a view of St Paul's chapel, taken from York Place in Edinburgh.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Some very light dampstaining, otherwise a fine impression with very fresh colors.
    €180
  26. Vue d'optique - La grande rue et l'église Ste Marie de Londres.

    Vue d'optique - La grande rue et l'église Ste Marie de Londres.

    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Hand-colored aquatint optical view, depicting a view of the high street and St Mary's church in London.
    Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Lack to lower margin not touching the image, otherwise a fine impression with very fresh colors.
    €150
  27. Vue d'optique - La grande procession de Florence, le jour de la fête de Dieu.

    Vue d'optique - La grande procession de Florence, le jour de la fête de Dieu.

    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the procession of Florence on the feast day of Corpus Christi.
    Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onward. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process developed first in Paris, then London and finally in Germany, and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Small tears of no consequence to lower margin, otherwise a fine impression with very fresh colors.
    €180
  28. Vue d'optique - Vue de la fontaine des eaux chaudes et de la place d'Aix la Chapelle.

    Vue d'optique - Vue de la fontaine des eaux chaudes et de la place d'Aix la Chapelle.

    Chez Jacques Chereau|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the hot springs fountain and the square of Aix-la-Chapelle.
    Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onward. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process developed first in Paris, then London and finally in Germany, and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
    A fine impression with very fresh colors.
    €200
  29. Vue d'optique - Le marché aux chevaux à Francfort sur le Mein.

    Vue d'optique - Le marché aux chevaux à Francfort sur le Mein.

    Chez Daumont et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the horse market in Frankfurt am Main.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and beginning of the 19th century. They were intended to be observed through a set of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Some minor dampstaining, otherwise a fine impression with very fresh colors.
    €200
  30. Vue d'optique - Vue du pont de Vienne en Autriche.

    Vue d'optique - Vue du pont de Vienne en Autriche.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view heightened in watercolor, depicting a view of the bridge of Vienna.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and beginning of the 19th century. They were intended to be observed through a set of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €150
  31. Vue d'optique - L'hôtel des ambassadeurs, à la Cour de Vienne, prise côté du jardin.

    Vue d'optique - L'hôtel des ambassadeurs, à la Cour de Vienne, prise côté du jardin.

    Chez Jacques Chereau|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view enhanced with watercolor, depicting a view of the ambassadors' hotel in Vienna, taken from the garden side.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and are salon entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Fine impression with very fresh colors.
    €150
  33. Vue d'optique - Vue de la place et des casernes de Top-Hané à l'entrée du port de Constantinople.

    Vue d'optique - Vue de la place et des casernes de Top-Hané à l'entrée du port de Constantinople.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    Original engraving. Optical view enhanced with watercolor, depicting a view of the square and barracks of Top-Hané at the entrance to the port of Constantinople.
    Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and are salon entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
    Minimal traces of dust, otherwise a fine impression with very fresh colors.
    €300
  37. Oeuvres choisies précédées d'un essai sur sa vie et ses écrits par M. Campenon
    Jean-Baptiste-Louis GRESSET

    Oeuvres choisies précédées d'un essai sur sa vie et ses écrits par M. Campenon

    Janet & Cotelle|Paris 1823|13.50 x 22 cm|relié
    New edition.
    Full green calf binding, faded spine with five raised bands decorated with gilt wavy fillets ornamented with gilt floral friezes, gilt roulettes on headcaps, traces of rubbing on headcaps and joints, frame of gilt floral frieze and another stamped in blind on boards, three small stains on second board, frame of gilt floral dentelle on pastedowns, marbled endpapers and pastedowns, all edges gilt, gilt fillet on leading edges, elegant contemporary Romantic binding signed by Bibolet.
    Work illustrated with an engraving as frontispiece.
    Scattered foxing.
    €80
  39. La Marne
    Georges BLOND

    La Marne

    Presses de la Cité|Paris 1962|13.50 x 21.50 cm|relié
    First edition printed on ordinary paper.
    Publisher's binding in full boards, with the illustrated dust jacket.
    Signed autograph inscription from Georges Blond to Marcel Aymé's daughter, Colette Magne, and to her husband, Raymond: "A Colette Magne avec qui j'ai livré la bataille de l'hôtel Continental et à Raymond, en souvenir d'autres combats plus dramatiques" ["To Colette Magne with whom I fought the battle of the Continental Hotel and to Raymond, in memory of other more dramatic battles"].
    Iconography, handsome copy.
    €50
  47. La femme et le pantin
    Pierre LOUŸS

    La femme et le pantin

    Mercure de France|Paris 1898|11 x 18 cm|relié
    First edition printed on ordinary paper, with statement of second edition.
    Half dark green sheep binding, spine sunned with four raised bands decorated with gilt fleurons, marbled paper boards, minor tears without consequence to top edges, top corners slightly bumped, marbled endpapers and pastedowns, original wrappers preserved with a small library shelf label pasted on bearing the printed mention "Paul Reboux", contemporary binding.
    Precious autograph inscription from the author to Paul Reboux.
    Some pages dog-eared at head by the dedicatee as reading markers, some marginal annotations in red colored pencil, a small marginal tear with minimal lack at head of the final pages of the volume.
    €380
  51. Madame de Pompadour
    DUJARDIN, QUINSAC

    Madame de Pompadour

    Firmin-Didot|Paris 1888|22 x 28.50 cm|relié
    First illustrated edition, with some parts in first edition as it was revised and expanded with unpublished letters and documents.
    Half morocco binding with red corners, spine with five raised bands set with gilt dots decorated with double gilt compartments enhanced with gilt decorative motifs, double gilt fillets framing the marbled paper boards, marbled endpapers and pastedowns, light scuffs to corners, top edge gilt, binding signed by the publisher.
    Work illustrated with 55 copperplate reproductions by Dujardin and 2 color plates by Quinsac.
    A handsome copy elegantly bound.
    €250
  54. Lettres inédites publiées avec une introduction et des commentaires de Louis Gillet
    Charles-Augustin SAINTE-BEUVE, Alfred de VIGNY

    Lettres inédites publiées avec une introduction et des commentaires de Louis Gillet

    Kra|Paris 1929|15 x 20.50 cm|broché
    First edition, one of 600 numbered copies on laid paper, ours unnumbered, the only deluxe copies.
    Fine signed autograph inscription from Louis Gillet to the poet Armand Godoy mentioning Charles Baudelaire and Edgar Allan Poe
    As frontispiece, a facsimile of an autograph letter from Sainte-Beuve to Vigny.
    Spine and boards marginally sunned, handsome interior condition.
    €50
  59. L'argent suite
    Charles PÉGUY

    L'argent suite

    Cahiers de la Quinzaine|Paris 1913|12.50 x 19.50 cm|relié
    First edition on ordinary paper
    Half cream-colored cloth Bradel binding over marbled paper boards by Gauché, dark brown morocco title piece (one scratch), covers lined and preserved
    Rare autograph inscription from Charles Péguy over two pages, to Gounelle : " Mardi 29 Avril 1913, cher monsieur Gounelle voici encore un cahier emporté dans les présentes tempêtes
    Je suis votre affectueusement dévoué Péguy [Tuesday 29 April 1913, dear monsieur Gounelle here is another notebook caught up in the present storms
    I remain your affectionately devoted Péguy]."
    €3,000
  60. L'argent
    Charles PÉGUY

    L'argent

    Cahiers de la Quinzaine|Paris 1913|12.50 x 19 cm|relié
    First edition on ordinary paper
    Contemporary half mint-green cloth Bradel binding over marbled paper boards, spine with gilt floral motif, dark brown morocco titlepiece (lightly rubbed), double gilt fillet to foot, covers (with slight angular lacks) preserved
    Rare autograph inscription by Charles Péguy to Monsieur Saffrey : "Mardi 4 Mars 1913, je suis votre fidèle dévoué Péguy [Tuesday 4 March 1913, I am your faithfully devoted Péguy]." Paper yellowed as usual.
    €3,000
  61. Histoire des paysans. Première partie : Le servage. - Deuxième partie : Les jacqueries
    Eugène BONNEMÈRE

    Histoire des paysans. Première partie : Le servage. - Deuxième partie : Les jacqueries

    Librairie Fischbacher|Paris 1886|11 x 18 cm|2 volumes reliés
    Fourth edition, largely original as it was revised and considerably expanded.
    Half brown shagreen bindings, spines with four raised bands set with black fillets, a tear to the spine of the first volume, marbled paper boards with very light surface wear, marbled endpapers and pastedowns, minor rubbing to leading edges, bindings signed by Cabry.
    Some minor foxing of no consequence.
    €80
  74. Les malheurs de Fernande
    Alméry LOBEL-RICHE, Francis CARCO

    Les malheurs de Fernande

    A l'édition|Paris 1918|11.50 x 18.50 cm|relié
    First edition, one of 15 numbered copies on Arches paper, the deluxe issue after 6 on Japan paper.
    Half anthracite morocco binding with bands, smooth spine enhanced at the head with a mosaic piece of red and brown morocco, covers and spine preserved, top edge gilt, bookplate pasted on the front pastedown, elegant binding signed by Devauchelle.
    Attractive cover illustrated by Lobel-Riche.
    A handsome copy perfectly executed of this sequel to Jésus-la-Caille.
    €750
  75. Les mémorables
    Maurice MARTIN DU GARD

    Les mémorables

    Flammarion • Grasset|Paris 1957-1978|16.50 x 21.50 cm|3 volumes brochés
    First edition, one of 30 numbered copies on chiffon de Lana paper for the first two volumes and one of 64 numbered copies on vergé de Voiron for the last, the tirage de tête for the first two volumes and the only large paper copies for the last.
    Trace of a transverse fold to upper cover of second volume, upper cover of third volume slightly sunned at foot, with transparent traces of adhesive paper to endpapers of same volume.
    A very good and rare set that one rarely finds complete with the third volume, which appeared later.
    €1,500
  83. Essai sur Jules-Amédée Barbey d'Aurevilly
    Pierre de CRISENOY

    Essai sur Jules-Amédée Barbey d'Aurevilly

    Bibliothèque des entretiens idéalistes|Paris 1908|14 x 23 cm|broché

    First edition printed in 250 copies.
    Fine autograph inscription signed by Pierre de Crisenoy on a full page in red ink in the manner of Barbey d'Aurevilly to Monsieur H. Barthélémy: "... au réalisateur de tant de beaux livres et en remerciement de la magnifique édition des "Membra", ce humble essai de mes vingt ans, en attendant mieux. / 18 Septembre 1944." ["... to the creator of so many beautiful books and in gratitude for the magnificent edition of "Membra", this humble attempt from my twenties, awaiting better. / 18 September 1944."]
    Worming to boards, handsome interior condition.
    Rare.

    €80
  87. Le berceau sous le beffroi
    Nicolas BOURGEOIS

    Le berceau sous le beffroi

    Plon|Paris 1934|11.50 x 18.50 cm|relié
    First edition on ordinary paper.
    Half chocolate sheep binding, faded spine with two raised bands decorated with a central gilt fleuron, gilt date and double fillet at foot, cherry red shagreen title-label, some rubbing traces on spine, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding.
    Signed autograph inscription from Nicolas Bourgeois to poet Jean Ott.
    €50
  88. L'esprit allemand. Etude d'après la langue et les proverbes avec la traduction de plus de 1200 proverbes allemands
    Pierre PEUGEOT

    L'esprit allemand. Etude d'après la langue et les proverbes avec la traduction de plus de 1200 proverbes allemands

    E. Giraud & Cie|Paris 1886|12.50 x 19.50 cm|relié
    Second edition, with some parts in first edition as expanded with a supplement on public education in Germany and Russia, one of 25 numbered copies on Holland paper, the only deluxe copies with 25 Japan.
    Bradel binding in half fir green cloth with corners, smooth spine decorated with a central gilt fleuron, gilt date and double fillet at foot, chocolate shagreen title-label with some scratches, marbled paper boards, original wrappers preserved, top edge gilt, binding signed by A. Mertens.
    Precious signed autograph inscription from Pierre Peugeot to Léon Cladel.
    Printed stamps of the Université populaire du Faubourg Saint-Antoine in margins of several pages of our volume, pen numbering for library classification also in margins of certain pages.
    Rare and handsome copy.
    €350
  89. Bibliographie des marionnettes
    Eugène LEFEBVRE, Paul JEANNE

    Bibliographie des marionnettes

    La soupente de Guignol • Les éditions de la très illustre compagnie des Petits comédiens de bois|Paris 1926|16.50 x 25 cm|relié
    First edition, one of 250 numbered copies on alfa paper, the only issue with 2 Holland copies.
    Half fir-green shagreen binding, faded spine with five raised bands showing traces of rubbing, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt, contemporary binding.
    Work illustrated by Eugène Lefebvre.
    Handsome interior condition without foxing.
    Rare.
    Fine autograph inscription dated and signed by the author to poet Jean Ott: "... en souvenir des premiers rapports officiels de Guignol avec Lafleur et en remerciement sincère pour avoir écouter mon appel pour la rénovation des théâtres..." ["... in memory of the first official relations between Guignol and Lafleur and in sincere thanks for having listened to my call for the renovation of theaters..."]
    €300
  90. Grammaire de la langue serbo-croate traduite avec de nombreuses modifications de la grammaire slave de Parcic
    FEUVRIER

    Grammaire de la langue serbo-croate traduite avec de nombreuses modifications de la grammaire slave de Parcic

    Imprimerie Nationale|Paris 1904|16 x 24.50 cm|relié
    Second edition, partly in first edition as revised and corrected.
    Half marbled sheep binding, spine with two raised bands decorated with central gilt fleuron, gilt date and double fillet at foot, spine rubbed, black shagreen title-label, small lack to upper headcap, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edge gilt.
    Handsome interior condition.
    €80
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