Paris

First edition illustrated with 2 portraits and 318 in-text illustrations (mostly after photographs, some full-page) and a folding map at the end (cf. Rosove, Antarctica, 60 A.1d ["uncommon"]; Spence, 253).

Bound in contemporary half bottle-green shagreen, flat spine faded and decorated with gilt typographic motifs, upper headcap trimmed, cat’s-eye paper boards, comb-marbled endpapers and pastedowns, top edge gilt, illustrated wrappers and backstrip preserved, corners slightly rubbed.

Account of the voyage, followed by reports on several scientific studies carried out by members of the expedition: meteorology, atmospheric electricity and terrestrial magnetism by Rey; animal and plant life by Turquet; geology and glaciology by Gourdon; photography by Pléneau; bacteriology by Charcot.

Original colour print heightened in gold, 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, heightened with gold, on laid paper, signed lower right beneath the plate mark.

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 with gold, 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.

Original colour print heightened in palladium, 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.

First edition, one of the rare copies printed on laid paper.
This four-page issue includes a comic strip by Godefroy: "L'ours de Berne".
Literary contributions by Rodolphe Salis, Castille Milès with "La mauvaise fleur", Pimpinelli's "Nini" dedicated to Philippe Burty, Saint Jehan, and "La passion de N.S. Zola ou le maître de Nana embêté par Marie Colombier"...
A very good copy.
Le Chat noir was a weekly magazine founded by Rodolphe Salis and Émile Goudeau, published from 1882 to 1897 to promote the renowned cabaret of the same name, of which it served as a chronicle. It featured the texts performed during its stage shows. The publication stands as a significant literary and artistic record of late 19th-century Paris, capturing the spirit of bohemian life and the city's unique creative ferment.

Original colour print heightened in palladium, 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.

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.

Original colour print heightened with gold, 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.

First edition.

3/4 red morocco, smooth spine elaborately decorated with gilt typographic motifs and green morocco onlays, crossed musketeer swords gilt-stamped at center of spine, gilt date at foot, marbled paper boards framed in gilt, marbled endpapers and pastedowns, original wrappers and spine (slightly toned) preserved, top edge gilt, small restorations to corners and spine color restored.

Rare inscribed copy signed by Edmond Rostand: "A Monsieur Henry Fouquier avec ma reconnaissance la plus cordiale. Edmond Rostand."

First edition and first issue of the illustrations, without the table of plates which was later printed at the bottom of page XLIII and the beginning of page XLIV of the text volume (cf. Louandre et Bourquelot, I, p. 46. Blackmer, 33, mentions a large folding map bound in the atlas which, in fact, does not belong to the work).

The atlas volume contains the complete set of 10 plates, including 4 lithographs engraved by Faure after drawings by Préaux and lithographed by Langlumé.

Text volume bound in contemporary full tree calf, flat spine gilt with double fillets and naval anchors, red morocco label, gilt roll tooling to head- and tailpieces, gilt rolls framing the boards, marbled endpapers and pastedowns, red edges, gilt fillets on board edges.

Atlas volume bound in contemporary half marbled calf, flat spine with gilt double fillets, red morocco label, marbled paper-covered boards.

Some minor foxing to the atlas, small restoration to the title-page of the text volume.

A rare and appealing set.

First edition of the French translation prepared by Maurice Solovine (cf. Weil 1116).

One tear with a small restored loss to the right margin of the front cover, spine and covers slightly sunned, foxing to covers, two tears at head and foot of spine.

Copy complete with the publisher's announcement leaflet.

First edition with the identifying feature of the true first printing, namely the absence of the elephant on the copyright page facing the first page of text.

Publisher's original binding, navy blue cloth spine showing slight discoloration, orange-red paper-covered boards, title label mounted on the upper cover and carried by Babar the elephant on his shoulders, a few scuffs, notably to the rear cover; green endpapers and pastedowns decorated with a long frieze of elephants holding each other's tails with their trunks; small abrasions to edges and corners.

One hinge slightly split at the head, with the leaves a little loosened at the top; internally well preserved.

Illustrated with drawings by Jean de Brunhoff.

First edition, and first issue of the fine steel engravings by Sainson.

The illustrations are distributed as follows:

• in the first volume: 145 plates outside the text, including a frontispiece and four maps, two of which are folding; the map of the Hawaiian Islands curiously appears twice: once as a folding map, once across two separate plates;
• in the second volume: 140 plates outside the text, including a frontispiece and three folding maps.
• Contemporary bindings in cherry red half shagreen, spines with four raised bands decorated with gilt garlands and double gilt fillets and floral tools, red cloth-covered boards, marbled endpapers and pastedowns.
• The steel engravings, after drawings by M. de Sainson, official artist on the Voyage of the Astrolabe, depict peoples from around the world, modes of transportation by land and sea, animals and plants, landscapes, and more.
• None of the bibliographies specify the exact number of plates. The index at the end of volume II provides clarity: the plates appear either as double-page spreads (72 and 70 respectively, not including the portrait frontispieces) or as single-page images, in which case there are 144 and 140, as is the case here.
• Moreover, many copies include duplicates, which accounts for the significant variation found in collation descriptions. Copy from the library of the Marquise H.-Dor. de Barthélémy (with ink stamp).
• Some scattered foxing, two corners slightly bumped, and black stains to the boards.

Rare first edition of the French translation, one of 350 numbered copies on alfa paper, the only deluxe copies aside from 50 on pur fil.

A dampstain at the center of the lower cover.
Rare

Partly first edition, one of 31 copies on pur fil paper, following only 5 on Japon and 10 on Hollande.
A well-preserved copy, notwithstanding slightly and partially toned endpapers, of no consequence.

Illustrated with a frontispiece portrait of the author drawn by himself.

First edition, an ordinary paper copy.
The three volumes are housed in a full black morocco case, spine ruled in blind, date at foot, inside lined with khaki sheepskin, by Goy & Vilaine.

Handsome copy inscribed by Marcel Proust to Henri Massis in the first volume: 
“En témoignage de très vive sympathie Marcel Proust [a gesture of very fond affection].”

First edition, with no deluxe paper copies issued.
Handsome copy complete with its promotional wraparound band "L'amour-ogre".

First edition, one of 125 numbered copies on Japan paper, the deluxe issue.

Contemporary binding in red half morocco with corners, spine with five raised bands ruled in black, minor rubbing to spine without affecting its integrity, marbled paper boards, endpapers and pastedowns in a different marbled paper, original wrappers and spine preserved, top edge gilt on witnesses, binding signed by René Kieffer.

A handsome copy, finely bound.

Autograph letter dated and signed by Gustave Flaubert to Philippe de Chennevières, 16 lines in black ink, Usual folding crease.

A dismayed Flaubert desperately tries to create his play Le sexe faible at the Odéon Theatre: "... je vous assure qu'elle est honorable. Si nous échouons à l'Odéon c'est une affaire flambée..." [ I assure you it is honorable. If we fail at the Odéon this affair is a bust...]

Gustave Flaubert expresses concern over the director of the Odéon Theatre Félix Duquesnel’s apparent lack of interest in staging his play Le sexe faible. This play was the unfinished work of Louis Bouilhet, Flaubert’s close friend. Flaubert revised it in 1872–1873, only to face rejections from several Parisian theatre directors unwilling to stage the work. "Duquesnel, malgré sa promesse de le lire promptement, n'a pu en huit jours que parcourir les deux premiers actes..." [Duquesnel, despite assuring me he would read it quickly, only read two acts in 8 days...] He thus asks his correspondent, Philippe de Chennevières, whether M. Victor Arthur Rousseau de Beauplan might intervene on his behalf: "Ne serait-pas utile pour le bien de la cause que Mr de Beauplan lui recommandât ladite oeuvre ?" [Wouldn't it be useful for the good of the cause to ask for Mr de Beauplan to recommend the aforementioned play?]

First edition, one of the advance review copies.

A handsome copy despite two minor sunned spots to the spine-ends.

Exceptional presentation copy inscribed and signed by Dominique De Roux: "Pour Romain Gary pusiqu'il n'y a pas que le premier pas qui coûte, et le voilà fait. De Roux. Très beau votre article dans LIFE." [For Romain Gary, because it's not just the first step that's hard, and now it's done. De Roux. Your article in LIFE is very beautiful.]

Gary had indeed published a celebrated plea for the protection of nature, mankind and endangered species in Life Magazine entitled “Dear Elephant, Sir”, (22 December 1967). Amidst the Cold War and the threat of nuclear annihilation, the prolific writer chose to reissue one of his masterpieces, 'Les Racines du ciel', and to restore its political resonance, in his Life op-ed:

"In these perilous days of 'balance through terror,' of massacres and elaborate calculations about how many humans would survive a nuclear holocaust, it is only natural that my thoughts should turn to you. To my mind, dear sir and elephant, you perfectly embody all that is now threatened with extinction in the name of progress, efficiency, absolute materialism, ideology, or even reason itself—for a certain abstract and inhuman use of reason and logic is becoming ever more complicit in our murderous madness. It now seems all too clear that we have behaved toward other species—and yours in particular—just as we are about to behave toward ourselves."

First edition, published under the pseudonym Jean La Rue.

Contemporary binding in red half shagreen, spine with four raised bands ruled in gilt and decorated with black fillets, double gilt panels with ornamental tooling, marbled paper boards, endpapers and pastedowns in cat's-eye pattern paper, a few small bumps to edges and lower corners, sprinkled edges.

Minor, insignificant foxing.

First edition, printed in 250 numbered copies on Esquimat paper, this copy not numbered.

Small stain in the right margin of the upper cover of the first volume, minor soiling to the slipcase, otherwise a handsome copy.

Richly illustrated.

First collected illustrated edition, illustrated by Ferat, with engravings by Pannemaker and Hildibrand. The volume also includes Les Forceurs de blocus.

Publisher's binding known as "à l'obus" in a rare violet cloth, with the back cover in Lenègre type C. Spine faded, as is almost always the case with this particularly light-sensitive color. Strikingly fresh front cover. One corner slightly blunted, the others rubbed and a little turned in. Head- and tailpieces in good condition. Generally fresh paper, with some leaves showing spots of browning. All edges gilt, perfectly preserved.

A very good copy, clean and sound throughout.

Second edition, revised and annotated by J. Belin. Illustrated with 30 steel-engraved plates hors-texte depicting principally châteaux and monuments, and with a folding map (often missing).

Restoration period binding in half glazed hazelnut calf. Spine with flat false raised bands decorated with roulettes on the bands and blind fillets. Black calf title-label and volume label. Generally fresh throughout, with very white paper, some pale scattered foxing and a few plates browned. The spines show some browning, otherwise very fine condition overall, the boards without rubbing and corners sharp.

First edition printed to commemorate the centenary of the House of Hermès, one of the nominative copies on Imperial Japanese paper, this one inscribed for Mr. Saur.

Illustrated with 10 in-text vignettes, 6 full-page three-colour drawings, and photographic reproductions of Hermès products on 6 leaves devoted respectively to saddlery, polo, tobacco, leather goods, golf, and travel accessories.

Only three copies listed in the CCF (BnF, Musée des Arts Décoratifs, Rennes).

Publisher’s Bradel binding in full flexible fawn board, flat spine without title, decorative endpapers and pastedowns.

A handsome commemorative booklet published for the 100th anniversary of the House of Hermès.

Text and illustrations by the renowned designer and graphic artist Maximilien Vox (1894–1974).

Strictly speaking, the creation of the company cannot date back much earlier than 1837, when Thierry Hermès (1801–1878) opened his first workshop at 56 rue Basse-du-Rempart (now disappeared), near the church of La Madeleine. He worked as a master harness-maker and saddler, designing, crafting and selling harnesses and horse equipment. It was in the 1920s that the Hermès name expanded into men’s and women’s fashion, watchmaking, jewellery, sports and city accessories, and interior design.

A rare and appealing copy.

First edition on chestnut paper, complete with its wraparound band for booksellers.
Two small tears without loss to the spine. 

First edition of Charcot's account of his second Antarctic expedition (August 1908 – June 1910).

Illustrated throughout with numerous in-text black-and-white figures, three folding maps, and a monochrome (blue) out-of-text view printed on two leaves.

Preface by Paul Doumer.

Bound in publisher's green bottle half shagreen, smooth spine gilt with typographic motifs, gilt date at foot, double gilt fillet borders on cat's-eye paper boards, comb-marbled endpapers and pastedowns, top edge gilt; signed binding by Flammarion Vaillant.

Some soiling to the left margin of the upper board; internally clean and attractive overall, though the leaf bearing the autograph inscription shows marginal stains lightly affecting the inscription.

This second expedition led to Charcot's discovery of a new landmass, which he named after his father. The documents brought back proved even more significant than those from the first expedition, and a 2000-kilometre stretch of coastline was charted.

Rare autograph inscription dated 1921 from Jean-Baptiste Charcot to Gaby Lapierre.

First edition illustrated with 12 plates, including a large folding map.

Contemporary full sienna cloth binding, flat spine with gilt double fillets at foot, red morocco title label, blue paper endpapers and pastedowns, corners slightly rubbed.

A light stain to the edges, otherwise a pleasing copy.

One of the many scientific reports published to document the findings of Charcot’s first Antarctic expedition.

Ernest Gourdon (1873–1955) served as the expedition’s geologist.

Very rare first edition of the earliest French–Annamite vocabulary (see Cordier, Indosinica IV, 2287–2288).

Contemporary modest binding in brown half sheepskin, flat spine lacking at foot, partially covered with a handwritten label—partially torn—bearing the author's name and title; marbled paper-covered boards, pink endpapers.

Scuffing; boards and endpapers renewed.

On the origins of printing in Bangkok (1839), see Michael Winship, "L’imprimerie thaïlandaise : des origines à 1851," in: Le livre et l’imprimerie en Extrême-Orient et en Asie du Sud, 1986, pp. 265–280.

A wide-margined copy enriched with numerous early handwritten annotations in black and purple ink, and pencil.

First edition, one of the review copies.

Spine faded with noticeable waterstaining at foot, a few small spots in the margins of the covers.

Illustrated with 53 photographs by Brassaï.

On a card mounted to the front endpaper, a moving presentation inscription, dated and signed in blue ballpoint pen by Brassaï: "Pour Francis Ponge amical hommage de Brassaï Eze-Village le 29 octobre 1964."

First edition, one of 40 numbered copies on Vélin du Marais, the only copies printed on deluxe paper.

A fine copy.

First edition, one of 25 numbered copies on pur fil, the only copies printed on deluxe paper.

A faint halo to the upper left corner of the front cover, small tears to the foot of the spine where the edges are uncut.

Rare copy with full margins.

Original color lithograph poster for the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, signed in the plate "C. Boignard" and "H. Rapin," printed by Lapina. Minor marginal tears not affecting the image, folds with some very minor lacks of paper at cross folds.

Striking large-format original bonds emission poster for the renowned 1925 Paris International Exhibition, which gave its name to the "Art Deco" movement.

First edition, one of the review copies.
Spine with a small tear at the foot.
Double autograph inscription signed by Raymond Queneau to Madame Bonnet, the first in blue ink: "A madame Bonnet en sincère hommage Queneau", the asterisk referring to the second signed inscription: " complété en II II III, 131789076, ABCDEFG... Queneau" in black ink.

Rare first edition (Not in Lorentz or Sabin.)

Some minor and inconsequential foxing to the margins of a few leaves.

Pleasant copy preserved in its original wrappers.

First edition of the French translation for volumes 2, 3 and 4; second edition of the French translation for volume 1. (Not listed by Gay).

A few occasional spots, not affecting the overall freshness of the copy.

Bound in uniform olive green half percaline, smooth spines with gilt floral device and double gilt rules at foot, boards covered with decorative patterned paper, mauve endpapers and pastedowns, inner hinges discreetly restored with adhesive or partly split, all edges red.

Illustrated with 53 black plates comprising 92 engravings, 4 chromolithographs, a fine folding map of Northern and Central Africa showing the explored areas and the route taken, and a frontispiece portrait of the author.

Illustrations distributed as follows:

Volume 1: a frontispiece portrait of the author and one colour plate.

Volume 2: (pagination jumps from 164 to 167 without loss), one colour plate and 18 black plates.

Volume 3: one colour plate.

Volume 4: one colour plate, 35 black plates, and a large folding colour map.

The four colour plates are titled: Taepe, point of confluence of the Benue and Faro rivers, 13 June 1851. – Herd of elephants near Lake Chad, 25 September 1851. – Arrival in Timbuktu, 7 September 1853. – Ashenoumma, 17 June 1855. Lithographed after the author's drawings and printed by J. Adam in Munich.

Note: the first black plate in volume 2 and the colour map in volume 4 need to be remounted.

Conducted between 1850 and 1855, Henri Barth's explorations "resteront à jamais célèbres dans les annales de la géographie": he provided accurate data on the entire region of Central Africa stretching from Bagirmi in the east to Timbuktu in the west, discovered the Benue River, and more.

A handsome, uniformly bound copy of this much sought-after work.

First edition, one of 100 copies printed on superior vellum paper, the only deluxe issue.

Illustrated.

A pleasing copy.

First edition, one of 40 copies printed on Vélin du Marais, the only deluxe copies.

Lower cover slightly warped, otherwise a handsome copy.

First edition, one of 30 numbered copies on pur fil paper, the only deluxe issue.

A rare and attractive copy.

First edition, one of the review copies.

A pleasant copy, slightly trimmed as usual.

Inscribed and signed by Raymond Queneau: "A madame A. Bonnet en bien sincère et respectueux hommage Queneau."

First edition, one of 15 copies printed on pure Arches wove paper, the deluxe issue.

A fine copy of this work dedicated by Paul Vialar to the President of Côte d'Ivoire, Félix Houphouët-Boigny.

First edition, one of 29 numbered copies on alfa paper, the only deluxe copies.

A fine and rare example.

First edition, one of 40 numbered copies on Vélin du Marais, the only copies printed on deluxe paper.

A handsome copy, despite two faint stains at the foot of the spine.

Very rare first edition.

Foxing. A faint waterstain at the foot of the second half of the first volume.

Contemporary navy blue half calf bindings, spines with four raised bands decorated with gilt and black fillets, gilt roll tooling at head and foot, spines slightly faded, a small piece of leather missing at the foot of the front board of the first volume; wide gilt fillet framing the marbled paper-covered boards, marbled endpapers, edges sprinkled, one corner rubbed, the others very slightly so; period bindings.

First illustrated edition, partially original, published a few months after the exceedingly rare first edition.

Scattered foxing.

Full navy blue shagreen bindings, smooth spines, covers framed with a gilt fillet and a black fillet, white moiré silk endpapers and pastedowns, occasionally lightly soiled at the margins, all edges gilt. English-style pastiche romantic bindings, late 19th century.

Illustrated with numerous wood-engraved vignettes and 81 full-page plates engraved on wood (47 wood-engravings) and steel (34 steel-engravings) after the leading artists of the period, including Honoré Daumier, Célestin Nanteuil, Anthelme Trimolet, Gustave Staal...

First edition, one of 120 numbered copies on special paper, the deluxe issue.

A handsome copy.

Inscribed and signed by Jean de La Varende to Maurice Gorrée: "... son ami attentif..."

First edition, with no deluxe copies printed.
Pleasant copy, despite a slightly softened upper corner.
Fine signed autograph inscription from Frédéric Dard to a friend named Claude: "Pour toi, mon cher Claude, que je ne voie pas souvent mais à qui je pense sans cesse, cette prose \"musclée\" avec l'espoir qu'elle ne te décevra pas. Affectueusement. F."

Our copy is enriched with a postcard on which Frédéric Dard has written a few words: "Mon Claude - je te signale que le présent bouquin ne sera en vente que le 3 novembre. Bien à toi. F."
 

First edition, one of 10 numbered copies on japon paper, the deluxe issue. Very rare and fine copy, entirely uncut.

Extremely rare and fine full-margined copy of the first verses by the poet of the wind-swept feet.

First edition, with no copies printed on deluxe paper.

Illustrated, a fine copy.

Rare signed autograph inscription by Coccinelle: "A Diego mucho carinos besos Coccinelle 1988" accompanied by a lipstick kiss.

First edition, printed on ordinary paper, of the 1914 Prix Goncourt, awarded in 1916.

Bound in burgundy half morocco with corners, spine with five raised bands highlighted by black fillets, date gilt-stamped at foot, covers in marbled 'oeil-de-chat' paper, comb-marbled endpapers and pastedowns, original wrappers and spine — slightly faded — preserved, top edge gilt, binding signed by Devauchelle.

A handsome copy in an elegant binding.

Rare signed presentation inscription from Adrien Bertrand to Saint Georges de Bouhélier.

A patriotic pacifist, Adrien Bertrand was wounded by shell splinters in the chest at Hemamesnil in Lorraine at the end of October 1914. Aware that his wounds were fatal, he devoted himself to writing "L'appel du sol" before dying on 18 November 1917.

First edition, one of 25 copies printed on Lana wove paper, deluxe issue.

Full red morocco shagreen binding, spine with four raised bands framed with black fillets, hand-marbled endpapers and doublures, original wrappers and spine bound in, top edge gilt.

A handsome copy in an elegant binding.

First edition of the French translation, one of 15 copies numbered on pure Arches wove paper, the only copies printed on deluxe paper.

A fine copy.

Illustrated.

True first edition of the French translation by J.-J. Cabanis.

Gay 197 and Bourquelot VI, 232 mention an 1832 edition from the same publisher under a different title: "Esquisses africaines." Given the identical collation, it is most likely the same 1831 edition issued under a new title.

Ink annotations at the head of the front cover, a few minor spots of foxing, and a faint waterstain along the fore-edge margin of the half-title, gradually fading on the following leaves.

Bound in modern half petrol-blue calf, smooth spine gilt-ruled in double fillets, red morocco title label, marbled paper boards, original covers preserved and mounted; binding signed by Laurenchet.

The author, an officer in the Royal Corps of Engineers, had published the work in English two years earlier, providing a highly relevant account of life in the Cape Colony and among the Kaffirs in the first quarter of the 19th century.

"There is some information respecting the lives of the Boers of the interior at this period, with a description of the Hottentots and Kaffirs, and of the slave system of the country, together with some sporting tales." Cf. Mendelssohn II, pp. 248–249.

Description of the Cape, society life, slave dances, masquerade ball, Cape wines, tiger hunting, the Hottentots, Grahamstown, the Kaffirs, plants and flowers, Great Fish River, the Bushmen, mountains and rivers, wild animals, birds, elephant hunting, Wesleyville, crossing the Kei River, Hinza's kraal, a stopover at St. Helena, Napoleon’s house and tomb, etc.

Several chapters are devoted to hunting (not in Thiébaud).

First edition, one of the numbered copies on Alfa Cellunaf reserved for veterans of Free France and members of the resistance and combatant associations of the 1939–1945 war.
Pleasant set.
Fine autograph inscription signed by General De Gaulle: "A madame Creteau en souvenir de la grande épreuve, en mémoire de son brave fils qui fut 'des miens'. Respectueusement. C. De Gaulle. 16.2.55".

First edition, one of 26 copies on alfa paper, the only copies printed on deluxe paper.

Quarter chocolate-brown shagreen with corners, spine with five raised bands framed by black fillets, marbled paper-covered boards, grey endpapers and pastedowns, top edge gilt, original wrappers and spine preserved.

Inscribed, dated, and signed by Edmonde Charles-Roux to Doctor Bonduelle.

A handsome copy finely bound, of this work awarded the Prix Goncourt in 1968.

First edition, one of 25 numbered copies on pur fil, the only deluxe copies.

A fine copy.

First edition, one of 55 numbered copies on Lana wove paper, the deluxe issue.

Spine very slightly creased at head and foot.

A handsome copy.

First edition, one of 20 numbered copies on alfa paper, the only copies printed on deluxe paper.

Contemporary half red shagreen binding with corners, spine with four raised bands ruled in black, gilt date at foot, gilt-effect paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, top edge gilt; an attractive unsigned binding.

A handsome and rare copy, finely bound.

First edition, one of 56 numbered copies on Montval vellum, deluxe issue.

A fine copy with full margins.

First edition, one of 36 numbered copies printed on Madagascar paper, the leading issue.

A fine copy.

First edition, one of 55 copies printed on pur fil, the only deluxe copies along with 1 copy on Arches printed for Paul VI.
Handsome copy.

First edition, one of 662 numbered copies on Aravis vellum, the only copies printed on deluxe paper.
Handsome copy.

First edition, one of the numbered copies on pur fil, the only deluxe paper issue.

A handsome copy.

First edition of the French translation established by Michel Tournier, one of 52 numbered copies on Alfa paper, the only deluxe copies.

A handsome and scarce copy.

First edition, one of 40 copies numbered on Vélin du Marais, the only copies printed on deluxe paper.

A handsome copy.

First edition, one of 40 numbered copies on Vélin du Marais, the only deluxe copies.

A handsome copy.

First edition, one of 40 numbered copies on vélin du marais, the only deluxe papers.

Beautiful copy.

Edition of Kipling's tales, translated into French by Louis Fabulet and Robert d'Humières. Numbered copy printed on Rives. Minor rubbing to the upper joint and lower corners.

Illustrated with a frontispiece by Paul Colin.

Bound in an elegant navy blue 3/4 morocco binding, spine with five raised bands and floral mosaic morocco inlays in red, green, and yellow, gilt date at foot, decorative abstract paper boards, covers framed in gilt, blue mottled paper endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, binding signed by Grégoire Lévitsky.

With an exceptional signed autograph inscription by Kipling from his poem "France," on the half-title, featuring several unpublished variants. This remarkable ode was composed in celebration of French President Raymond Poincaré’s official visit to London on 24 June 1913 and  became the epitome of the strenghtened bonds between France and the United Kingdom. Kipling even recorded this very stanza on 23 November 1921 during a visit to Paris:

First edition, one of 54 numbered copies on verge paper with deckle edges, the only copies printed on deluxe paper.

A handsome copy.

First edition, one of the numbered copies on alfa paper, the only deluxe issue.

A rare and attractive copy.

Preface by Jean de La Varende.

First edition of the French translation, one of 30 copies printed on Lana white chiffon paper.

A fine copy.

Preface by Eleanor Roosevelt.

First edition, one of 100 numbered copies on Annonay chiffon paper for the first volume, and one of 120 numbered copies on Johannot laid paper for the following two, the only deluxe paper copies for the first volume and the limited issue for the other two.
A very handsome and rare set of this trilogy, the first volume of which—winner of the 1948 Prix Goncourt—was masterfully adapted for the screen ten years later by Denys de La Patellière, with an illustrious cast including Jean Gabin, Pierre Brasseur, Bernard Blier and Jean Desailly, featuring dialogue by Michel Audiard.

First edition, one of 110 copies printed on Arches wove paper, deluxe issue.
Handsome copy, untrimmed, illustrated with photographs.
Fine autograph inscription signed by Pierre Clostermann: "... en cordial hommage d'un \"chasseur\" des FADL qui maniait plus facilement son avion que la dédicace. Pierre Clostermann."

First edition on ordinary paper.
A well-preserved copy.
Inscribed and signed by Gabriel Matzneff to his friend, the Belgian literary critic Pol Vandromme: "Pour Pol Vandromme, toujours si fraternel, ce pèlerinage aux sources, avec mon amitié. Gabriel Matzneff."
 

First edition, one of 54 copies on vergé de Lana, the only deluxe copies.

Head of spine slightly creased.

A handsome copy.

First so-called popular edition of these illustrated works by Balzac. The copy we offer here includes both volumes of the early works, which are almost always lacking. Printed in double columns. Richly illustrated with wood engravings by Daumier, Johannot, Beaucé, Nanteuil, Andrieux... The works are bound two volumes per tome, each with its own title page and half-title. However, none of the title pages indicate volume numbers; the sequence follows the original serialized issues. The two volumes of the early works are bound in volume V. The complete theatre is located at the end of the fourth volume. This edition was reissued by Michel Lévy in 1867, who had acquired the backlist from the publisher Maresq.
Contemporary red half shagreen binding. Flat spine with false raised bands, decorated with four gilt fleurons, broad gilt fillets in place of bands and dotted gilt lines, gilt titles and volume numbers. Boards covered in red grained paper. Rubbing marks. A few pale scattered spots, but overall a very fresh copy. A handsome set.

 Second impression of the first illustrated edition of Victor Hugo's masterpiece.

Some light foxing.

Publisher's full black cloth binding, smooth spine decorated with a gilt allegory of Notre-Dame de Paris, covers adorned with elaborate gilt designs depicting scenes from Notre-Dame de Paris, yellow paper endpapers and pastedowns, shaded white flyleaves, all edges gilt. A fine example of the publisher's romantic binding.

Illustrated with plates by Charles François Daubigny, Valentin Foulquier, Thoedor Josef Hoffbauer, Tony Johannot, Aimé de Lemud, Ernest Meissonier, Célestin Nanteuil, Camille Roqueplan, Louis Henri de Rudder, and Louis Steinheil...

A splendid copy of Victor Hugo’s timeless masterpiece, preserved in a striking romantic publisher’s binding.

First edition, with no deluxe copies printed.

A handsome copy.

Inscribed by Gabriel Matzneff to the Belgian literary critic Pol Vandromme: "Pour vous, cher Pol Vandromme, ces cinquante ans de vie publique, en très amical souvenir."

Very rare first edition, printed in only 50 copies, issued as an offprint from the *Revue Indépendante*.

Bradel binding in full decorated paper with abstract motifs, smooth spine, restored corners on the original wrappers, binding signed by Thomas Boichot.
Inscribed and signed presentation copy from Charles Maurras to Eugène Manuel: "To Joseph Gayda, in memory of a report that was too laudatory but very encouraging, this slightly modified 'Aubanel'. Charles Maurras. Paris, 24 September 1889."
One handwritten correction by Charles Maurras in the margin of page 43.