Browse
All Collections
Services
Tailored GuidanceSell to us
What's New
MediaCatalogues
Stay Informed
Set an alert
About us
About UsWhere To Find UsContact
Change Language
Flag en
Logo Édition Originale
Icone compte
Icone panier
Paris

Paris

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

Do you have information to share about this place of publication?

58709 results
  3. Les Fleurs du Mal
    Charles BAUDELAIRE

    Les Fleurs du Mal[Flowers of Evil]

    Michel Lévy frères|Paris 1868|12.50 x 18.80 cm|broché

    Third edition, expanded with 25 new poems. One of the very few deluxe copies on hollande paper, only deluxe issue. In its original wrappers, as issued, skilfull restorations to spine and first cover, some letters of the spine title restored. Some foxing to the first few leaves. 
    With a steel-engraved frontispiece portrait of the author by Nargeot and a lengthy introduction by the poet Théophile Gautier along with an addenda selected by Baudelaire containing articles and letters from 1857 by Barbey d'Aurevilly, Dulamon, Sainte-Beuve, Charles Asselineau, Custine, Edouard Thierry and Émile Deschamps.


    Like all first issue copies, the cover is dated 1869.
    Exceedingly scarce copy on hollande, the only deluxe issue: less than ten copies are said to have been printed.

    Sold
  4. “Who among us has not dreamed the miracle of a poetic prose, musical without rhythm or rhyme, supple and agile enough to adapt to the lyrical movements of the soul, to the undulations of daydreams, to the leaps of consciousness?”
    Petits poëmes en prose - Les Paradis artificiels
    Charles BAUDELAIRE

    Petits poëmes en prose - Les Paradis artificiels [Little poems in prose - Artificial Paradises] [Paris Spleen]

    Michel Lévy frères|Paris 1869|12.50 x 18.80 cm|broché

    First edition of Baudelaire's Petits poëmes en prose later published by the better-known title Le Spleen de Paris - Petits poëmes en prose. One of the very rare copies printed on hollande, only deluxe issue (‘grands papiers').
    With a preface to the collection by the author, derived from a letter to Arsène Houssaye, in which he articulates his ambitions for the prose poems. The poems are followed in this volume by the second edition of Paradis Artificiels.
    This edition was used as the fourth volume of Baudelaire's complete works, as stated “œuvres complètes” on the cover. It was also sold separately, given the several years it took to publish all seven volumes of the complete works.
    Exceedingly rare first edition copy printed on hollande, the only deluxe issue: less than ten copies are said to have been printed. A rare survival in the original wrappers that has escaped rebinding. It is the only such example we can trace in trade records.

    Sold
  16. Lettre autographe signée adressée à propos d'un projet d'édition
    Joséphin PÉLADAN

    Lettre autographe signée adressée à propos d'un projet d'édition

    S. n.|Paris 1890|12.50 x 16.50 cm|une feuille
    Autograph letter signed by Joséphin Peladan addressed to a fellow writer (13 lines in black ink), on a double sheet of yellow paper.
    Fold marks inherent to postal handling.
    "Mon cher ami,
    je serai, à Marseille, de nouveau, à l'hôtel Noailles, vendredi ou samedi, & vous verrez dès possible. J'ai lu l'Hennequin, traduction & étude, toutefois je vous les garde jusqu'à écriture de l'introduction. Devan tlivrer un plan avant peu & votre édition n'attendant pas. Bien à vous & aux vôtres. Peladan." ("My dear friend, I will be in Marseille again, at the Hotel Noailles, Friday or Saturday, & you will see as soon as possible. I have read the Hennequin, translation & study, however I am keeping them until writing the introduction. Having to deliver a plan soon & your edition not waiting. Best to you & yours. Peladan.")


    Sold
  18. Le moine
    Matthew Gregory LEWIS

    Le moine

    Chez Maradan|à Paris 1819|10.20 x 17.50 cm|3 volumes reliés
    Third edition of the French translation.
    Small paper lacks to the second cover of the first volume, pen annotations in margins of some leaves, one annotation has been neatly cut from a leaf margin, some light foxing, manuscript gift inscription and printed stamp on the title pages of the volumes.
    Full red paper board bindings, smooth spines slightly faded decorated with triple gilt fillets, black calf title and volume labels, all edges yellow, contemporary bindings.
    Much has been written about this Gothic, dark, and oh so scandalous novel, but the sum of adjectives attributed to it cannot explain the lasting legacy of such a work; it is moreover the only one of its category to have achieved such renown, and for good reason: drawing from the mysteries of the Gothic novel (castles, cellars, incest, diabolical acts) Lewis created the novel of a man possessed by immense pride, whose perpetual demonstration of purity is a temptation for the Devil himself. It is therefore a battle of man, aspiring to virtue and purity, against the evil within him (sin, lust, murder, domination...); it is indeed the battle of every man, that of good and evil, for the Devil is merely a tempter, not the one responsible for evil. The monk is as much an allegory as a superb parable of the human condition. The radical modernity of this novel lies in the reader's position, as voyeuristic witness to a vertiginous and inexorable fall into evil by a fanatic of purity and sanctity.
    Handsome copy in contemporary binding.
    Sold
  24. Un autre monde - Transformations, visions, incarnations, ascensions, locomotions, explorations, pérégrinations, excursions, stations, cosmogonies, fantasmagories, rêveries, folatreries, facéties, lubies, métamorphoses, zoomorphoses, lithomorphoses, métempsychoses, apothéoses et autres choses
    Jean Ignace Isidore Gérard GRANDVILLE, Taxile DELORD

    Un autre monde - Transformations, visions, incarnations, ascensions, locomotions, explorations, pérégrinations, excursions, stations, cosmogonies, fantasmagories, rêveries, folatreries, facéties, lubies, métamorphoses, zoomorphoses, lithomorphoses, métempsychoses, apothéoses et autres choses

    Henri Fournier|Paris 1844|19 x 27 cm|relié
    First edition of this work considered to be Grandville's masterpiece, with illustrations in first print. Illustrated frontispiece, 36 colored illustrations and 146 in-text woodcuts in black.
    Contemporary binding in half black shagreen, spine with raised bands ruled in gilt, black paper boards framed in gilt, a scratch with loss of paper to the upper right corner of the upper board, small scuffs on the covers, yellow endpapers, all edges gilt.
    Handsome copy of this beautiful book, a precursor to Surrealism.
    This exuberant and prodigious production of Grandville and Delord (whose name is printed at the bottom of page 292), judged by its contemporaries as already being mad, was rediscovered by the Surrealists.
    “Published in 1844 by éditions Fournier, Un autre monde is Grandville's masterpiece. The book is subtitled Transformations, visions, incarnations, ascensions, locomotions, explorations, travels, excursions, stations, cosmogonies, phantasmagorias, dreams, frolics, facetiae, whims, metamorphosis, zoomorphs, lithomorphosis, metempsychosis, apotheosis and other things. With its transformations, its inventions and its phantasmagoria, the work claims to reflect a changing era. Un autre monde recounts and illustrates the extraordinary travels of three neo-gods, Puff, Krackq and Hahblle. [...] It is indeed a philosophical journey that Grandville takes us on [...] The reader, led to a strange planet imagined by the artist, is invited, like Gulliver in the Country of Laputa, on a parodic journey of his philosophical, scientific, economic and religious ideas, of his passions, inventions and worries: romanticism, mechanisation, socialism, money, serial, publicity, anglomania, philanthropy, phrenology, etc.” (Annie Renonciat, La Vie et l'œuvre de Grandville, Paris, ACR-Vilo, 1985).
    Grandville's most sought-after work.
    Sold
  25. A pinnacle of literature and illustration
    Oeuvres complètes - La comédie humaine
    Honoré de BALZAC

    Oeuvres complètes - La comédie humaine[Complete Works - The Human Comedy]

    Houssiaux|Paris 1855-1869|13.50 x 21 cm, longueur totale de la série 60 cm|20 tomes en 20 volumes reliés

    Reprint of the works by Houssiaux, who had purchased the stock of the Furne bookshop, where Honoré de Balzac's works were originally published.
    Houssiaux completed them with three new volumes (Theatre, Contes drôlatiques...) which appear here for the first time in the collected works in 1855.
    Some foxing.
    Bound in half green shagreen with corners, spines with four raised bands decorated with gilt typographical motifs, marbled paper boards, endpapers and pastedowns of handmade paper.
    Work illustrated with 143 plates on tinted heavy paper, by the finest artists of the period including Bertall, Daumier, Gavarni, Johannot, Nanteuil as well as rare illustrations within the text and some music plates. Most copies contain between 136 and 144 engravings.
    This magnificent illustration represents a pinnacle of the genre and captures the aesthetic of an entire era.
    As always with these complete works editions, each copy naturally possesses some notable particularities and the number of plates may differ from volume to volume within a single copy.
    Vol.1 :1855 : 7 engravings including the portrait of Balzac
    Vol.2: 1869 : 7 engravings
    Vol.3: 1869 : 6 engravings
    Vol.4: 1869 :  6 engravings.
    Vol.5 :1869  : 9 engravings.
    Vol.6 :1869 :  8 engravings
    Vol.7 :1869 :  8 engravings
    Vol.8 :1869 :  7 engravings
    Vol.9 :1869 :  7 engravings
    Vol.10 :1869 : 8 engravings
    Vol.11 :1869 :  8 engravings
    Vol.12 :1869 :  8 engravings
    Vol.13 :1869 : 5 engravings. Pages 679 to 682 having been creased and with small lacks not affecting the text.
    Vol.14 :1869 : 9 engravings
    Vol.15 :1869 : 6 engravings
    Vol.16 :1869  : 4 engravings
    Vol.17 :1869 :  4 engravings
    Vol.18 :1869 :16 engravings
    Vol.19 :1869 : 6 engravings
    Vol.20 :1869 : 4 engravings
    Handsome set, despite some foxing, in uniform bindings.




    Sold
  26. La descendance de l'homme et la sélection sexuelle
    Charles DARWIN

    La descendance de l'homme et la sélection sexuelle

    C. Reinwald et Cie|Paris 1872|14.50 x 23.50 cm|2 volumes reliés
    First French edition, translated from English by Moulinié. Preface by Carl Vogt. 76 wood-engraved figures in text. At the end of volume I, 24 pages of catalogue from the Reinwald bookshop.
    Publisher's green cloth binding signed Lenègre at foot. Smooth spine with ornament at foot and head. Rubbing. Headcap of volume I sunken with micro-tear of a few millimeters at upper joint. 2 upper corners folded in volume I. Some pale foxing in margins. Handsome copy.
    If The Origin of Species made the author a pivot in the evolution of biology, "The Descent of Man" takes an additional step in what would be called Darwinism by building a bridge between biology and the human sciences and philosophy. It is moreover the first time that we find in a book by the author the term Evolution to conceptualize Darwin's thought (p2. at the end of the first paragraph). The term would be added to the sixth edition of The Origin of Species. Darwin published in 1859 "On the Origin of Species", and it is only 13 years later, in The Descent of Man that he demonstrates that man is the descendant of pre-existing species, developing the theory of sexual selection, a factor in the evolution of species and their differentiations.
    Darwin was very attentive to the translation of his work and collaborated closely with Reinwald.
    Sold
  62. "You will see how our island will be in bloom"
    Lettre autographe datée et signée adressée à son grand ami et médecin personnel Emile Allix : "vous avez comblé mon vieux coeur de joie"
    Victor HUGO

    Lettre autographe datée et signée adressée à son grand ami et médecin personnel Emile Allix : "vous avez comblé mon vieux coeur de joie"

    Paris 18 mars [1873]|10.50 x 13 cm|2 pages sur un feuillet double

    Autograph letter dated and signed by Victor Hugo, to his great friend and personal physician Emile Allix. 30 lines in black ink on two pages of a bifolium signed with the single letter "V", greatest mark of affection the writer could give, usually reserved for his two sons, his daughter, his wife and his friends Auguste Vacquerie and Paul Meurice.
    Back in Guernsey in a deserted Hauteville House, Hugo was in the middle of writing Quatre Vingt Treize and acutely felt the absence of his close friends and family. He thanked his friend, the illustrious doctor Allix, a member of the circle of Jersey outlaws, who had also stayed at Hauteville House many times: "Doctor, friend, dear Allix, your letters bring me joy and serenity in my work and in my solitude". In Paris, the doctor took care of Hugo's beloved children in poor health: Allix had taken in and placed Adèle Hugo in Mme Rivet's asylum in Saint-Mandé, after her disastrous stay in Barbados and failed attempt to woo the Colonel Pinson: "Oh, bring me all my dear absent ones and you will see how our island will be in bloom [...]. Alas, there will always be one missing. This will be the black prison of my life. Thank you again for taking care of her. Could you be so kind as to pay the next term (17 March to 17 June) to Rivet on my behalf?" Allix looks after his son François-Victor, who succumbs to tuberculosis in December of the same year: "We read your letters at dessert at Madame Drouet's, and if you could only see how much we love you! I hope my [François-]Victor is getting better and better, and I'm waiting for him, and for them, and for you". Attentive to the health of young children, a cause to which he would devote a large part of his medical career, Allix also took care of Victor Hugo's precious granddaughter: "You have showered little Jeanne and my old heart with joy. V."

    An exceptional missive from the writer, waiting for his loved ones to return so that he could share the view of his island in bloom, where so many of his masterpieces were written. He wrote to Allix, a fervent republican and the family's personal doctor, who was at his wife Adèle's side in her final moments, looked after his children and signed the writer's own death certificate in 1885.

    Sold
  64. L'évolution divine du Sphinx au Christ
    Édouard SCHURÉ

    L'évolution divine du Sphinx au Christ

    Librairie académique Perrin & Cie|Paris 1912|12 x 19 cm|broché
    First edition on ordinary paper.
    Spine and covers marginally browned, handsome interior condition.
    Rare autograph inscription signed by Edouard Schuré to the writer and poet Auguste Dorchain and his wife: "... au poète exquis, à la charmante diseuse qui forment un couple parfait. Leur admirateur Edouard Schuré." (to the exquisite poet, to the charming reciter who form a perfect couple. Their admirer Edouard Schuré.)
    Sold
  71. Le labyrinthe
    Édouard ESTAUNIÉ

    Le labyrinthe

    Perrin & Cie|Paris 1924|12.50 x 19 cm|relié
    First edition, one of 250 numbered copies on Holland paper, ours bearing No. 1, the only deluxe copies.
    Handsome copy with full margins.
    Half purple morocco with corners, spine with five raised bands set with gilt stippling decorated with double gilt compartments adorned with a scattering of gilt stars, gilt date at foot, frame of gilt fillets on moiré paper boards, marbled endpapers and pastedowns, bookplate pasted on one pastedown, covers and spine preserved, top edge gilt retaining its deckled edges, elegant contemporary binding signed Creuzevault.
    Sold
  90. "L'homme du soir". Nouveau manteau de soirée de Kriegck (La Gazette du Bon ton, 1922 n°10)
    BENITO (RODIER)

    "L'homme du soir". Nouveau manteau de soirée de Kriegck (La Gazette du Bon ton, 1922 n°10)

    Lucien Vogel éditeur|Paris 1922|19.50 x 24.50 cm|une double page
    Original colour print, printed on laid paper, signed at bottom left of the plate.
    On a double leaf, text by Celio "Arrangements de coiffures" ["Hair arrangements"] illustrated with 8 sketches in the text by Benito.
    La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists during the full flowering of Art Deco.
    Famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 colour plates and 148 sketches representing models by great couturiers. From their publication, these luxurious publications "s'adressent aux bibliophiles et aux mondains esthètes" ["were addressed to bibliophiles and worldly aesthetes"] (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin character, adopted in 1946 by Christian Dior. The prints are produced using the metal stencil technique, enhanced in colours and some highlighted in gold or palladium.
    The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he had already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the Gazette du bon ton whose subtitle was then "Art, modes et frivolités" ["Art, fashion and frivolities"]. Georges Charensol reports the words of the editor-in-chief: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I therefore thought of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France."] ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n°133, May 1925). The success of the magazine is immediate, not only in France, but also in the United States and South America.
    Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts who are George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, unknown for the most part when Lucien Vogel calls upon them, will subsequently become emblematic and sought-after artistic figures. These same illustrators create the drawings for the Gazette's advertisements.
    The plates highlight and sublimate the dresses of seven creators of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations feature no real model, but only the idea that the illustrator has of contemporary fashion.
    La Gazette du bon ton is a decisive stage in the history of fashion. Combining aesthetic excellence and plastic unity, it brings together for the first time the great talents of the worlds of arts, letters and fashion and imposes, through this alchemy, a completely new image of woman, slender, independent and bold, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
    Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton will largely inspire the new composition and aesthetic choices of the "petit journal mourant" ["dying little journal"] that Nast had bought a few years earlier: Vogue magazine.

    Sold
Results per page