Paris

Edition illustrated by Julien Le Blant with 7 hors-texte etchings and a portrait of the author as frontispiece. Small print run on vellum. Fine engravings engraved by Champollion. Ornaments (initials, headpieces...) by Giacomelli.

Copy with the monogram G. A., unidentified. Interlaced English initials.

Contemporary full tender green morocco binding signed at bottom of front pastedown Bonleu. Smooth spine decorated with a fleuron at head and a special tool, the whole within elegant frames. Triple fillet frame on boards. Monogram at center of upper board. Wide inner decorative border. Top edge gilt. Light traces of rubbing. Spine having turned uniformly to light brown. Copy very fresh, except for 2 pages with scattered micro spotting.

Handsome copy.

First edition of the French translation prepared by Alexandre Vialatte, one of the complimentary copies.

A manuscript ex-dono erased in the upper right corner of the half-title page, resulting in a small loss of paper.

Signed autograph inscription by Alexandre Vialatte to Albert Thibaudet.

First edition, one of 30 numbered copies on pur fil paper, this copy one of five not for sale.

A rare and fine copy.

First edition of the French translation, for which no deluxe paper copies were issued, one of the publisher’s review copies.

Spine and boards very slightly and marginally sunned, without consequence.

Signed autograph inscription by Julio Cortázar to André Wurmser.

First edition; one of the press copies.

A pleasing copy.

Signed autograph presentation inscription from Pierre Drieu la Rochelle to Germaine Fiévé.

First French edition, translation by Roger Caillois and René L.F. Durand, one of 33 numbered copies on pur fil, the only deluxe paper issue.

Rare and very fine copy.

First edition, one of 110 numbered copies on deluxe paper, our copy unnumbered, the only large-paper issue.

With a photographic portrait of Léon Blum as frontispiece.

Some scattered foxing, notably to the edges and endpapers; minor marginal tears to the covers, without significance.

First edition, one of 40 numbered copies on alfa paper, our copy not specifically numbered, issued as the only deluxe paper copies.

A few small spots of foxing, mainly affecting the edges and the endpapers, which show two small traces of adhesive paper.

First issue with three half-titles, three frontispieces, one heightened in gold, and richly illustrated with ornamental borders and in-text vignettes, together with fourteen full-page plates by Andrew Best Leloir and Levilly. Edition prepared from the 1704 text, revised and accompanied by a dissertation by Baron Silvestre de Sacy.
Rare publisher’s bindings in red half shagreen. Spines decorated with a large gilt ornamental panel featuring an oriental dancer at its centre, surrounded by multiple motifs inspired by the East. Large dark stain at the foot of volume two, as well as a narrow split to the leather measuring approximately 8 cm. Foxing and browning throughout. From p. 70 of volume one onward, a water stain affecting the lower margin, similarly present throughout volume two. Pages 26 and 27 with a tear without loss. Corners rubbed. 

Original photograph depicting a sculpted bust of Tristan Bernard, vintage print.

Printed stamp on verso "Universal press agency", some foxing.

Manuscript annotations by Carlo Rim on verso in blue ink: Tristan Bernard-Nicolas Wahl 1934.

Carlo Rim was a Provençal writer, author of "Ma belle Marseille", a caricaturist, and filmmaker who was notably a friend of Fernandel, Raimu and Marcel Pagnol, as well as Max Jacob, Tristan Bernard and André Salmon whom he met in Sanary.

First edition of the French translation by Élisabeth de Bon, gathering in 2 volumes the 4 parts of this anonymous English novel originally printed in 1809, which according to André Marc in his Dictionnaire des romans anciens et modernes of 1819, is the work of Anna Maria Porter, younger sister of the novelist Jane Porter. The Porter sisters, contemporaries of Jane Austen and famous before the Brontës, were close to the Scottish poet Walter Scott.

Contemporary full brown glazed tree sheep, smooth spines divided into compartments richly gilt in decorative rolls of laurels, annulets and lozenges, two compartments with a lozenge network formed by interlacing fillets with fleurons at the corners, red and green morocco lettering-piece and numbering-piece, blind-tooled fillet border to boards, gilt fillet to turn-ins, edges sprinkled red, marbled endpapers in pebbled pattern.

Some light surface wear and minor offsetting to boards, corners slightly worn. On volume 1, a charming error in the decorative roll at foot of spine, corrected by the binder. On volume 2, small piece of leather at the edge of the numbering-piece slightly detaching.

Scattered foxing and faint marginal damp-staining to upper margins. In volume 3, two minor marginal repairs to half-title and p. 8.

Several period textual corrections in brown ink and pencil: volume 1 p. 131, volume 2 p. 90, and volume 3 p. 21.

First edition, one of 20 numbered copies on alfa paper, our copy lettered "A" among the 8 hors commerce lettered copies, the only deluxe paper issue.

A tear at the foot of the spine at the level of the sewing supports, otherwise a pleasant wide-margined copy.

Dated and signed autograph presentation by the publisher beneath the print statement: "Affectueusement reservé à mon admirable collaboratrice Suzanne qui est aussi la plus charmante & la plus précieuse des filleules - que dis-je ? la seule filleule qui compte ! Paris 18 octobre 1942."

New edition of the translation by Alain-René Le Sage, revised by Pons-Auguste Alletz, some forty years after its initial publication. Two frontispieces decorate each volume. As we learn from the Avertissement, this classic, which flowed from the pen of the author nicknamed the "Divine Spaniard" by his compatriots, was then, in the 1770s, unknown to a large part of the French youth.

Contemporary binding in full brown polished and tree calf, smooth gilt spine with four compartments separated by traditional and dotted fillets, red morocco lettering-piece and numbering-piece, blind fillet framing the boards, gilt fillet on board edges, red edges, shell-marbled paper pastedowns and endpapers.

Discreet old restorations, corners worn, scattered foxing. On the first volume, the upper board is slightly sprung and the spine is lightly split at the foot; on the second volume, the upper joint is slightly starting and there are a few minor losses to the red morocco of the spine. Internally in good condition. In the first volume, small holes to pp. 27 and 169, not affecting the text, and a small marginal tear to p. 227. In the second volume, a discrete red stain to the frontispiece and title-page, a small hole slightly affecting the text on p. 315, a marginal tear very slightly touching the text on p. 361, and another marginal tear, also to the margin, not affecting the text on p. 367.

A fine edition complete with all 12 steel engravings with tissue guards after paintings by Jean-Louis-Ernest Meissonier, Bartolomé Esteban Murillo, Philippe de Champaigne, and Hyacinthe Rigaud, and its chromolithographic title page. Leafs containing the Discourse on Universal History  framed by floral, zoomorphic, figural and armorial interlaced borders. This copy is further enhanced with elaborate decorated initials and tailpieces, and a black-and-white frontispiece opening each part.

Sumptuous full navy blue cathedral polished calf bindings, smooth spines decorated in gilt and blind with Gothic tooling depicting ogival windows, dates and titles in gilt, Gothic lettering for titles; boards with a central panel in gilt and blind framed by multiple gilt fillets and a blind-tooled palmette border, board edges with repeated gilt and blind motifs, gilt edges, triple gilt fillet on joints, moiré pastedowns and endpapers.

Corners slightly bumped, a few minor scuffs to boards, bindings overall in very fine condition.

Scattered foxing, mostly marginal to text and plates, some leaves and plates with light browning.

List established by Georges Vicaire detailing the 12 steel engravings included in this edition:

"Portrait of Bossuet, engraved by Pigeot after H. Rigaud; Moses, engraved by Cousin after Ph. de Champaigne, within a border by A. Feart, engraved by E. Ollivier; the Nativity, engraved after Decaisne by Caron (border by Feart, engraved by E. Ollivier); Charlemagne, engraved after Meissonier by Caron (border by Feart, engraved by Ollivier); Isaiah, engraved after Meissonier by Cousin (border by A. Peyre, engraved by E. Ollivier); the Assumption, engraved after Murillo by Cousin; Jesus Christ, engraved after Decaisne by M. Lecomte (border by Chenavard, engraved by Ollivier); St. Paul, engraved after Meissonier by Cousin (border by A. Fries, engraved by Le Petit); St. Augustine, engraved after Murillo by Joubert (border by Feart, engraved by Ollivier); St. Basil, engraved after Herrera the Elder by Cousin (border by Feart, engraved by Ollivier); Greece, engraved after Tony Johannot by Revel (border by Feart, engraved by E. Ollivier); Rome, engraved after Tony Johannot by Pelée (border by Feart, engraved by Ollivier)."

(our own translation)

First edition, for which no copies were issued on deluxe paper, this being one of the publisher’s review copies.

A small tear at the head of the upper cover, a crease at the foot of the lower.

A pleasing copy, complete with its promotional band.

Dated and signed autograph inscription by René Depestre to the writer Christiane Baroche.

First edition limited to only 250 copies, which were not offered for sale but given to the author's close circle. This former minister under Louis XV composed these essays in 1736, and his son, the Marquis de Paulmy, had them published nearly fifty years later.

Contemporary half brown calf, grained paper boards, spine with five raised bands decorated with five compartments featuring double gilt fillets, red morocco lettering piece, red speckled edges.

Lower headcap missing, some surface rubbing to boards, corners worn, small wormhole at foot of spine, book interior in fine condition.

Light foxing, author's name annotated in brown ink on title page.

The name of the author's intellectual master, Michel de Montaigne, is spelled here, as in the first edition of the Essais, without the 'i'—originally silent before 'gn'; but after all, isn't 'Montagne' one of the highest peaks of French literature?

Copy comprising two translations in first edition by M. de Marolles, Abbé de Villeloin. Charming allegorical engraved title-page depicting the authors and their works, the latter represented as two mischievous cherub-satyrs. Several headpieces, some with coats of arms, tailpieces, and decorated initials with floral and figural motifs.

Contemporary binding in full polished brown calf, spine with four gilt raised bands, decorated with four compartments with gilt fleurons and roulettes, double gilt fillet framing the boards.

Darkening to the spine and lower board, rubbing and scratches to the boards, one corner bumped.

Scattered foxing and dampstaining in the margins, affecting the text only slightly, small marginal hole at p. 201, faint brown ink mark at p. 101.

First edition illustrated with 12 full-page plates by Françoise Gilot, one of only 115 numbered copies on Arches vellum, the deluxe issue.

Our copy is indeed accompanied by an original lithograph by Françoise Gilot on a separate leaf.

A very good copy.

Paul Éluard’s handwritten signature on the limitation page, lightly and partially shaded as on the facing page.

First edition of the French translation, one of only 34 numbered copies printed on pure vellum paper, the sole deluxe paper issue.

A fine and rare copy.

Complete copy comprising two translations by Nicolas Perrot d'Ablancourt, whose works are commonly known as "belles infidèles" (beautiful but unfaithful translations). Between 1662 and 1795, no other translation of Thucydides' History of the Peloponnesian War was published. The privilege granted to the bookseller Clousier in 1712 was shared among several booksellers, including Michel-Étienne David, Nicolas Gosselin, and Jean-Geoffroy Nyon.

Contemporary full brown calf, gilt spines with five raised bands and four compartments decorated with plain and dotted fillets enclosing fleuron tools, tan morocco lettering-pieces, numbering-pieces within gilt borders, gilt rolls to board edges, red speckled edges, marbled pastedowns and endpapers.

Light scratches and rubbing to boards, corners worn. Old bookplate mark on the first pastedown of the second volume.

Marginal worm trail in the first volume, not affecting text, overall some slight foxing. 

New compilation of the celebrated songs by the troubadour from Sète, including "La mauvaise réputation", "Le parapluie", "Le petit cheval", "Le fossoyeur", "Le gorille", "Corne d'auroch", "La chasse aux papillons" and "Hécatombe".
Inevitable creasing and light rubbing along the margins of the record sleeve.

A small ballpoint pen doodle in blue ink on the lower cover.
Autograph signature of Georges Brassens in the lower right margin of the upper cover.

First edition, with no copies printed on deluxe paper.

A very good copy.

Inscribed by Maurice Druon to a friend named Henri: "... pour les souvenirs d'une année de travail qui devint une année d'amitié."

First edition, illustrated with full-page 65 plates.

Occasional light foxing.

Blue morocco half-binding, spine with five raised bands ruled and decorated in gilt with gilt floral tools, marbled boards, marbled endpapers, original wrappers preserved, top edge gilt; bookplate on front pastedown.

A handsome copy in an attractive binding.

First edition.

Our copy is preserved in its original plain pink paper waiting wrappers.

Ink annotations to the front cover, a few short tears; internally a clean and agreeable copy.

As it was never ratified, this concordat never came into effect, and France therefore remained under the regime of the Concordat of 1801 until the Law on the Separation of Church and State in 1905.

Autograph letter signed by François Vidocq, dated in his hand November 12, 1837, on a double leaf, with the autograph address of the correspondent on the fourth page "Monsieur Pujol ancien directeur des Postes de Vendôme à Gournay, Enbray [Gournay-en-Bray] (Seine-Inférieure)". Numerous usual folds.

Fine printed letterhead detailing the services offered by his private detective agency: "20 FRANCS PAR ANNEE, Et l'on est à l'abri de la ruse des plus adroits fripons !" [for 20 francs a year, one is protected from the most cunning of scoundrels!] It bears the address of his agency, recently relocated to "Rue Neuve St Eustache, N°39" (manuscript notation). Vidocq had retained his former offices at "Rue du Pont-Louis-Philippe, N°20" (printed letterhead).

First edition, one of 50 numbered copies printed on Edogawa Japan paper, the deluxe issue.

A handsome copy, complete—as with all copies on Japan paper—with the author’s portrait frontispiece by Armand Rassenfosse.

First public edition of this text by Jean Cassou, written under the pseudonym Jean Noir, one of 50 numbered copies on Madagascar paper, from the deluxe issue.

A fine copy.

First collected edition, one of 13 numbered copies on pur fil paper, our copy being one of 3 hors commerce, the only copies on deluxe paper.

A fine copy.

Edition illustrated with 12 original colour watercolours by Gerda Wegener, printed hors texte, one of 400 numbered copies on Arches laid paper.

Spine and boards faintly sunned at the margins, otherwise a pleasing copy.

First edition, one of 330 numbered copies on Arches wove paper.

Minor tears to the head and tail of the spine; a pleasing copy.

With wood-engraved illustrations by François de Marliave, printed in several colours by E. Gasperini.

First edition printed on regular stock.

Small tears to the head and foot of the spine.

Fine presentation inscription, signed by Henri de Montherlant to Georges Bataille.

First public edition of this text written under the pseudonym François la Colère, one of 50 numbered copies on Madagascar paper, the deluxe issue.

Rare and fine copy.

First edition, for which no copies were issued on deluxe paper.

Spine lightly wrinkled, a small loss at the foot of the lower board; otherwise a pleasing copy.

Signed autograph inscription by Maurice Genevoix.

First edition, one of 1,045 and one of 1,246 numbered copies on deluxe paper, the only large-paper issues after the 118 and 120 reimposed copies.

A pleasing set.

First edition, one of 170 numbered copies on deluxe paper.

Fine copy preserved in its double wrapper.

First edition, one of 170 numbered copies on deluxe paper.

A very slight tear, without loss, to the second panel of the double wrapper.

A pleasing copy preserved in its double wrapper.

First edition, one of 170 numbered copies on pur fil.

An agreeable copy preserved under a double wrapper.

First edition, one of 170 numbered copies on pure rag paper.

Shadowed endpapers; a small loss at the head of the upper board of the original front cover.

A pleasant copy, preserved in its double wrapper.

First published edition of this text by Pierre Bost, written under the pseudonym Vivarais, one of 50 copies on Madagascar paper, deluxe issue.

Fine copy.

First public edition of this text by Elsa Triolet, written under the pseudonym Laurent Daniel, one of 58 numbered copies on Madagascar paper, the deluxe issue.

Fine copy.

Third edition and the last revised by the author, partly original as 25 poems appear here for the first time, bringing the total to 151 poems (as against 100 in the 1857 edition). Copy of the second issue, with a title page dated 1869 and bearing the statement of third edition.
Illustrated with a steel-engraved portrait of Charles Baudelaire by Nargeot as frontispiece.
A few minor spots of foxing, as often encountered.
The upper cover and the half-title page bear the wording: "Oeuvres complètes". According to Clouzot, the volume was sold either separately on its own or as the first volume of the collected works, whose publication extended over several years.
It should be noted that the wrappers of this third edition are always dated 1869, while certain copies, the rarest, carry a title page dated 1868.
Notice by Théophile Gautier.

First edition.

Spine and boards slightly and marginally faded.

A rare and pleasing copy.

First edition of the French translation, one of 230 numbered copies on alfa paper.
With a preface by Romain Rolland.
A fine copy, the spine very slightly toned.

First edition of the Petits poëmes en prose, later entitled Le Spleen de Paris – Petits poëmes en prose. Second edition of Les Paradis artificiels.

Some foxing, mainly at the beginning and end of the volume.
Contemporary half black shagreen binding, spine with five raised bands ruled in gilt and decorated with gilt tools, marbled paper sides, marbled endpapers and pastedowns, speckled edges, corners slightly rubbed.
The half-title bears the designation: "Oeuvres complètes". The work was issued separately, either on its own or as the fourth volume of the complete works, the publication of which extended over several years.
Clouzot notes: "Très rare en reliure d'époque sans tomaison au dos".
Particularly sought after.


 

First edition, one of 45 numbered copies printed on Rajasthan jute paper, the only deluxe issue.

Manuscript signature of Emil Cioran at the colophon.

Spine very slightly faded, of no significance.

Rare and fine copy, complete with the three tantric paintings reproduced hors-texte in colour on cream paper.

Published in the year of the first edition, one of 950 numbered copies on wove paper.
Publisher’s binding after the original design by Paul Bonet.
Attractive copy, complete with its original flexible cardboard slipcase.

First edition, one of 647 numbered copies on pure rag paper, being the only deluxe paper issue after 109 reimposed copies.

Fine copy.

First edition, one of 306 numbered copies on deluxe paper, the only large-paper issue after 109 reimposed copies.

A fine copy.