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Autograph note dated and signed by Paul Claudel, one page addressed to Thierry Maulnier (12 lines in blue ink on a single sheet).
Central folds.
A volume bringing together the first editions of the sole theatrical works, a tragedy and two tragicomedies, by the writer Marie-Catherine de Villedieu, the first theorist of the historical novel, celebrated in her own time and in the early eighteenth century in both France and England before being unjustly relegated to the second rank.
Several recent scholarly studies have shed light on the prolific career of the only woman to have lived by her pen in the Grand Siècle, whose works very likely influenced those of Madame de La Fayette and Molière, most notably Le Misanthrope.
The copy is ornamented with headpieces, initials, and tailpieces of elaborate design, some featuring fantastical creatures.
Later binding in full marbled brown sheep, spine with five raised bands tooled with circular floral ornaments, fillets, and the title, all three in gilt, gilt roll on the board edges, red edges, pastedowns and endpapers of marbled paper. Contemporary ownership inscription in brown ink on the title page.
Browning to the upper portion of the spine and boards, discrete worming to the joints and lower board edge, the fore-edge margins trimmed less evenly than head and tail, corners bumped, binding somewhat short in the margins.
Marginal browning to the pastedowns, endpapers, and text block, scattered light foxing throughout.
In Manlius, a paper flaw at p. 33 affecting a few letters, and a tear of 2.5 cm, partially restored at the extremities, to pp. 63–64.
For each of the three plays, the privilège was shared among several booksellers. Le Favori, like the edition published by Thomas Jolly, does not contain the epistle to Monseigneur de Lionne, which is present, however, in the Louis Billaine edition.
First edition, one of 85 numbered copies on pur fil paper, this one of 10 hors commerce lettered copies, the tirage de tête.
This copy is lettered “f”, specially printed for Raymond Queneau.
Handsome autograph inscription signed and dated by Youki Desnos to Raymond and Janine Queneau : "... La rue Lacretelle - le gras double du petit déjeûner...[…Rue Lacretelle – the double pleasures of breakfast…]", also with an inscription by René Bertelé : "... avec l'hommage bien amical du copiste...[with the copyist's best wishes]."
A very good copy.
First edition of Nicolas de Malebranche's debut work and magnum opus, complete with the folding plate facing p. 64 and the zoomorphic, foliate, and figural headpieces and historiated initials throughout. A second volume would complete this first edition in 1675.
Contemporary brown calf binding, spine with five raised bands, gilt fillet-ruled compartments with fleuron tools and gilt title, gilt roll on the board edges.
Head cap lacking, tail cap damaged; wear to the hinges, which are also cracked 3.1 cm and 2.5 cm at the lower and upper extremities respectively; a small hole on the hinge adjoining the upper board; scattered scuffs to the slightly warped boards; corners worn.
Marginal browning to the opening leaves; dampstaining to the upper margin throughout; ink offset to the final leaves.
Scattered foxing.
A copy with manuscript annotations and underlining in brown ink and pencil throughout the preface.
First edition of the French translation, one of 21 numbered copies on pur fil paper, the only deluxe paper issue.
A fine copy.
Invitation card for the Picasso Drawings and Watercolors Exhibition held from October 20 to November 15, 1919, at Galerie Paul Rosenberg in Paris, 21 rue La Boétie. With a reproduction of a drawing by the artist.
Very fine condition, annotated in pencil with the number "40" to the upper left corner and a curved line to the right margin.
The present work was executed by Picasso first public showing with the dealer Paul Rosenberg held at his gallery in Paris. After a trip to London, he had settled in the South of France at the prestigious hôtel Continental in Saint-Raphaël with his new wife and Ballets Russes dancer Olga Kholokhova. He exhibited his production of 167 drawings and watercolours at this Rosenberg exhibition. It is one in a series of what have become known as guéridon still-lifes, now held in prestigious collections such as the National Gallery in Berlin, the Musée Picasso in Paris and the MoMA: the artist chose this leitmotiv as the illustration for this exhibition's invitation card. Iconic Cubist staples (a gueridon often found in Braque's paintings, coupled with a guitar and sheet music very present in Picasso's collages) are paired with a more classical rendition of the background where the window is framed by a theater stage-like curtain opening over a seaview through the wrought iron balcony. Picasso seamlessly blends Synthetic Cubism with the prevailing aesthetics of the ‘return to order’ to tradition and the classical after the trauma of the First World War reverberated across France and Europe. Rosenberg also played an important role in Picasso's neoclassical period, not only as his dealer who helped increase his success on the international market, but as the place where Picasso could nurture and discover new artistic influences with Rosenberg's exceptional collection of Impressionist art.
Outstanding creation for a famous exhibition of Picasso's artworks, in a masterful combination of two seemingly disparate aesthetics. The motif of the open window symbolizes renewal and displays a hopeful perspective on the better times to come after the conflict that tore and reshaped the modern world.
Copy of the large octavo illustrated edition, from the collection Les Voyages Extraordinaires, Les Mondes connus et inconnus, complete with its frontispiece with tissue guard and its three full-page chromotypograph plates, painted by Léon Benett.
Publisher's polychrome cloth binding known as the "aux feuilles d'acanthe" binding, with a gilt roundel, blue endpapers with minor and marginal discolouration as often, gilt edges. Binding by Magnier et ses fils.
Stamp bookplate reading: "G. Maréchal."
Headcaps very slightly softened.
A pleasing copy, with very little foxing.
New issue of this musical score, the title page illustrated with a drawing by René Lefebvre depicting the Statue of Liberty rising above a French village.
Fine copy.
