Paris

The rare first edition.

Half caramel morocco, spine in five compartments, marbled pastedowns and endpapers, restored wrappers preserved, marbled edges.
Foxed.

With an important autograph inscription signed by Honoré de Balzac to his friend Laurent-Jan, to whom Vautrin was dedicated, and the model for Bixiou, Léon de Lora and several other characters in The Human Comedy.
He was at the same time Balzac's best friend, trusted secretary, ghost writer and perhaps even… “beloved.”
“…the singular phenomenon of the inventor who moved, in 16^th century Barcelona, a vessel by steam past three hundred thousand spectators; that today

First edition of this issue of La Revue musicale dated December 1, 1930, entirely devoted to Serge de Diaghilev’s Ballets Russes.

With numerous contributions by Anna de Noailles, Gabriel Astruc, Maurice Brillant, Émile Henriot, Michel-Georges Michel, Mikhail Larionov, Auguste Gilbert de Voisins, André Warnod, among others.

Illustrated in black and in color with works by Jean Cocteau, Léon Bakst, Georges Braque, André Derain, André Dunoyer de Segonzac, Natalia Goncharova, Mikhail Larionov, Pablo Picasso, Maurice Utrillo, and others.

Two small light dampstains at the foot of the spine and rear cover, otherwise a pleasant copy.

First edition of the French translation prepared by Pierre Klossowski, one of 15 copies on pur fil paper, ours unnumbered but duly justified "pur fil", copy from the head of the print run.

A handsome copy.

First edition, no deluxe paper copies issued.

Complete copy with its illustrated dust jacket, showing as usual a few small marginal tears, two repaired tears at the foot of the spine, and a faint dampstain on the verso of the rear cover.

Rare signed and inscribed copy by Georges Brassens: "à yoyo amical souvenir georges brassens." 

Partly original edition, entirely revised and corrected.

Half red shagreen binding, spine with five raised bands framed with black fillets, gilt "N" at the foot, marbled paper boards, marbled endpapers and pastedowns, sprinkled edges, four bookseller's description labels pasted beneath the bookplate on the pastedown, contemporary binding.

A pleasant copy.

Provenance: from the library of Nadar with his celebrated engraved bookplate "Quand même !"

First edition, one of 340 numbered copies on Holland paper, the only deluxe paper issue.
Bound in brown half morocco with corners, smooth spine, marbled endpapers, original wrappers preserved.

Some discreet restorations to the spine and joints.
Our copy, with full margins, retains the folding genealogical table of the Rougon-Macquart.

First edition. One of 385 numbered copies on Vélin d'Arches. Six original lithographs by Georges Rouault and initialled by the author and the publisher, preface by André Suarès and catalogue of the E. Frapier gallery in fine.

The six lithographs are captioned and signed in the plate. Some foxing, shading caused by the protective paper facing the lithographs.

The copy contains an autograph post card signed by Georges Rouault to the publisher about the publication of the book:
“What a terrible job [...], don't change anything, I have reviewed it word for word – twice. I have retouched all the little sketches and the

First edition of the French translation, one of 25 numbered copies on alfa vellum, the only deluxe paper copies.

Handsome copy.

Partly original edition, expanded with a preface and entirely unpublished fragments.

Bound in contemporary half black shagreen, spines with five raised bands decorated with gilt garlands, gilt dates at the foot, marbled paper boards, comb-marbled endpapers, gilt edges.

Some foxing, mainly at the beginning and end of the volumes.

Complete with the folding table bound at the beginning of the second volume.

First edition, with no mention of copies on deluxe paper.

Half black shagreen binding, spine with five raised bands framed by gilt garlands, gilt date at foot, marbled paper boards, comb-marbled endpapers and pastedowns, gilt top edge, contemporary binding.

Pleasant copy.

First 12mo edition, partly original as it is entirely revised.

Half black shagreen binding, spine with five raised bands decorated with gilt garlands, gilt date at foot, marbled paper boards, comb-marbled endpapers and pastedowns, gilt top edge.

Some foxing,

First edition, one of 137 numbered copies on pure thread vellum, the deluxe issue following 80 on Montval.

A pleasant copy.

Fine signed autograph inscription by René Bazin: "Pour monsieur Dubois en très amical hommage. Cette vie d'une sainte  - agressive et qui du reste n'avait pas la foi - Hervé Bazin. 18.9.52."

Autograph manuscript by the author, two and a half pages in-8, published in the issue of May 11, 1944 of the Journal des Débats. Complete manuscript in very dense handwriting, with numerous erasures, corrections, and additions. Literary column published on the occasion of the release of Gaston Bachelard's L'air et les songes. Accompanied by the complete typescript.

« L'homme est d'abord rêverie, puissance d'imaginer avant d'être sensibilité et raison », Blanchot’s analysis of this new essay by Bachelard provides an opportunity to confront the philosopher with the uncertainties of his theory, which tends to fragment in the plurality of its forms. s

Produced between February 1802 and 1830 on the orders of Naopleon Bonaparte and published between 1809 and 1828, 1,000 copies were printed and distributed to institutions, on vergé paper with an 'Égypte ancienne et moderne' watermark, visible when held up to the light.

First edition on ordinary paper.

Purple half-cloth Bradel binding, smooth spine with a gilt floral motif, gilt initials and double fillet at foot, marbled paper boards, lower corners rubbed, contemporary binding.

Spine sunned, a few small spots of foxing mostly affecting the margins of the leaves.

Precious presentation copy inscribed by Emile Zola to a major inspiration for Germinal: "A Yves Guyot son dévoué confrère. Emile Zola."

Edition adorned with original color illustrations by Alain Tercinet.

Publisher's full brick cloth binding, smooth spine, copy complete with its illustrated dust jacket showing minor marginal tears and a sunned spine.

Slightly warped copy, internally in pleasant condition.

Inscribed and signed by Alain Tercinet to Robert Sabatier.

First edition, illustrated with a frontispiece portrait of the author in the first volume, 6 maps and plans, and 70 engraved portraits hors-texte, including 65 depicting the Grand Masters of the Order of Malta. (cf. Brunet, V, 1149. Cohen 1011. Saffroy 5420.)

Some restorations to the joints, early marginal annotations at the bottom of pages, library stamp on all three volumes, the third of which is bound slightly differently with regard to the gilt tooling; a loss on the endpaper of the first volume, which has been partially cut out.

A good copy.

The illustrations are distributed as follows:

Volume 1: 1 frontispiece, 3 folding maps, and 26 full-page portraits.<

First edition. One of 50 copies on Rives vellum, ours one of 15 hors commerce copies numbered in Roman numerals, a deluxe issue following 7 copies on Japan paper.

A fine copy with full margins, presented in a chemise and slipcase of half brown shagreen, smooth spine, sides in wood-grain paper, the ensemble signed by P. Goy & C. Vilaine.

The volume includes a full-page map of the city and its surroundings.

The author’s first book, it opens with the now famous sentence: "J'avais vingt ans. Je ne laisserai personne dire que c'est le plus bel âge de la vie".

On the half-title, signed autograph inscription in red ink by Paul Nizan to his publisher Frédéric R

First edition of the French translation, one of 200 numbered copies on pure wove paper, the only deluxe issue.

Handsome illustrated cover by Paul Colin, the volume adorned with 16 previously unpublished illustrations.

Slight sunning marks at head and tail of spine.

A rare and appealing copy.

First edition printed on vélin d'Angoulême. Complete copy with the six banned poems and every misprint on page 29, 31, 43, 45, 108, 110 and 217 specific to first edition copies, except for the error to "s'enhardissant" on page 12, corrected at the beginning of printing. Very rare cover in "first state" (Jean de Schelandre 1385-1636 on the second cover and the price of 3 frs on the spine). Small marginal tears to the covers, discreet restorations to the spine, rare and light scattered foxing attesting to the original condition of the copy, unwashed and unglued unlike most copies.
Our copy is housed in a custom clamshell box with the design of the original cover and spine, signed

First edition on ordinary paper.
Bradel binding in half navy blue morocco, smooth spine, burgundy morocco title-piece, marbled paper boards, marbled endpapers and pastedowns, sprinkled edges, bookplate affixed to a pastedown, binding signed by Kauffmann.
Precious signed autograph inscription by Guy de Maupassant: « À mon aimable cousine Lucie Le Poittevin et à mon cher cousin, beau-fils de Cornudet lui-même, leur bien dévoué... »
Our copy is further enriched with two autograph letters signed by Léon Hennique and Henri Céard.

First edition, printed in 1,500 copies on bouffant paper.

Includes numerous contributions by Marcel Béalu, Pierre Béarn, Blaise Cendrars, Jean Follain, Paul Fort, Max Jacob, Pierre Jean Jouve, Pierre Mac Orlan, Michel Manoll, Pierre Reverdy, André Salmon, Jules Supervielle...

A minor tear without consequence at the foot of the spine, which shows light sunning.

A fine and moving signed autograph inscription from Dominique de Roux, founder of the Cahiers de l'Herne, to his brother Xavier: "Pour Xavier qui est à l'origine de [L'Herne] ce premier cahier dont le second verra son nom au comité en témoignage de mon affection reconnaissante son vieux et

First edition on ordinary paper with the correct colophon dated 22 June 1999.

Pleasant copy despite two light spots on the right margin of the lower cover.

Inscribed and signed by Jean Echenoz to Jean-Pierre Métais.

First edition, one of 85 copies on pur fil paper, from the deluxe issue after 26 on Hollande.

Spine and covers slightly sunned, marginal tears to the covers and at the foot of the spine.

Rare copy with full margins.

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

Minor, insignificant foxing to some edges, a handsome copy.

First edition, one of the rare press copies. No deluxe limited issue printed.

Full yellow box calf binding, smooth spine lettered in palladium, boards tooled in blind, upper board with inlays of grey box calf, yellow box calf pastedowns, beige suede endpapers, original wrappers and spine preserved, no gilt edges like every binding by Jean-Luc Honegger, half yellow box calf custom slipcase, smooth spine lettered in palladium, yellow lustrine cloth boards, beige suede lining, very fine set signed Jean-Luc Honegger (2023).

4400 copies of this first edition of The Stranger were printed on April 21, 1942: 400 press copies, 500 copies without a statement of editio

Entrance card (22.2 x 27.4cm), two tone recto print wood engraving on strong beige paper, central fold. One corner restored but a good copy.
Entrance ticket (n°1334 price 25) for the Grand Bal des Artistes organized at Bullier Hall, 31 rue de l'Observatoire in Paris on 23 February 1923 “for the benefit of the mutual aid fund of the Union of Russian Artists”.

Illustrated with a large, two tone wood engraving by Mikhail Larionov (1881-1964). On the back, the signature-stamp of S. Gourevitch, treasurer of the Union of Russian Artists.

Mikhail Larionov was a naturalized French, Russian painter and decorator, close to Kasimir Malevitch and Vladimir Tatline, husband of Nathalie

The first edition of this review headed by Pierre Guégen, Eugène Jolas, Joseph Csaky and Frédéric Joliot.
Numerous contributions, including from Le Corbusier, Henry Miller, Raymond Queneau, Eugène Jolas, Léonce Rosenberg, Jacques Audiberti, Jean Hélion, Armand Robin, Paul Guth, Roger Caillois, Joë Bousquet, Jean Follain, Jules Monnerot, Léopold Sédar Senghor, Pierre Klosssowski, Michel Leiris, Aimé Césaire, and others.
Number 20 of Volontés contains a first edition, the entire “Cahier d'un retour au pays natal [Notebook on a Return to my Native Land]” by Aimé Césaire, a foundational and fundamental text of the “Négritude” movement.
Two plates worn, otherwise a good and rare set,

First edition, printed in a small number, of this offprint from the Bulletin hebdomadaire de l'Association scientifique de France of 16 and 23 December 1883.

Slight losses to the corners of the wrappers, a small stain at the head of the upper cover.

Rare offprint providing the report of the scientific mission of the Talisman [1882-1883] directed by Léon Louis Vaillant, whose results were considerable, particularly regarding the ichthyological fauna of the great depths.

Alphonse Milne-Edwards [1835-1900], professor of zoology at the Muséum and member of the Académie des Sciences, was one of the members of the scientific commission of the Talisman expedition. 

First edition.
Publisher’s binding in full old red Russia leather. Smooth spine richly decorated, with two compartments in grotesque style (stars) and two others featuring a central bee within a dotted lozenge. Surrounding the title, four bees. Two successive border friezes on the covers. Gilt edges. Headcaps rubbed with a 1 cm split. One gathering slightly protruding. Wormhole on page 668, then a 2 cm gallery from page 751 to 803, with some letter loss but no impediment to reading. Paper remarkably fresh.

A handsome copy.

First edition, complete with all 12 issues of this luxurious and short-lived review founded and directed by Jacques d'Adelswärd-Fersen, one of the exceedingly rare copies on japon, the only deluxe paper, with four states of the colour engravings.

Bound in half sand-coloured cloth, morocco lettering pieces, marbled paper boards, spines and wrappers preserved for each issue, a fine copy with wide margins.

Our copy indeed contains the four colour states reserved for the deluxe issue, printed on various papers, of each of the 23 photogravures in Arts & Crafts, Symbolist, Renaissance, Art Nouveau, and Classical styles, after Maxwell Armfield, Henri

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 higher 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 on ordinary paper.
Tiny and very discreet restorations to the verso of the first blank leaf.

Significant and fine signed autograph inscription by Antonin Artaud:
« à M. Fernand Pouey qui a voulu comprendre mon aride effort. Antonin Artaud. 13 décembre 1947. »
Signed autograph inscriptions by Antonin Artaud are exceedingly rare in this text.

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.

First edition on ordinary paper.

A good copy retaining its advertising band.
Handsome autograph inscription from Marguerite Duras to Claude Simon.

First edition, very rare (cf. Lorenz XII, 926).

Half caramel calf with corners, spine with four raised bands ruled in black, brown shagreen lettering-piece, restored original wrappers and spine bound in, modern binding.

Loss of paper to the upper right corner of the half-title, some passages underlined in pencil, pp. 399-400 detached with loss of text.

An important work: one of the most comprehensive studies on Toussaint Louverture and the revolution in Saint-Domingue.

This was his final work, published on the occasion of the centenary of the French Revolution. It recounts, in particular, the events following the slave rebellion in Saint-Domingue in August 1791

Text “Les chapeaux pliants” over a double-page by Vaudreuil, illustrated with five original colour drawings in the text.

Original print by Mario Simon on the last page of the double sheet. 

La Gazette du Bon Ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco movement.

First edition. "At the close of a distinguished diplomatic career devoted mainly to Latin America, Baron Gros was one of the architects of the 'opening' of China and Japan in the 1860s."

Contemporary Bradel binding in full cherry calf, spine decorated with gilt fillets, boards slightly and marginally soiled.

Library stamp to the upper right corner of the half-title, a few small spots of foxing.

A pleasing and rare copy.

First edition. (cf Sabin, 44114. Duvivier, Haïti, II 92.)

Bound in Havana sheep, spine with five raised bands framed by blind fillets, marbled paper boards, endpapers and pastedowns of marbled paper, original plain blue wrappers preserved, later binding.

A rare and appealing copy.

Very rare first edition.
Beige half calf binding, spine decorated and ruled in gilt, some rubbing to the joints, dark yellow paper boards, marbled endpapers, edges speckled. Missing top spine end, rubbed joints and some scratches.
Notes about the author in ink by a former owner on the page facing the half-title page: "condamné à mort le 24 mars 1794” (executed on 24 March 1794)

Extremely rare inscribed copy signed by Anacharsis Cloots to the revolutionary Nicolas Joseph Pâris, "Pour NJ Pâris de la part de l'auteur” (For NJ Pâris from the author) Friend of Danton and Cloots, court clerk of the Paris Revolutionary Tribunal, Pâris was well known under hi

Edition published the same year as the first. Illustrated with a portrait of the author, three folding plates, a folding map of Longwood house and two folding maps.
Some foxing.

Full black calf bindings, smooth spines with gilt romantic motifs, boards with central motif in blind, boards ruled in gilt, a small restoration to the margin of the first volume's upper board, handmade endpapers and pastedowns, marbled edges, spine-ends ruled in gilt, contemporary romantic bindings.

Rare signed and inscribed copy to a veteran of the Napoleonic wars, on the title page of the first volume: "A Mr. Foucauld, ancien s. [sous] officier de la Grande Armé

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

Original colour engraving, printed on laid paper, 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 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 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, 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, printed on laid paper and signed in the plate higher 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.

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 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 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 litera

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."