Paris

First edition.
Literary contributions by Paul Eluard, André Breton, Pierre Brasseur, Raymond Queneau, Giorgio de Chirico, Michel Leiris, Robert Desnos, Antonin Artaud, Benjamin Péret, ...
Pictorial or photographic contributions by Giorgio de Chirico, Pablo Picasso, André Masson, Max Ernst...
Upper cover with a few light marginal soiling to the left edge, a small tear at the foot of the spine, otherwise a good copy considering the fragility of this periodical.

First edition of the French translation, illustrated with wood engravings, heliotypes, and vignettes.

Spine and covers slightly and marginally sunned.

Illustrated with 19 hors-texte plates reproducing works by Utagawa Hiroshige.

Our copy bears this signed autograph inscription from a member of the Japanese Embassy to an art lover: "Avec les vifs remerciements de l'Ambassade du Japon pour votre aimable concours. Soirée japonaise, le 11 février 1926, 2586e anniversaire de l'avènement de la dynastie impériale."

First edition of the French translation, for which no deluxe paper copies are mentioned.

Spine wrinkled, as often.

Illustrated.

Inscribed and signed by Man Ray to Claude Nardin.

First edition printed in a small run by the French Communist Party.

Minor, unobtrusive spotting to the lower cover, which also bears a small hole with loss of two letters on the verso.

A rare and pleasing copy.

First edition on ordinary paper.

Manuscript initials at the head of the upper cover and of the title page serving as an ex-libris.

A pleasant copy.

Fifth edition of the "New edition, enlarged with the Description of all new Monuments, Buildings & other Curiosities, with the changes made over the past approximately twenty years," to which is joined a supplementary volume by the same author, likewise printed in 1771, drawn from the "latest edition." The first work is thought to have been that of Claude-Marin Saugrain, before being taken up by Georges-Louis Le Rouge.
A complete copy with all 44 engravings, some folded, such as the map of France, of substantial size. It features the Bastille fortress, twenty-eight years before its fall, as well as the château of Saint-Cloud, still standing.

New edition.

A pleasing copy.

Rare signed autograph inscription from Philippe Muray to a close acquaintance named Benoît.

First edition, one of 45 numbered copies on vélin de Hollande van Gelder, most limited deluxe issue.

In wrappers as issued, housed in a decorated clamshell box with a square white spine bearing the title printed in red and the author's name in black; the upper board features a portrait of the author by Izis, the lower board a portrait of the author taken in 1957 by François Pages at Céline's house in Meudon with his parrot Toto; two very faint white marks on the upper board; interior of the slipcase lined in bordeaux paper with white pastedowns, an outstanding work by the artist Julie Nadot.

A remarkable copy presented in a custom box featuring an original c

First edition, containing 23 tales by Andersen translated by David Soldi, together with a biographical essay by Xavier Marmier.

Illustrated with 40 vignettes by Bertall, engraved by Jacques G. J. Midderich and Alphonse Minne.

Full blue cloth binding, flat spine, gilt-stamped title, faint rubbing to the joints, light scattered marks to the boards, contemporary binding.

A very rare copy of this collection of A

Illustrated edition with 4 original copper engravings by Armand Coussens, one of 25 numbered copies on japon paper, this being one of the few hors commerce copies specially printed for Armand Coussens, as stated in the colophon.

Translated from the Languedoc dialect and prefaced by Marcel Coulon.

Contemporary half blue morocco over corners, spine with four raised bands ruled in black, date gilt at foot, covers of moiré-effect paper framed with black fillets, matching endleaves and pastedowns, wrappers and spine preserved, top edge gilt, an elegant signed period binding by Ch. Septier.

This copy is enriched with an autograph letter of nearly three pages, dated

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

Bound in full mouse-grey shagreen, spine with five raised bands ruled in black, covers framed with a single black fillet, endpapers and pastedowns in cat’s-eye patterned paper, wrappers (with a small loss at the foot of the lower cover) and spine preserved, top edge gilt.

A pleasing copy.

First edition, with no deluxe paper issue stated.

An attractive copy, complete with its publisher’s wraparound band; "Moi, dit Pierrot, je les mettrais pas entre toutes les mains..."

A few scuffs to the band.

Rare signed autograph inscription from Bertrand Blier to Germaine Beaumont.

Two years later, Bertrand Blier adapted his novel for the screen, starring Patrick Dewaere, Gérard Depardieu, Miou-Miou, Jeanne Moreau and Brigitte Fossey in the leading roles. 

First issue of Albert Dubout’s colour illustrations, printed in 600 named and numbered copies on vélin de Rives.

Bradel-style binding in half chocolate-brown morocco with corners, smooth spine, gilt date at foot, moiré-effect paper boards, marbled endpapers and pastedowns, original wrappers and spine preserved, gilt top edge, contemporary signed binding by Bernasconi.

A few light spots of foxing.

A fine, attractively bound copy of the first work illustrated by Albert Dubout.

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, with no edition statement.
Contemporary half chocolate shagreen bindings, spines with raised bands; marbled paper boards, with laid paper endpapers and pastedowns. Spines evenly lightened. Edges rubbed. Wear to headcaps and bands. A few spots of foxing, notably on the fore-edge. A good copy.
Without doubt, just after The Man Who Laughs, Hugo’s greatest novelistic achievement, depicting on the island of Guernsey the struggle of a solitary man against the ocean.

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.

Charming example of shellwork binding on a devotional book from 1858.

Publisher's binding, with exceptionnally added contemporary shellwork panel including more than 200 miniature shell to each board, blue cloth spine elaborately decorated with gilt pink and blue gauffered motifs, all edges gilt, inner gilt dentelle; a few shells lost, a little rubbed at corners and spine-ends.

First edition, one of 30 numbered copies on Lafuma laid paper, the sole deluxe issue.

A fine copy.

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

Correspondence collected and annotated by Jean-Marie Carré.

A fine copy.

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.

First edition, no copies in North American libraries; only four copies known in Europe (Mazarine, Méjanes, BnF, Lausanne). Illustrated throughout with numerous headpieces, historiated initials, and tailpieces. Contemporary full gilt vellum binding, flat spine with gilt floral tools twice framed in gilt, morocco lettering-piece, boards framed in gilt, centre oval palm wreath, enclosing the initials “I.H.S.” (Jesus Hominum Salvator), superimposed over a former cypher “H. D. B.”, the lower board with the same wreath enclosing the initials “MA” (Mater Amabilis), tie holes, traces of a library label at the foot of spine, gilt edges, some foxing and margina

First edition, one of 90 numbered copies on vellum, ours one of the few hors commerce copies, the only issue after 20 copies on orange paper.

Spine slightly sunned as usual, with a small tear to head of spine; a fine copy.

Illustrated with a frontispiece by Max Ernst.

Whimsical inscription on a presentation copy to Surrealist painter Yves Tanguy: "in memory of a past not unlike a Henri III sideboard. Lély." (A monsieur Yves Tanguy en souvenir d'un passé pareil à un buffet Henri III)

First edition, one of 35 numbered copies on vélin bleu, most limited deluxe issue (tirage de tête). Spine and boards marginally faded as usual, otherwise a handsome copy.

Illustrated with 8 black-and-white photolithographs after collages by Max Ernst.

A rare copy of this collection of surrealist tales by Leonora Carrington, which “recall, through their very ‘English’ humour, certain adventures of Ali

Rare first edition of this poème-objet in concertina form folded back and forth, illustrated by Fernand Léger who married the text of the poem “Liberté” by his friend Paul Éluard with his striking pochoir technique. Original slipcase preserved, with author and artists painted in white on the side (two chipped edges on each top end of the plastic case).
Stencil print by Albert Jon after an original design by Fernand Léger produced at the request of the poet, resistant, and publisher Pierre Seghers. Edition of 212 numbered copies, this copy one of 200 copies on Auvergne paper. This copy has been skilfully restored.
One of the most famous and striking editions

First illustrated deluxe edition, expanded with a foreword by Albert Gleizes, one of 400 numbered copies on Lana wove paper.

Volume illustrated with 7 original etchings or drypoints by Pablo Picasso

“L’homme au chapeau”, Jean Metzinger, Marie Laurencin, Albert Gleizes, Francis Picabia, Jacques Villon and Marcel Duchamp, together with 4 plates after Georges Braque, André Derain, Juan Gris and Fernan

First edition.

Head of the plain back restored; a few light spots of foxing and a faint waterstain.

The lawyer François Beslay (1835–1883) soon left the bar to devote himself to Catholic journalism. He was a contributor to the Revue contemporaine; to the Correspondant; to the Revue d’économie chrétienne; to the Français; to the Journal des villes et des campagnes; and to L’Ami de la religion.

Autograph presentation inscription by François Beslay at the head of the upper wrapper to the former minister Odilon Barrot (1791–1873), who had retired from political life in 1851.

First edition, first issue with all the features of first issue copies including the misprint "Sénart" on the dedication leaf.
Dark green half-shagreen binding, spines with four raised bands decorated with double gilt-tooled compartments with gilt roundels at the corners, very minor restoration to the headbands, marbled paper boards, marbled endpapers and pastedowns, contemporary bindings.
With an exceptionally added autograph letter signed by Gustave Flaubert to his niece Caroline Commanville, affectionately known as "Loulou", on one page of a bifolium, pasted to a flyleaf of the first volume:"Tuesday, 11 o'clock. [26 March 1872]My Loulou, your gdmother bore the jo

Rare first edition of the French translation prepared by Pingeron, who enriched it with notes (cf. Attabey, 1127. Not in Chadenat, Hage Chahine or Blackmer. Monglond, I, 466. Brunet, V, 317. Quérard, IX, 98). Only one copy recorded in Italian public collections (Ravenna).

Our copy is preserved in its original blue-grey wrappers, the spine plain with contemporary manuscript titling, entirely uncut.

First French edition of this uncommon work: other writings by Sestini are encountered more frequently (perhaps owing to its date of publication?).

With a dedicatory epistle to the comte de La Billardrie d'Angivillier.

Abbot Domenico Sestini (1750–1832) was a numismatist,

First edition (cf. Pritzel 6493; Vicaire, Bibliographie gastronomique, 610.)

Some foxing.

Contemporary half green sheep, the spine darkened and decorated with quadruple gilt fillets, red shagreen lettering-piece, joints rubbed, a gilt name at foot of spine, marbled boards, a few small defects to the edges, mottled edges.

An interesting study listing more than a thousand edible plants, including several little-known species that could, to advantage, be more widely used.

An alphabetical index provides the French names with cross-references to their Latin equivalents.

Some ten pages are devoted to coffee and more than twenty to tea; one also notes

Photographic postcard issued by the television weekly Télé 7 Jours, depicting Guy Lux smoking a cigarette.

A well-preserved example.

Signed by Guy Lux in blue felt-tip pen.

Original black and white photograph depicting Valéry Giscard d'Estaing posing frontally.

A fine copy. Original envelope with the letterhead of the French Presidency included.

Inscribed and signed tribute by Valéry Giscard d'Estaing in blue ink.

Provenance: from the collection of the noted autograph collector Claude Armand.

First edition on ordinary paper.

Contemporary red half morocco with corners, spine with five raised bands, gilt rules and triple gilt panels, date stamped in gilt at foot, minor rubbing to bands, gilt fillet borders on marbled paper sides, endpapers and pastedowns of comb-marbled paper, original wrappers and spine bound in, one upper corner lightly scuffed, binding signed by C. Septier.

Manuscript signature of one of the authors on the half-title page.

A handsome copy attractively bound in a period binding.

First edition, illustrated with in-text drawings by Lorentz.

Some occasional foxing.

Bradel binding in green Empire morocco, spine very slightly faded, gilt date at foot, gilt decorative rolls at head and foot, marbled paper-covered boards, comb-marbled endpapers and pastedowns, bookplate mounted on one endpaper, trace of a removed bookplate at the head of a pastedown. Original wrappers preserved. Binding signed by Durvand.

Extremely rare ensemble including a catalogue-program on laid paper, 3 original broadsides and 4 flyers announcements printed on colored paper (salmon, pink, blue and yellow) for the Bal de la Grande Ourse organized by the Union des Artistes Russes in Paris, held on May 8, 1925. Not at the NYPL or the Houghton Library. 
The folio broadside announcement (49.5 x 32.5 cm) is printed on both sides on laid paper and illustrated with a drawing by Cubist painters Auguste Herbin and Henri Laurens, folded in half; with two alternate printings of the same broadside printed on thin blue paper, folded in half or in four.
Housed in a chemise and slipcase with a brown morocco spine.

Co

First critical edition, with some parts of the text in first edition, illustrated with 10 portraits, 17 views and 10 facsimiles as well as the coats of arms of the Sévigné, Bussy, Grignan and Simiane families as frontispiece to the first volume.
Bound in half red calf, spines with four fine raised bands set with gilt friezes decorated with gilt fleurons and typographical motifs, gilt friezes at head and foot, owner's name gilt at foot of spines, red paper boards, marbled endpapers and pastedowns, elegant contemporary Romantic bindings.
Some foxing, manuscript ownership inscriptions in black ink at head of title pages.
Our copy is complete with the eleventh and twelfth volumes