Paris

First edition, one of the press copies.

Anthracite half-morocco binding, spine with five raised bands, title and author lettered in palladium, boards in grey and black patterned paper, grey paper endpapers and pastedowns, original wrappers bound in, traces of adhesive on the verso of the front wrapper, two small restorations to the inner margin of the rear wrapper, top edge in palladium, binding signed by Boichot.

Presentation copy, inscribed and signed by Antoine de Saint-Exupéry to Antoinette de Bergevin under her pen name: "Pour madame Colette Yver en hommage respectueux Antoine de Saint-Exupéry."

"Although the name of the French writer Colette...

First edition of Joseph Pitton de Tournefort’s (1656-1708) seminal work, illustrated with three repeated engraved frontispiece titles by Cornelis Vermeulen depicting the Jardin du Roi, 451 botanical plates drawn by Claude Aubriet - who would later accompany the author on his journey to the Levant - and 5 text vignettes. Dedicatory epistle to King Louis XIV.

Three volumes bound in contemporary polished marbled calf. Raised-band spines decorated with the cipher of Louis XIV in four compartments, embellished with fleurs-de-lis, stars and botanical ornaments; red morocco lettering and numbering pieces, likewise...

First edition, illustrated with 4 large engraved plates printed on separate leaves and bound at the end of the volume.

Our copy is offered in its original wrappers, under contemporary plain paper covers.

Spine worn with tears and losses, internally in good condition.

From the "Description des Arts et Métiers" (1761-1776).

First and only edition, illustrated with a folding engraved frontispiece (see Polak 6795; not in Sabin).

Bound in bottle-green full sheep, Bradel-style binding, smooth spine ruled in gilt with double fillets, gilt date at foot, original pink paper waiting cover preserved, modern binding.

A waterstain affects the lower margin of the initial leaves, gradually fading throughout the volume.

Unique and uncommon edition (the purported 1814 edition is a bibliographical ghost).

First edition of the Voyage pittoresque à l'Île-de-France, au Cap de Bonne-Espérance et à l'Île de Ténériffe, published in Paris by Auguste Nepveu in 1812 and printed by Le Normant. Two octavo text volumes with an accompanying atlas. The second text volume contains three folding tables; the atlas in the present copy comprises 45 engraved plates, both single-page and folding, including three maps and 42 plans and picturesque views, most retaining their tissue guards. 

Some foxing in the text volumes and atlas.

The text volumes in slightly later...

First edition, with no deluxe copies printed.
Pleasant copy, which is uncommon given the fragility of this book, often handled without care.
Inscribed and signed by Serge Gainsbourg to a recipient named Georges.
 

First edition, one of 100 copies numbered on pur fil du Marais, the deluxe issue.
A handsome copy, despite a few insignificant foxing spots at the head of the upper cover.

In 1955, the book was splendidly adapted for the screen by Jean Delannoy, starring Jean Gabin, Robert Dalban, Serge Lecointe, Anne Doat and Jimmy Urbain.

First edition, one of 275 numbered copies on Lana wove paper, the deluxe issue.

Illustrated with 31 hors-texte plates.

A fine, uncut copy, complete with its illustrated dust jacket.

Celebrated edition entirely engraved both images and text, richly illustrated with 6 engraved titles, a frontispiece and an engraved half-title for volume I, together with 243 figures, 473 vignettes and tail-pieces engraved by Fessard.

The illustration of the first three volumes is the work of Monnet, and in the last three by Fessard after Bardin, Bidauld, Caresme, Desrais, Houel, Kobell, Le Clerc, Leprince, Loutherbourg, and Meyer. The text is entirely engraved by Montulay and Drouet within decorative borders.

First edition featuring the celebrated original color stencil "Aidez l'Espagne!", printed on Arches paper by Joan Miró.
With literary contributions by Christian Zervos on Pablo Picasso's "Guernica", as well as texts by Jean Cassou, Georges Duthuit, Pierre Mabille, Michel Leiris, Paul Éluard, René Char...
Illustrated with numerous reproductions of works by Pablo Picasso and Joan Miró’s "Le faucheur".
Some rubbing and small tears to the spine, as often, a vertical crease to the rear wrapper, otherwise a fresh and well-preserved copy.

First edition on ordinary paper.

A fold mark at the foot of the lower cover, otherwise a well-preserved copy.

With a fine signed autograph inscription by Tristan Bernard: "A Charles Cuvillier cette oeuvre capitale qui absorba quinze ans de ma vie. Bien affectueusement Tristan Bernard."

First edition, one of the rare copies printed on laid paper.
This 4-page issue features a comic strip by Steinlen: "La mauvaise aventure de Maigriou."
Includes literary contributions by Charles Cros (“Pour en avoir le coeur net”), Charles Chincholle (“Les jours d’absinthe”), George Auriol (“La saint Charlemagne”), François Coppée (“L’esclave ivre”), ...
A well-preserved copy.
Le Chat Noir was a weekly magazine founded by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famed cabaret of the same name, of which it served as a living memory. It featured the texts performed during the shows. The publication also stands as a...

Autograph letter signed by Jean-Jacques Henner to a friend, 20 lines in black ink on a bifolium.

Horizontal fold mark from original mailing.

"Chère madame et amie,

excusez-moi si ne ne suis pas encore venu et si je suis si en retard pour répondre depuis plus de 10 jours. Je cherche un moment pour m'échapper et aller vous voir car je suis toujours avec vous dans la pensée. Je surveillerai votre recommandé et sitôt débarassé de ces travaux j'irai vous voir. Votre dévoué J.J. Henner."

First edition, with no copies printed on deluxe paper.

A pleasant copy.

On the half-title page, autograph inscription signed by Jean-Claude Carrière to the writer, essayist, and pianist Catherine David: "... qui m'ouvrît avec grâce la lourde porte du temps, je m'incline sur son passage avec amitié."

On the front endpaper, autograph inscription signed by Umberto Eco to the same recipient.

Autograph note signed to his friend and publisher Felia Léal, concerning in particular a political meeting on the situation in Algeria; 17 lines in black ink on a small sheet.

A well-preserved example. A date pencilled in by Felia Léal: the day she received the autograph note (“Reçu le 21 juin 56”).

"Jeudi,

Bien chère amie. Vous devriez bien aller à cette conférence algérienne, qui vous donnerait d'excellentes idées, jeune perfide. Ci-joint les épreuves. Faut-il maintenir l'épigraphe ? Ce n'est pas très necéssaire. Il me semble aussi qu'en petites italiques ce serait mieux. Mais vous déciderez. Jean P. vous embrasse et à qui ne vous...

Autograph note signed by Jean Paulhan, 20 lines in black ink addressed to Felia Leal, publisher of "Paroles transparentes," a work by Jean Paulhan illustrated with 14 original lithographs by Georges Braque.

Paperclip marks to the upper left corner.

The note refers to a planned collaboration with Marc Chagall:
"Saturday,

Dear Felia
well, Chagall approves of the short summary. He even seems delighted with it. He says he has had many such ideas. But we are to discuss it in a few days, when he passes through Paris. (He is attending the Rembrandt anniversary celebrations, to which he has been invited by the...

First edition, one of 20 numbered copies on Japan paper, the smallest issue of the deluxe edition, along with 20 on Arches.

Spine and covers marginally faded and sunned as usual, with minor paper losses at the flaps.

Illustrated with 8 original lithographs by Georges Annenkoff.

As with all copies from the deluxe issue, this copy includes the complete double suite of illustrations on vellum and on China paper.

First edition, no copies on deluxe paper issued.

Half light brown morocco binding, flat spine with author stamped in gilt and title stamped in gilt lengthwise, gilt date at foot, brown stingray boards framed in morocco, brown suede endpapers and pastedowns, original covers and spine preserved, top edge gilt, elegant binding signed Thomas Boichot.

Manuscript ex-libris in black ink and a slight restoration to the upper right corner of the first...

Illustrated edition by George Roux featuring 12 large chromotypographs, 2 maps, and numerous photographic views.
Publisher’s decorative binding by Hetzel, signed Engel, known as “au globe,” type 4, spine with the lighthouse design, lower cover of Engel type "h" as per Jauzac; all edges gilt.
Headcaps very slightly pushed without consequence, original blue endpapers faintly faded as often, a few occasional spots of foxing.
Les Frères Kip is a detective and adventure novel, likely inspired by a late 19th-century criminal case: the Rorique brothers.
Copy not recorded by Jauzac.

First edition, with no copies printed on deluxe paper.

A very good copy.

Precious signed autograph inscription from Jean-François Lyotard to Pierre Vidal-Naquet.

First edition, one of 38 numbered copies on alfa paper, the only deluxe copies issued.

A very handsome copy.

First edition, one of the press copies.

Full emerald-green morocco, flat spine with a gilt rule lengthwise, title and author gilt-stamped, frontdecorated with multiple gilt rules framing a central onlaid panel of blue shagreen, light green suede endpapers and pastedowns, original wrappers preserved, top edge gilt, binding signed Boichot.

Exceptional and highly desirable presentation copy inscribed and signed by Louis-Ferdinand Céline: "A mons. Pierre Jean Jouve cordial hommage Louis Celine."

Photographic postcard by Studio Philips, depicting Johnny Halliday in black and white, holding his guitar in his right hand, resting it on his shoulder.

The verso features the artist's discography, with minor text loss at the head and foot. A well-preserved example.

Bold blue ink signature by Johnny Halliday.

Photographic postcard inscribed by Laurent Terzieff to the renowned autograph collector Claude Armand.

Postcard reproducing a black-and-white photograph by Studio Harcourt, showing Laurent Terzieff resting his head on his arms.

Autograph inscription signed by Laurent Terzieff in black ink to the right of the image: "A Claude Armand merci de votre très aimable lettre. L. Terzieff."

Original black-and-white photograph depicting Elvire Popesco in a three-quarter profile.

A handsome print. Vintage print, with the printed stamp of the Nicolas Treatt Studio in Paris on the verso.

Signed in black ink by Elvire Popesco.

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

Autograph letter dated and signed by Jacques de Lacretelle, 14 lines in blue ink on letterhead of the Académie française, addressed to the noted autograph collector Claude Armand.

Folds from mailing. Original handwritten envelope included.

Jacques de Lacretelle reflects on his love of books: "Je dois tout aux livres et au goût de l'analyse que j'en ai retiré."

Rare first edition, as referenced by Clouzot (see Guide du bibliophile français XIX^e siècle, p. 256).

A few insignificant spots of foxing, a small black ink stain at the bottom of pages 354–355. Complete with the errata leaf at the end of the volume.

Caramel half calf binding, spine with five raised bands ruled with gilt dotted lines and decorated with gilt and black tools, gilt fillets at head and foot of spine. Minor rubbing to the spine. Brown morocco title label. Marbled paper-covered boards framed with blind-stamped vertical rolls, endpapers and pastedowns in cat’s-eye paper, all edges gilt. Roman bookseller’s label at the top...

Autograph letter dated and signed by Georges Dumézil to Thierry Maulnier—though not referred to by name—four pages on a bifolium written in blue ballpoint pen on stationery bearing the letterhead of the Académie française, discussing his recent work "Le dieu masqué".

Rust marks from a paperclip visible at the top of the leaves.

Georges Dumézil expresses agreement with the views of his fellow Immortal: "Je reconnais pour moi cet agnoticisme indulgent (156 - 787) ce scepticisme sans découragement dans son 'léger sourire' (324, - et la fin de 604, 611...) [...] Le Dieu masqué suppose un dieu, ou l'équivalent. Je pense moi, au conte d'Edgar Poe, 'Le...

First edition, with no deluxe paper copies issued.

A few faint spots to the margins of the endpapers.

Rare dated and signed presentation copy from Didier Schuller to Jean La Mannerie and his wife.

First edition of Pierre Drieu la Rochelle's first book, one of 150 numbered copies on Hollande laid paper, the only deluxe copies.
Precious autograph inscription signed by Pierre Drieu la Rochelle : « to Charles Maurras this anxious testimony. Pierre Drieu la Rochelle ex. sergeant in the 146^th Infantry. October 1^st, 1917. »
Important testimony of the young Drieu la Rochelle's admiration – then in full intellectual development – for the « master of Martigues » to whom he sends this copy of his war poems composed in 1916 after being wounded at Verdun.
Demobilized and...

First edition on ordinary paper.

Autograph inscription signed, in pencil, by Sacha Guitry to madame Simone Gerbert.
 

Autograph letter dated and signed, one page by Jean-Louis Barrault addressed to Thierry Maulnier (34 lines in blue ink on a recto verso sheet)

Central folds inherent to the mailing, some foxing spots on the letter.

Jean-Louis Barrault, returning from a tour in South America, hastens to respond to Thierry Maulnier in order to consider a radio adaptation and possibly theatrical adaptation of his text Une ville sous la mer: "I do not know if this purity would remain in a theatrical realization, but this confirms to me that you must absolutely give us the opportunity as soon as possible to serve you directly on the theatrical plane."

Autograph letter signed and dated, one page, from Maurice Blanchot addressed to the theater actress Marcelle Tassencourt, wife of Thierry Maulnier, 18 lines in black ink.
Central folds inherent to postal handling, envelope included.

Maurice Blanchot praises the acting performance of Marcelle Tassencourt who created, in 1944, the role of Antigone in Robert Garnier's play directed by her husband, Thierry Maulnier:  "... cette Antigone m'a beaucoup touché. Je ne croyais pas que la beauté des vers y fût capable d'une actrice aussi vivante. Que la vie et le style peuvent être à ce point associés, que l'harmonie engendrât l'horreur, et la beauté le déchirement, c'est que...

Unique copy printed on vellum and numbered 1, the deluxe issue of this very rare first edition, limited to 25 numbered copies.

Printer's proof stamp on the half-title: "E. Capiomont & Cie imprimeurs. 37, rue de Seine, Paris 30Janvier 188. Epreuve"

Full chocolate-brown morocco, spine very slightly faded with four raised bands, date and the word "Épreuves" lettered in gilt at foot, gilt rolls to headcaps, marbled endpapers and pastedowns, pastedowns framed with six gilt fillets, original wrappers preserved, top edge gilt, double gilt fillets to board edges, bookplate pasted to one pastedown; matching chocolate-brown morocco-edged slipcase with marbled-paper...

First and complete edition in 7 issues of this review founded and directed by Emmanuel Berl and Pierre Drieu la Rochelle, one of the rare copies on Madagascar paper of which no mention is made.

Bound in half red morocco-grained shagreen with corners, spine with five raised bands set with black fillets, some very light traces of rubbing on spine, date and place gilt at foot, marbled paper boards, endpapers and pastedowns of moiré-effect and gilt paper, top edge gilt, contemporary binding signed by Lagadec, elected best craftsman of France in 1927.

Manuscript signature of Emmanuel Berl at...

First edition, with all the features of first issue copies, including the misprint “Sénart” on the dedication leaf.

Contemporary plum-coloured 3/4 morocco binding signed by Georges Huser, spines with five raised bands, numerously ruled in blind, with a gilt floral tool at centres, dates in gilt at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, top edges gilt, bookplates on each front pastedown. Complete with the publisher’s catalogue at the end of the first volume.

A very handsome copy, elegantly bound by Georges Huser, with the...

First edition in French, one of 8 numbered copies on Imperial Japan paper, ours being one of 3 hors commerce copies, deluxe printing.
Some foxing to boards and certain deckled edges.
A rare full-margined copy.

First edition, limited to 1,100 copies, divided into four fictitious editions within the same year, in order to create the illusion of commercial success. These were subsequently reissued with a new title-page bearing an edition statement and the author’s name, together with a volume designation on the half-titles (cf. Clouzot). Our copy carries the designation “third edition.” Contemporary bookplate traces on the upper pastedowns. Expert restorations to headcaps and joints, with a tiny loss at the foot of the lower joint of vol. I. A clean copy, entirely free of foxing.

Contemporary half chocolate calf bindings...

First edition.
Full olive morocco binding, smooth spine lavishly decorated with gilt fillets, rolls and fleurons, red morocco title-label, gilt rolls and tools, covers stamped with dentelle decoration, central monogram "CB" stamped at center of covers and framed by multiple fillets and rolls and surmounted by a ribbon, roll border on covers, gilt dentelle interior, pink marbled paper pastedowns and endpapers, gilt fillet on edges, all edges gilt, contemporary binding attributable to the great binder Derôme le jeune. Marginal tear with loss of one word and page number (p. 57). Marginal tear without loss p. 113 and p. 451. Very light rubbing on half a centimeter of the upper joint...

First edition of this pamphlet, with contributions by Éluard, Tzara, Marcel Duchamp under his pseudonym Rrose Sélavy, Benjamin Péret, Erik Satie, Philippe Soupault, Georges Ribemont-Dessaignes, Vincente Huidboro, Walter Serner, Matthew Josephson, Théodore Fraenkel.
Three copies found in institutions (BnF, Thomas J. Watson Library, Princeton University Library, Ryerson & Burnham Libraries - Art Institute of Chicago).
Cover designed by Ilia Zdanevich (Iliazd) on a motif created out of 19th-century woodcuts: “The cover of Le Coeur à barbe is an emblematic image of the Dada aesthetic, where old engravings are combined with words to create visual puns and unpredictable associations.”...

First edition, one of the numbered copies on vellum, the only printing.
Publisher's binding executed after the original design by Paul Bonet.
Rich iconography.
Handsome copy complete with its illustrated dust jacket.
Precious autograph inscription signed by André Malraux: "Pour Georges Bataille André Malraux."

First edition on ordinary paper despite a mention of twelfth edition.

Paper yellowed and slightly brittle at the edges, a small insignificant lack at the head of the leaves of the first gathering which was poorly cut.

Beautiful autograph inscription signed by André Malraux on the half-title page: "A André Germain - cet ancien portrait de moi-même où je ne me reconnais guère que par endroits - avec le fidèle souvenir et la sympathie d'André Malraux." (To André Germain - this old portrait of myself in which I hardly recognize myself except in places - with faithful memory and the sympathy of André Malraux.)
 

First edition, one of 100 numbered copies on hollande paper, deluxe issue (only the first volume numbered).
Each volume includes a historical introduction by Philippe De Gaulle.
Ex-libris pasted to the front of each volume.
A very fine copy with wide margins, complete in twelve volumes of this important work, commencing in 1905 and concluding in April 1969.