Paris

Autograph letter signed by Jean Paulhan, 20 lines written in black ink on NRF letterhead, addressed to Felia Leal, publisher of "Paroles transparentes", a work by Jean Paulhan decorated with 14 original lithographs by Georges Braque.
Two sheets held together by a paper clip which has left slight rust stains and creases.
Jean Paulhan asks his publisher Felia Leal for money and feels he will encounter difficulties with new projects, notably for writing a preface: "... la "mescaline" n'est pas encore montrable. Je dois y ajouter des tas de choses. Mais je ne l'oublie pas." ("...the 'mescaline' is not yet ready to show. I must add loads of things to it. But I haven't forgotten it.")
The author mentions an article in a magazine retracing Georges Braque's beginnings: "Il y a dans la Parisienne de très amusants croquis de Braque dans sa jeunesse, par H.P. Roché. Je vous les garde" ("There are in La Parisienne some very amusing sketches of Braque in his youth, by H.P. Roché. I'm keeping them for you")

Autograph letter signed by François Mauriac (14 lines in blue ink) addressed to publisher Henri Lapina.
Fold mark inherent to mailing, annotations in purple ink in the upper right margin of the letter: "14/5 Mauriac".
François Mauriac has not yet completed his work: "...j'au une piste de nouvelles - mais il m'est impossible pour l'instant de vous donner le texte définitif..." ("...I have a lead on some short stories - but it is impossible for me at the moment to give you the final text...") and does not have a photographic portrait of himself for illustrating a frontispiece: "... vous en trouverez une très belle (photo) chez Martini rue de Penthièvre..." ("...you will find a very beautiful one (photo) at Martini's on rue de Penthièvre...")
In order to satisfy publisher Lapina more quickly, who is demanding a text from him, he submits this possibility: "Si, au lieu d'une nouvelle, vous préférez une vie de Lacordaire, je pourrais sans aucun doute, vous la donner plus tôt." ("If, instead of a short story, you would prefer a life of Lacordaire, I could undoubtedly give it to you sooner.")

First edition printed in 50 copies on bouffant alfa paper and consisting of an offprint of the preface to Cahiers de la Petite Dame by Maria van Rysselberghe.
Rare and handsome copy.
Autograph inscription dated and signed by André Malraux to his friends Karl-Hans and Minka [Strauss].
Minka, granddaughter of the Rothschilds, and Karl-Hans Strauss, were important patrons and collectors of art and music close to André Malraux. Their correspondence seems to reveal that in the 1970s the old writer was hunting around the world, with his last companion Sophie de Vilmorin, for works for their collection. At the end of his life, he thus rediscovered this youthful passion which inspired his first work, La Voie Royale.

Autograph letter signed by Georges Fourest (31 lines in black ink) addressed to a fellow writer.
Fold mark inherent to envelope insertion, marginal stains affecting some word beginnings.
Georges Fourest praises the quality of his correspondent's work: "Que les superstitieux viennent encore nous représenter le 13 comme un jour néfaste ! Pour moi, je sais bien que je marque d'un caillou blanc le 13 Mai 1924 puisque, le matin de ce jour-là, je reçus votre exquis volume... [...] je pus consacrer mon après-midi à vous lire bien installé au Parc Monceaux..." (Let the superstitious still tell us that the 13th is an unlucky day! For my part, I know well that I mark May 13, 1924 with a white stone since, on the morning of that day, I received your exquisite volume... [...] I was able to devote my afternoon to reading you comfortably installed in Parc Monceau...) and compares the quality of his verse to his illustrious predecessor Clément Marot: "... quant à vos acrostiches, je ne connaissais qu'un chef-d'oeuvre en ce genre, celui de Clément Marot par Glatignyet voilà que vous nous en donnez sept et qui laissent de loin l'autre derrière eux." (... as for your acrostics, I knew only one masterpiece in this genre, that of Clément Marot by Glatigny, and here you give us seven which leave the other far behind.) at the risk of being considered a base flatterer: "... je ne me doutais guère qu'un poëte venait de m'exaucer et avec quelle maîtrise ! Mais si je vous disais tout ce que je pense vous me prendriez pour un flagorneur..." (... I hardly suspected that a poet had just answered my prayers and with what mastery! But if I told you everything I think you would take me for a flatterer...)

First collected edition of this selection of tales translated into French by Marie Bonaparte, Maurice Sachs and Matila C. Ghyka, a Service de Presse (advance) copy.
Boards marginally soiled and foxed, light foxing to edges.
Original preface by Paul Morand.
Our copy is enhanced with an exceptional autograph inscription, in English, by Maurice Sachs accompanying his two drawings representing a sphinx and a bear: "The Sphinx asked the Bear: who likes honey and trout, and candies and ginger ? We do, said the Big Bear, we bears. So the Sphinx changed into a bear and they lived happy together, 1934" ; Maurice Sachs's inscription continues in the lower left margin: "and for a pastime the Big Bear translated English stories into French stories and these are some that he gives to M. L. B. with much affection. M.S."
("Le Sphinx demanda à l'Ours : qui aime le miel et la truite, les bonbons et le gingembre ? Nous, dit le Gros Ours, nous les ours. Alors le Sphinx se transforma en ours et ils vécurent heureux ensemble, 1934" ; "et comme passe-temps le Gros Ours traduisait des histoires anglaises en français et en voici quelques-unes qu'il donne à M. L. B. avec beaucoup d'affection. M.S.")

Second French edition bringing together these two texts by Garcilaso de la Vega first published in Spanish in 1650. Frontispiece depicting in the foreground the landing of Spanish troops on American territory and in the background the indigenous population besieged in the heart of a burning city. In the lower section, a banner bears the inscription "Quid non mortalia pectora cogis auri sacra fames", taken from Virgil's Aeneid and translated by Molière as "O execrable hunger for gold, to what lengths do you not force men's hearts to go". Work decorated with headpieces and historiated initials.
Contemporary full vellum binding, smooth spine decorated at head with a pen-and-ink title almost faded. One corner slightly bumped, title page skillfully restored at inner margin, pale dampstain to lower margin on final gatherings.
Bookplate of the Nordkirchen family pasted on front pastedown. Manuscript ownership inscription on title page with initials "E. H. L.".
Natural son of a conquistador and an Inca princess, raised in two different cultures, Garcilaso de la Vega (1539-1616) offers a unique vision of Inca civilization by rejecting a Euro-centric view. While in his Royal Commentary, first published in France in 1633, de la Vega traced the history of the Inca rulers, he here proposes an account of the conflicts that animated the Spanish colonists after their arrival in Peru. His aim is to convey the upheaval caused by these internecine wars, both for the indigenous people and for the Spanish. In his address to the reader, de la Vega explains that the Inca rulers had succeeded in founding an empire where "Moral, Political, & Military Virtues" reigned; the arrival of the colonists and the execution of Atahualpa - the last independent emperor - disrupts the established order and is seen as the expression of "Ambition" and "Avarice" of these "new Hosts". De la Vega presents these events in the form of a true epic, seeking to show the reader "the various effects in this History, wonderfully entertaining, & where the Author endeavors to make the principal ones among those who were the true Actors play their role on this Stage". A continuation of his first major work on the History of the Incas, Kings of Peru, the History of the Civil Wars of the Spanish in the Indies offers the reader a vast panorama of Peruvian history in the few years following the conquest.
Handsome copy of this work of major importance in the historiography of the Spanish conquest of Peru.

Second edition published the same year and a few months after the first edition, a Service de Presse (advance) copy.
Spine creased with a small tear at foot; at the end of the volume, two signatures having been poorly cut and having caused small lacks of paper at the heads of the leaves without any damage to the text.

First edition, service de presse stamp at head of second cover.
One crease in left margin of first cover.
Dated manuscript signature of Saint-Georges de Bouhélier on the endpaper.

Rare first edition published anonymously.
With a frontispiece "Je n'ai jamais vu un aussi petit homme" engraved by Benoist after Claude-Louis Desrais.
Half brown calf binding, smooth spine slightly sunned and ruled in gilt, marbled paper boards, endpapers and pastedowns in caillouté paper, contemporary binding.
A rare copy of this satyrical and erotic novel about the love adventures of a dwarf and a giant. Despite their rivalry, the dwarf remedies the giant's impotence by hiding in his breeches, and together they take revenge on a cruel marquise.
We have found only four copies in public collections (National Library of France, British Library, Library of Château d'Oron, Switzerland, and National Library of Hungary).
Not included in the Dictionnaire des ouvrages anonymes.

First edition. The original wrappers preserved bear the publisher's label from Dion-Lambert (slip pasted over the former address) but the title pages show the address of Penaud frères. Dion-Lambert acquired the remaining stock of the edition and put it back on sale. The list of subscribers as well as the foreword were removed for the reissue. The back cover, also preserved, bears on the verso: Typographie E. et V. Penaud frères.
Full dark green shagreen binding, 20th century, in the spirit of a contemporary binding of the edition. Smooth spine decorated with 2 gilt frames. Boards decorated with a wide frame of multiple fillets. Top edge gilt. Original wrappers and spine preserved. Binding executed on the original sheets, the paper therefore remains uncut. This copy shows some recurring dampstains as follows: Volume 1, from p.95 to 238, pale dampstain at lower right corner then at mid-page. Volume 2, pale dampstain at upper left corner throughout. In volume 4, from p.5 to 192, dampstain at lower margin, right corner. Volume 5, pale dampstain, yellow halo at mid-page throughout, more or less pronounced. Volume 6, Dampstain at mid-page over the first third, then small stains in upper margin. Volume 7, pale dampstain in upper margin at right corner, from beginning to p. 150, resuming from p. 230 to 300. Volume 9, scattered dampstains at mid-page then in corners in the margin. Volume 12, dampstain on the first 2 leaves in upper margin at corner, then resuming on several leaves. Most of these stains show a yellow halo without serious consequence. Scattered foxing.
Fine copy of the first edition of one of the most important texts of French literature, with the rare original wrappers preserved.

First edition, service de presse stamp at head of second cover.
Light marginal foxing on covers, manuscript notation in black ink below title: "les légionnaires en colonne" on front cover.
Autograph inscription signed by Louis Carpeaux to mademoiselle Montgenault.

First French edition, one of 200 numbered copies on laid paper, the only deluxe copies after 5 Holland and 10 pur fil.
Endpapers lightly and marginally shaded without concern.
A handsome copy.

First edition illustrated with a frontispiece wood engraving by Firmin Maglin.
First cover trimmed, spine lightly sunned.
Fine autograph inscription signed by Stéphane Servant to the publisher's daughter: "A mademoiselle Marguerite Fontanes, à la plus jeune des fées dont il soit question en cet ouvrage, je dédie ces joyeuses et émerveillantes aventures, avec mes souhaits de récréation pour elle et l'expression de ma très grande estime pour son père." (To Miss Marguerite Fontanes, to the youngest of the fairies mentioned in this work, I dedicate these joyful and wondrous adventures, with my wishes for recreation for her and the expression of my very great esteem for her father.)

New edition, one of 50 numbered copies on handmade paper, the only deluxe copies.
Spine and covers marginally discolored as usual.
Autograph signature of Han Ryner below the justification page.

First edition, one of 20 numbered copies on pure rag vellum, the only deluxe copies.
Two bookplates pasted on the endpaper.
Very handsome copy.

The first edition, of which there were no deluxe copies.
Two small tears at head and foot of spine.
Fine autograph inscription signed by Joseph Jolinon: "A l'inégalable HAUT PARLEUR Pierre Lazareff. Joseph Jolinon." ("To the incomparable LOUDSPEAKER Pierre Lazareff. Joseph Jolinon.")
One manuscript correction by Joseph Jolinon on the back cover.

First edition, one of 8 numbered copies on laid Arches paper, the deluxe printing after 2 copies on old Japan paper.
Manuscript ownership inscription on the front free endpaper.
Small corner losses to boards, a full-margined copy.
Fine autograph inscription signed by François Duhourcau to madame Léon Daudet: "A madame Léon Daudet, Française, patriote et, si jo'se dire, moderne chouanne, après la suave idylle de Manebieille, ce romanesque pamphlet du Chemin des Dames par quoi l'auteur eût bien voulu casser les reins à M. André Légénaire, député de Seine-et-Eure (et depuis, du territoire de Beaufort) auteur infatué et funeste du traité de Versailles (un "malfaiteur" m'a dit Poincaré, en spécifiant..." ("To madame Léon Daudet, French, patriot and, if I may say, modern Chouan, after the gentle idyll of Manebieille, this romantic pamphlet of Chemin des Dames by which the author would have liked to break the back of M. André Légénaire, deputy of Seine-et-Eure (and since, of the territory of Beaufort) conceited and fatal author of the Treaty of Versailles (a 'wrongdoer' Poincaré told me, specifying...")

First edition, one of 50 numbered copies on Holland paper, deluxe copy.
A very handsome copy.

Important original autograph manuscript, signed, of Boris Vian’s short story written in 1950, first published in Bizarre no. 32–33 in 1964, and later included in the posthumous collection Le Loup-Garou in 1970.
With Vian’s autograph name and address at the head of the manuscript.

Extensively revised manuscript, written in blue and violet ink on the versos of each leaf, with a pasted slip of corrections mounted to page 13.

 

A striking work of speculative fiction in which Boris Vian prophesies artificial intelligence as a conversational module drawing on the integration of encyclopedic data:

“The model you see here is designed to acquire the complete knowledge contained in the sixteen volumes of the Larousse Grand Encyclopedic Memo of 1978 […]. It is an administrative machine, Florence. It is meant to serve as an adviser (…). For every request for information (…), it will provide (…) the typical answer of an extensive French culture. In all circumstances it will indicate the course of action to follow, (…) explain what it is about and how to behave (…). It must absorb everything. It only has a chance of balanced behaviour if it knows everything. Only on this condition can it remain objective and impartial.”

Unlike the utopias of his time, Vian’s narrator does not imagine an A.I. with its own thought and sensibility, but rather a true aggregator of knowledge equipped with an autonomous and efficient search engine. Paradoxically, its sensibility becomes the cause of its downfall: after absorbing Toi et moi, Paul Géraldy’s sentimental romance, the machine falls in love and ultimately assaults its creator.

Anticipating Google and ChatGPT more than fifty years before their emergence, Vian’s little futuristic tale above all stages the dynamics of human relationships, the real subject of the story, in which he joyfully inverts the conventions of seduction.

 

A very rare signed literary manuscript by Boris Vian.

 

Provenance: Boris Vian Foundation.

First edition, one of 55 numbered copies on Holland paper, deluxe copy.
A very handsome copy.

First edition of which no deluxe copies are mentioned.
Rare and handsome copy.
Fine autograph inscription signed by Paul-Sentenac: "Pour Auguste Dorchain, pour le poète émouvant, pour l'auteur de l'Art des vers, en souvenir de l'accueil affectueux qu'il m'a toujours réservé, et en témoignage de bien sincère sympathie, et bien fidèle, PaulSentenac." (For Auguste Dorchain, for the moving poet, for the author of l'Art des vers, in memory of the affectionate welcome he has always given me, and as testimony of very sincere sympathy, and very faithful, PaulSentenac.)

Second edition.
Spine split with small lack at foot, boards marginally and lightly soiled, pleasant interior condition.
Autograph inscription signed by Jacques Blockx fils to the critic and military historian (Edouard) de La Barre Duparcq.

First edition, one of 350 numbered copies on alfa paper reserved for the press service.
Spine very slightly browned without significance, copy complete with its errata slip.
Autograph inscription signed by Jean Giraudoux to the writer Bernard Barbey.

Rare first edition.
Light dampstain to head of spine, boards stained.
Precious autograph inscription signed by René Dussaud: "A monsieur Maurice Barrès de l'Académie Française, respectueux hommage".

First edition.
Handsome copy.
Autograph inscription signed by Jean Dolent to Henry Leyret.

First edition, one of 60 numbered copies on pure linen paper, deluxe printing after 30 on Japan paper.
Handsome copy despite the boards slightly shadowed at head.
Work illustrated with sketches by the author and which is an account of captivity of a French soldier taken prisoner by the Germans in August 1914.
Fine autograph inscription signed by Marcel Charpaux: "En hommage au cher pays et distingué Président Mr Lenoble ce petit "essai" qui ne vaut aucun de ceux de Montaigne ! Mais où il trouvera, avec quelques souvenirs, l'esquisse d'une thèse. En témoignage de ma vive sympathie. MCharpaux." (In homage to the dear country and distinguished President Mr Lenoble this little "essay" which is not worth any of those of Montaigne! But where he will find, with some memories, the sketch of a thesis. In testimony of my warm sympathy. MCharpaux.)

New edition.
Boards lightly soiled.
Rare autograph inscription signed by Edouard Schuré to Edouard de Morsier.

First edition illustrated with a frontispiece by Jean-Louis Forain.
Handsome copy.

First edition illustrated by Eddy Legrand, one of the numbered copies on alfa paper.
Study by Ramon Fernandez.
Handsome copy to which is joined an invitation card to a conference by Jacques de Lacretelle: "Les beaux voyages en Grèce"
Autograph inscription signed by Jacques de Lacretelle to René Kramer.

First edition, one of 50 numbered copies on alfa paper, the only deluxe copies.
Handsome copy.
Autograph inscription signed by Ernest Sellière to Alfred Capus.

Second edition, the first in simplified spelling.
Spine and boards lightly and marginally sunned as usual, small tear at foot of front board.

First edition, of which there were no deluxe copies.
Occasional light foxing.
Rare.

First edition on ordinary paper.
Spine sunned, interior in good condition.
Rare autograph inscription signed by Edouard Schuré to the writer and poet Auguste Dorchain.

First edition, one of 210 numbered copies on madagascar paper.
Handsome copy.
Autograph inscription signed by one of the authors to Albert Policard.

First edition on ordinary paper.
Spine browned with small tears, slight corner losses to boards.
Rare.

Rare first edition, one of 250 numbered copies on simili-Japan paper, the only printing along with 12 Japan copies.
With a frontispiece portrait of the author etched by Marcellin Desboutins.
Spine lightly browned, handsome interior condition.

First edition in French translation, on ordinary paper, with false statement of fifth edition.
Handsome copy of this work written at the dawn of aviation history and which describes an aerial war extending on a global scale.
Autograph inscription signed by one of the two translators, Bronislaw Kozakiewicz, to René Kramer.

New edition of this translation by Amable Tastu, first published in 1837. It is illustrated with 2 frontispieces and 50 steel engravings on heavy paper in attractive frames after drawings by Sainson. Notice on Foe and on the Sailor Selkirk, by Louis Reybaud.
Publisher's polychrome and gilt paper boards. First edition in publisher's boards. Black percale cathedral-style boards. Smooth spine decorated with polychrome monastic tools. Upper board decorated with a polychrome cathedral-style pediment with oriental figures in niches and navigation instruments in the center. Gilt edges. Both volumes slightly warped, leaning to the right. Some scattered foxing.
Very handsome copies.

First edition for which no deluxe copies are mentioned.
Handsome copy despite some light foxing.
Work illustrated, as frontispiece, with an etching by Eugène Millet.

First edition of the French translation based on the third German edition.
Work illustrated with 530 engravings in the text as well as one color plate at the end of the volume.
Half green sheep binding, smooth spine slightly faded decorated with sextuple gilt fillets, traces of rubbing to spine, marbled paper boards, speckled endpapers and pastedowns, speckled edges, contemporary binding.

First edition, one of 650 numbered copies on Johannot laid paper, ours unnumbered, ours one of the few hors commerce copies, the only issue after 50 Japan.
Fine copy.
Letter-preface by Jean-Giraudoux.
Frontispiece with a portrait of Jean-Emile Laboureur by André Dunoyer de Segonzac.
Work illustrated with vignettes, initials, tailpieces, drawings, in text and full-page by Jean-Emile Laboureur.
Our hors commerce copy and probably artist's copy is exceptionally enhanced with 24 additional engravings by Jean-Emile Laboureur as well as 2 engravings not reproduced in this volume of the collection Les artistes du livre.

First edition, one of 58 numbered copies on wove paper, the only deluxe copies.
Spine slightly browned, otherwise handsome copy.

First edition, one of 55 numbered copies on pur fil, the only deluxe copies.
Handsome copy.

First edition, of which there were no deluxe copies.
Two small lacks to head and foot of spine, spine and boards marginally and lightly sunned.
Handsome autograph inscription signed by André Lebey: "... pour lui montrer aussi que l'idéalisme n'est pas toujours où on le croit et que le plus désintéressé est le plus noble. Blen sincèrement. AL." (to show him also that idealism is not always where one believes it to be and that the most disinterested is the noblest. Very sincerely. AL.)

Illustrated edition with 164 steel plates at the end of each volume. More than 500 animals are represented since there are several figures per plate. Chelonians or turtles: 5 plates. Saurians or lizards: 12 plates. Batrachians: 6 plates. Ophidians or serpents: 21 plates. Fish: 115 plates. Cetaceans: 5 plates. The title page announces 150 plates.
Publisher's navy blue decorative temporary binding. Smooth spine decorated in grotesque style, with multiple fine fillets interlacing and forming spheres and a succession of lozenges and waves. 4 brown cartouches including 2 rectangular ones for the author and publisher, a lozenge for the volume number and an oval for the title. Boards decorated with a lace doily and a large central brown oval for the title, on the spine the printer: Firmin Didot frères. Rubbing, particularly to headcaps, joints and corners. Scattered pale foxing.
Handsome copy preserved in its rare original binding.

Fine autograph letter signed by Roland Dorgelès addressed to a writer also enamored of Montmartre in which he recalls, with nostalgia, the Butte of yesteryear and its famous ghosts, (40 lines in blue ink) from his Parisian home on rue Jean Goujon.
Fold marks inherent to being placed in an envelope.
"Mon cher confrère
Bien cordialement, je vous remercie.
Votre article de la Liberté m'a fait le plus grand plaisir. Vous aimez mon roman : pour un auteur c'est toujours agréable ; mais vous aimez aussi la Butte, et cela nous rapproche. Nos chemins ne se sont-ils jamais croisés, entre la place du Tertre et le Lapin Agile ? Savez-vous qu'un soir (oh ! il y a longtemps) j'ai rencontré boulevard de Clichy Léon Bloy (que j'admirais ! ) vêtu d'un gros complet de velours et la canne, son gourdin plutôt à la main. Et, un après-midi, j'avais 18 ans, j'ai écouté les souvenirs de Bruant attablé avec moi rue des Saules - les deux visages sont accrochés dans ma mémoire comme les photos encadrées dans un salon petit-bourgeois.
Dire qu"on va combler en partie cette délicieuse rue de l'Abreuvoir. Pourquoi seigneur ? Et si l'on calculait ce qu'on a dépensé de millions pour enlaidir la Butte. Je vous tends cordialement les mains. Roland Dorgelès Montmartrois." (My dear colleague
Most cordially, I thank you.
Your article in La Liberté gave me the greatest pleasure. You love my novel: for an author this is always pleasant; but you also love the Butte, and this brings us together. Have our paths never crossed, between the place du Tertre and the Lapin Agile? Do you know that one evening (oh! it was long ago) I encountered Léon Bloy on the boulevard de Clichy (whom I admired!) dressed in a heavy velvet suit and his cane, rather his cudgel, in his hand. And, one afternoon, I was 18 years old, I listened to Bruant's reminiscences as he sat at table with me on rue des Saules - both faces are hung in my memory like framed photographs in a petit-bourgeois parlor.
To think that they are going to partially fill in that delightful rue de l'Abreuvoir. Why, Lord? And if one calculated how many millions have been spent to make the Butte ugly. I cordially extend my hands to you. Roland Dorgelès Montmartrois.)

First edition, one of 36 numbered copies on pur fil paper, the only deluxe copies.
Handsome copy.

Variorum edition reprinting all the remarks, notes and variants from previous editions (Le Duchat, La Monnoye, Gueullette, Voltaire, Marsy, etc.), illustrated with a frontispiece portrait and ten hors-texte plates by Devéria, as well as 120 grotesque woodcut figures hors-texte engraved by Thompson at the end of volume 9.
Contemporary half chocolate glazed calf with small corners, signed at foot by Pivoteau relieur. Smooth spine decorated with 2 mirrored tools at head and foot, curved and straight fillets. Minor damage at foot of volume 3. 2 lower corners slightly bumped. Rubbing. Scattered pale foxing.
Handsome copy attractively bound in an elegant signed binding.

First edition, one of 105 numbered copies on pur fil paper, deluxe issue after 13 on Holland paper.
Handsome copy despite some foxing to the top edge.

First edition on ordinary paper.
Minor lacks to foot of sunned spine and to board margins.
Autograph inscription dated and signed by Henri Barbusse to Jules Cornely.

First collected edition, one of 53 numbered copies on Hollande paper, the only deluxe copies after 13 copies on Hollande.
Handsome copy.

First edition. One map and 25 views by Rouargue engraved by Chamouin. One can distinguish the Tuileries Palace and the town hall which were destroyed during the Commune. A view of the new Louvre is interesting as well as that of the central markets, the new palace of justice, the recent Gare de l'Est, the new church of Saint Vincent de Paul. All these animated views are set in the contemporary Paris of the Second Empire.
Publisher's binding in half red shagreen with red percaline boards. Smooth spine decorated with 4 compartments with tools and fillets. On the upper board, decorated with several blind frames, Paris in gilt letters. Rubbing to joints, headcaps and corners. A micro crack to the upper joint at head. The engravings having retained tissue guards, margins of engravings with foxing. Good copy.

First edition of 550 copies printed on candle paper from the Arches paper mills with the watermark of the Nouvelle Revue française (sole printing). Frontispiece: A portrait of the author on Japan paper in soft-ground etching by Paul-Albert Laurens. Copy No. 379. Original wrappers preserved, lacking spines. 2 leaves of catalogues at rear.
Later half morocco with corners in burgundy signed G. Dubois-D'Enghien at top of endpaper. Spine with 5 raised bands in Jansenist style with author, title, volume number and date gilt. Top edges gilt. Gilt fillets on boards.
Very handsome copy, with superbly fresh paper in near-mint condition.
Bookplate: G. Foulon, with the motto Semina fert eundo.

First edition of some parts, one of 43 numbered copies on pure thread paper, the only deluxe copies.
Spine very lightly yellowed without consequence, three small black spots on the spine.

First edition, one of 43 numbered copies on pure thread paper, the only deluxe copies.
Spine very lightly yellowed without consequence.

First edition, one of 60 numbered copies on pur fil paper, the only deluxe copies.
Spine very lightly yellowed without consequence, small crease marks to board margins.

First edition, one of 84 numbered copies on pur fil paper, the only deluxe copies after 1 Chamois copy reserved for the author.
Spine lightly sunned without consequence, otherwise handsome copy.

First edition, one of 55 numbered copies on pure laid paper, the only deluxe copies.
Handsome copy despite the spine slightly yellowed without consequence.

First edition, one of 57 numbered copies on handmade paper, the only deluxe copies.
Handsome copy despite small and light black stains on the boards.

First edition on ordinary paper.
Small tears and slight lacks to spine, a lack to lower right corner of back board, some foxing.
Autograph inscription signed by Pierre Loti to the diplomat, politician and historian Gabriel Hanotaux: "A monsieur Hanotaux, hommage de sympathique reconnaissance, Pierre Loti."

First edition, one of 55 numbered copies on pure linen paper, deluxe copy.
Spine slightly yellowed.

First edition, one of the service de presse (advance) copies.
Covers slightly soiled.
Dated autograph inscription signed by Pierre-Jean Jouve to Madame Sokolniwska.

First edition published under pseudonym in 250 numbered copies on Holland paper.
With a frontispiece portrait of the author.
Book dedicated to the Gauls alone, to those who still love the ribaldry and the salty and spicy words of our forefathers.
Rare and handsome copy.
Autograph inscription signed by Jho Pâle to Monsieur Patay below his portrait, we include a visiting card of the author when he was a publicist.

First edition, one of 60 numbered copies on pure wove paper, the only deluxe copies printed.
A fine and rare copy.
Preface by André Rolland de Renéville.

First edition, one of 43 numbered copies on pure thread paper, the only deluxe copies.
Handsome copy despite the spine very slightly yellowed without significance.

First edition, one of 68 numbered copies on pur fil, the only deluxe copies.
Handsome copy despite the spine very slightly yellowed without significance.

First edition, one of 65 numbered copies on pur fil, the only deluxe copies.
Handsome copy.

First edition, one of 40 numbered copies on laid Holland paper, ours unnumbered, the only deluxe copies.
Boards and spine slightly and marginally shaded, two press clippings included having left a shadow on the endpapers and half-title, small foxing on some deckled edges.
Rare full-margined copy.
Autograph inscription signed by Alphonse Séché to Gustave Colson who served, during the 1914-1918 war, as battalion commander and lieutenant-colonel in army staff and who became chief of staff of the rear direction.

First collected edition, one of 105 numbered copies on wove paper, the only deluxe copies.
Two shadows left by the justification bookmark.
Handsome copy despite the spine very slightly yellowed without gravity.

First edition, one of 58 numbered copies on pure thread paper, the only deluxe copies.
Handsome copy despite the spine and boards being slightly and marginally shaded.

First edition, one of 43 numbered copies on pure thread paper, the only deluxe copies.
Handsome copy despite the spine and boards being slightly and marginally shaded, a small stain on the front board.

First edition, one of 45 numbered copies on laid paper, the only deluxe copies.
Handsome copy.

First edition, one of 65 numbered copies on wove paper, the only deluxe copies.
Handsome copy.

First edition, one of 43 numbered copies on pure thread paper, the only deluxe copies.
Fine copy despite the spine very slightly browned without any severity.

First edition, one of 55 numbered copies on pure thread paper, the only deluxe copies.
Fine copy despite the spine and boards slightly and marginally shaded.

First edition, one of 60 numbered copies on laid paper, the only deluxe copies.
Handsome copy despite the spine very slightly yellowed without consequence.

First edition, one of 43 numbered copies on laid paper, the only deluxe copies.
Handsome copy despite the spine very slightly yellowed without consequence.

First edition of the French translation established by Louis-Nicolas Ménard, no mention is made of deluxe copies.
Interior foxing and to the covers, a small tear in the left margin of the second cover.

First edition, one of 65 numbered copies on pure thread paper, the only deluxe copies.
Some worming to spine, otherwise handsome copy.

First edition, one of 61 numbered copies on pur fil, the only deluxe copies.
Handsome copy.
After spending his youth in Oran, Claude de Fréminville met Camus in preparatory class at Algers during the 1932-1933 school year, before pursuing his university studies in Paris. It was in France that he joined the Communist Party, and encouraged Camus to do the same, which he did the following year. He planned to create with André Belamich and Albert Camus a political-literary magazine, la nouvelle journée, sponsored by Giono, which would be a bridge between Europeans and Muslims. In 1938, he was part of the editorial team of Rivages, which Charlot published and printed. In 1939, during a temporary eclipse of éditions Charlot, he founded with Camus the ephemeral éditions Cafre (CAmus-FREminville) and published a translation of 333 Coplas populaires andalouses.
After the war, he worked as a journalist in Paris, notably as editor at Europe 1 under the name Claude Terrien.
He died in January 1966.

First edition, one of 55 numbered copies on pur fil, the only deluxe copies.
Handsome copy of this work whose hero is an aspirant observer, aviator in a French squadron based in Italy, during the First World War.

First edition, one of 90 numbered copies on pur fil, the only deluxe copies.
Handsome copy despite the slightly yellowed spine without gravity.

First edition, one of 43 numbered copies on pur fil vellum, the only deluxe copies.
A handsome copy despite the spine being slightly yellowed without consequence.

First edition, one of 65 numbered copies on pur fil paper, the only deluxe copies.
A handsome copy.

First edition, one of 48 numbered copies on pure linen paper, the only deluxe copies.
Fine copy despite the spine being slightly yellowed.

First edition, one of 48 numbered copies on pure linen paper, the only deluxe copies.
Handsome copy.

First edition, one of 58 numbered copies on laid paper, the only deluxe copies.
Handsome copy despite the spine being slightly yellowed without consequence.

First edition, one of 58 numbered copies on laid paper, the only deluxe copies.
Handsome copy despite the spine being very slightly yellowed without consequence.