Paris

Original color print, printed on vergé paper, signed in the plate.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designe

Original color print, printed on vergé paper, signed in the plate.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designe

Original color print, printed on vergé paper, signed in the plate.

An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement.

A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers

First collected edition, one of 12 numbered copies on Mûrier d'Annam, tirage de tête.
A very good copy.

First edition, one of 106 numbered copies on alfa mousse.
A very good copy.

First edition, one of 35 numbered copies on Hollande, tirage de tête.
A fine copy.

First edition, one of 36 numbered copies on Hollande, tirage de tête.
A fine copy.

The definitive edition, one of 55 numbered copies on Hollande paper, the tirage de tête.
A fine copy.

First edition, one of 1050 numbered copies on vélin labeur.
Publisher's paper boards with an original design by Paul Bonet.
A very good copy.

First edition, one of 85 numbered copies on Hollande, tirage de tête after 16 Japon.
A fine copy.

First edition, a numbered copy on alfa paper, the only large paper copies after 50 on pur fil paper.
Two slight traces of sunning to head and foot of spine.

First edition, one of 25 numbered copies on Japan paper, the tirage de tête.
Elegant Bradel binding of paper boards with African patterns by Thomas Boichot, black morocco title piece, covers preserved.
A good copy in an attractive binding.

First edition, printed on alfa.
Handsome autograph inscription from d'Albert Londres to his friend Henri Béraud : "A Henri Henri Béraud en souvenir du temps où l'on se voyait... quelques fois.  Albert Londres."
Small clear foxings mostly on the covers, in the margins.

First edition, one of 750 numbered copies on Arches paper, this one of a few hors commerce copies reserved for the author.
Affectionate, handsome autograph inscription signed by Joseph Kessel to his friend Henri (Béraud) : "A toi, mon cher Henri, sans phrases et fraternellement [To you, my dear Henri, without grand words, but in brotherhood]."
With a frontispiece drawn by, and wood-engraved by, Vassily Photiadès.
Endpapers lightly and partially sunned, the occasional wormhole.

First edition.
Half dark brown morocco over marbled paper boards, spine in six compartments with black fillets, marbled endpapers and pastedowns.
A good copy in a nice binding.

Edition expanded with notes from all commentators and printed by L. Parrelle.
Half morocco bindings with Russian red leather and corners, spine with four raised bands set with broad gilt fillets decorated with gilt compartments enhanced at their centers with gilt typographical motifs, gilt friezes at foot, marbled paper boards, marbled endpapers and pastedowns, contemporary bindings signed by Simier, binder to the King.
Frontispiece to the first volume with an engraved portrait of Malherbe.
Joints lightly rubbed, some minor foxing.
Handsome copy in a binding executed by one of the most prestigious binders of the nineteenth century.

New edition of the French translation.
Binding full glazed calf caramel, back smoothes decorated with black nets and gold, as morocco caramel piece, traces of friction on the joints, casters gilded on caps, framing of double nets gilded on the boards with some traces of dirt marginal, guards and contreplats of handmade paper, marbled, nets gilded on the cuts.
autograph dedication of the author autograph signed Désiré Nisard to one of friends: "To my good and beloved Theophilus B."

Le Poëme de Saint-François [Poem of St. Francis]
Librairie Poussielgue et Fils | Paris 1866 | 12 x 19 cm | half morocco
First edition.
Half red morocco (unsigned, but attributed to Canape), date at foot, original wrap
pers preserved with a few very minor repairs, top edge gilt.
Inscribed by Liszt to «Madame la Comtesse de Fleury – respectueux hommage d'un pauvre franciscain de tiers ordre [To the Countess de Fleury – in humble homage from a Poor Franciscan tertiary].»
A very good copy, nicely bound.
Provenance: from the library of the poet Armand Godoy.
This pious inscription on the work of another man combines, despite its app

first edition in paperback.
autograph dedication of the author signed autograph Raymond Queneau Gerard Mouizel.
Other contributions from Georges Perec, Noël Arnaud, Jacques Roubaud ...

Edition, review copy.
autograph dedication of the author signed autograph Henry Poulaille.
Illustrated book of a photographic portrait of Charles Chaplin frontispiece and wooden Serge Shubin on the first board.
One of the first flat head stain.