Paris

New edition.
Handsome copy.
Autograph inscription dated and signed by Joseph Joffo to a man named Antoine on an endpaper: "Pour Antoine témoignage de mes rêves d'adolescent et l'amitié en prime" ["For Antoine, testimony of my adolescent dreams and friendship as a bonus"] accompanied by a drawing of a flower.

First edition, a Service de Presse (advance) copy.
Rare signed autograph inscription from Roger Nimier to Madame Lusini: "...l'auteur responsable" ["...the responsible author"].
Fine and rare copy of this founding text of the literary movement of the Hussards gathering around Roger Nimier and Antoine Blondin Jacques Laurent, Kléber Haedens, Stephen Hecquet, Michel Déon...

First edition, one of the numbered copies from the first printing.
Paper slightly brittle at margins of some leaves as usually found, handsome copy.
Illustrated work with, as frontispiece, a portrait of Guillaume Apollinaire by Pablo Picasso.

The first edition, of which there were no deluxe copies.
Publisher's full cream cloth binding, complete with its illustrated dust jacket.
Spine of dust jacket sunned and with two small stains on the back panel
Precious signed autograph inscription from André Malraux to Maurice Blanchot.
While they knew each other at the NRF, it was primarily through several major articles by Blanchot devoted to Malraux that the two men "encountered" each other. After the war, Blanchot published in Bataille's ephemeral review 'Actualité' an article on l'Espoir that allowed him "to visibly inscribe his political reversal". In 1950-51, in his double article on "Le Musée imaginaire", he formalized his own theory of the image that would permeate his future work. Confronting these two visions of art, Henri Godard writes: "Through the constancy and radicalism of its reference to death, to absence, to nothingness, [Blanchot's thought] is one pole of our reflection on art, of which Malraux could well incarnate the other" (In "L'Expérience existentielle de l'art"). A polarity that could only bind Blanchot to Malraux, whose tutelary figure would be invoked one final time at the end of his last narrative, "l'Instant de ma mort": "Later, having returned to Paris, he met Malraux. The latter told him that he had been taken prisoner (without being recognized), that he had managed to escape, while losing a manuscript.... What does it matter! Only the feeling of lightness remains, which is death itself or, to put it more precisely, the instant of my death henceforth always pending."
Rich iconography.
Spine of dust jacket slightly sunned as is often the case and with two marginal stains at the head of the back panel.

First edition of the French translation, one of 75 numbered copies on laid paper, the only deluxe copies.
A handsome full-margined copy.

First edition, one of 285 numbered copies on alfa paper and justified by the author in blue pencil, the only issue after 15 on Holland paper.
Handsome copy.

First edition printed on ordinary paper.
Bradel binding in half sky blue cloth, smooth spine decorated with a gilt floral motif, owner's name and double gilt fillets at foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved, contemporary binding.
Rare signed autograph inscription from Anatole Le Braz to Emilie de Villiers.

First edition, one of 196 numbered copies on Arches paper, the only printing with 4 copies on Japan paper.
A few small stains on the covers.
Autograph inscription signed by François Porché to J.H. Rosny.

The first edition, of which there were no deluxe copies.
Handsome copy.
Precious autograph inscription signed by Elie Wiesel to Maurice de Gandillac.

The first edition, of which there were no deluxe copies.
Three small light stains on the covers, handsome copy.
Precious signed autograph inscription from Jean-François Lyotard to Maurice de Gandillac.

First edition, one of 35 numbered copies on pur fil paper, the only deluxe copies.
Handsome copy despite slight tears without loss to the center of the front cover

New edition.
Contemporary full marbled calf binding. Smooth spine decorated. Red morocco title-labels, garnet morocco volume labels. Headcaps of volumes I, II and V partly worn. Lacking at tail of volume I. 4 corners slightly bumped throughout the set. Speckled edges. One wormhole to lower joint at head of volume III. Despite minor defects, a handsome copy.
The work presents itself as the translation by orientalist Pétis de la Croix of a manuscript given to him, in friendship, by "Dervis Moclès" (the Faithful Dervish) (p. 49), who had himself translated and adapted Persian tales from Indian stories, moreover sufficiently prized to be also known in a Turkish version, under the title of al-Farage bada al-schidda1 (p. 49). Thus anchored in Islamic literary tradition, to which Pétis de la Croix had actual access through his training, this corpus was then compared to the Arabian Nights, and deliberately followed in its wake. A particular literary creation of the 18th century, these tales borrowed from real Oriental sources while being at the same time pure creations, but following the model of imitation and adaptation, the author even going so far as to reverse the narrative mode of the Arabian Nights: a prince prejudiced against women; and in the Thousand and One Days, it is a princess prejudiced against men. Some critics think that these tales would have been originally conceived to provide a sequel for publisher Barbin to the Arabian Nights, of which 2 tales are found at the end of volume VIII.

Edition with most parts in first edition, one of 1040 numbered copies on alfama paper, the only deluxe copies after 50 on pure linen paper.
Publisher's binding executed after the original design by Paul Bonet.
Fine copy despite the spine being slightly sunned as usual.

Definitive edition, one of 882 numbered copies on pure linen paper reserved for the "Friends of Paul Fort".
Spine slightly sunned, otherwise handsome copy.
Fine autograph inscription signed by Paul Fort to André Allix: "... avec les distingués hommages et le très amical souvenir d'un vieux trouvère... Qu'est-ce que la poésie ? Une chanson qu'on parle..." ["...with distinguished homage and the very friendly remembrance of an old troubadour... What is poetry? A song that one speaks..."]

First edition, one of 2050 numbered copies on vélin labeur paper.
Publisher's boards bound according to the original design by Paul Bonet.
Handsome copy despite the spine very lightly sunned as usual.

New edition published two years after the first edition, one of 120 copies on pur fil paper, the deluxe issue after 15 on Holland paper.
Fine copy.

First edition, one of 1050 numbered copies on alfa paper.
Half black shagreen bindings, spines with four raised bands decorated with gilt fillets, marbled paper boards, marbled endpapers and pastedowns, speckled top edges.
A photographic portrait of Charles Maurras mounted on a pastedown of the first volume.
Minor rubbing to spines without significance.
Handsome set uniformly bound.

Definitive edition from the Bibliothèque de La Pléiade printed on Bible paper.
Publisher's bindings in full brown grained sheep, orange top edges, smooth spines decorated with gilt fillets.
Fine complete set with its protective jackets, dust jackets and its fawn felt-covered slipcase.

New edition with some parts in first edition, one of 56 numbered copies on pur fil paper, ours one of 10 hors commerce copies in Roman numerals reserved for the "Friends of Max Jacob," deluxe copy.
Fine copy.
Preface by Pierre-Albert Birot.
We include two autograph signed cards from (Jean) Denoël to Carlo Rim, great friend of Max Jacob, on Nrf letterhead, regarding the deluxe paper printing of this work and the request for a possible loan of a caricature of Max Jacob by Carlo Rim for an exhibition dedicated to the poet by the city of Orléans.

First edition, one of 277 copies on pure thread paper, deluxe issue after 24 Madagascar and 68 Holland.
Fine copy.
Signed autograph inscription from Henri de Montherlant to Albert Gallant: "... cette comédie dramatique..." ["... this dramatic comedy..."]

Definitive edition, one of 610 numbered copies on pure thread paper reserved for the "Friends of Paul Fort".
Spine slightly sunned, otherwise handsome copy.
Fine autograph inscription dated and signed by Paul Fort to Doctor François Leboeuf recalling one of his most famous verses: "... ces chants de France avec les distingués hommages et le très amical souvenir du vieux trouvère... On pourrait faire une ronde autour du monde, si tous les gens du monde voulaient se donner la main..." ["... these songs of France with distinguished homage and the very friendly remembrance of the old troubadour... We could dance in a circle around the world, if all the people of the world wanted to join hands..."]

First edition.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Fine copy complete with its acetate wrapper and soft slipcase.

First edition, one of 120 numbered copies on laid paper, the only deluxe copies after 36 on Holland paper.
Handsome copy.

Second edition, published one year after the first edition by Henri Lefebvre, one of 227 numbered copies on laid paper, the only deluxe copies after 43 on Holland paper.
Handsome copy.

First edition, one of 50 numbered copies on pur fil paper, the only deluxe copies after 30 on Holland paper.
Fine copy.

First edition.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Fine copy complete with its glassine wrapper and slipcase.

First edition, one of 30 numbered copies on alfa vellum, the only deluxe copies.
Fine copy.

First edition, one of 120 numbered copies on pur fil, the only deluxe copies after 36 on Holland paper.
Handsome copy.

First edition. Printed on fine laid paper.
Contemporary full black shagreen binding. Spine with raised bands decorated with blind-tooled compartments. Two blind-ruled frames on covers. Edges gilt. Double gilt inner fillet. Some rubbing. Generally fresh throughout with occasional light foxing, notably some leaves with scattered spots. Handsome copy.
At the time when George Sand wrote Spiridion, one of her most important novels alongside Consuelo and Lelia, the author was considered a novelist of ideas whose every book seemed to consist of illustrating a thesis or a cause. Drawing upon the ruins of the Gothic novel for setting and plot with a supernatural atmosphere, Spiridion is an initiatory novel that presents itself as a series of embedded narratives of the spiritual and philosophical journeys of four generations of monks over the course of a century. This dark and austere work did not find its audience but was praised by Renan, Taine, Gustave Doré and Dostoevsky.

First edition, one of 6 numbered copies on Japan paper, deluxe copy.
Very handsome copy.
Autograph inscription signed by Edouard Herriot to Elie Bouvet.

First edition, one of 120 numbered copies on pure linen paper, the only deluxe copies after 36 Holland.
Handsome copy.

First edition, one of 420 numbered copies on pure linen paper.
Handsome copy

First edition.
Bradel binding in red half-cloth, smooth spine decorated with gilt fleuron and double gilt fillet at foot, brown shagreen label, original wrappers preserved, contemporary binding.
Our copy contains a folding engraving depicting a theatrical rehearsal in the atrium of His Majesty Napoleon III.
Handsome copy.
Rare.

Pléiade library edition printed on India paper.
Publisher's full grained green sheepskin binding, blue top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with dust jacket and glassine wrapper, slipcase lacking.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's binding in full red grained sheep, blue top edge, smooth spine decorated with gilt fillets.
The protective jacket has two tiny tears at the head of the spine and is sunned at the board margins.
Copy complete with its protective jacket and dust jacket, the slipcase is lacking.

First edition.
Publisher's binding in full brown grained sheep, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Fine copy complete with its protective jacket and slipcase.

Gallimard, Paris 1960, 12 x 19cm, in original wrappers.

First edition, one of 40 numbered hors-commerce copies reserved for the author on pur fil paper, only deluxe copies.
Sunned spine, endpapers and inscribed half title page entirely shaded, remains of adhesive paper on the first endpaper and the last page of the text, press cutting attached.
Rare presentation copy signed by Michèle Lacrosil to her friends Gilbert et Geneviève Lafragette: "En témoignage d'amitié à Gilbert Lafragette. Sapotille est heureuse de dire à son parrain (et premier lecteur) sa reconnaissance et son affection et à Geneviève avec mon amitié. Michèle L." “As a token of friendship to Gilbert Lafragette. Sapotille is happy to tell her godfather (and first reader) of her gratitude and affection and to Geneviève with my friendship. Michèle L.”

Autograph letter signed by Renée Vivien addressed to her publisher Edward Sansot, written in black ink on a double sheet of headed paper bearing the poet's monogram and her address at 23 avenue du Bois de Boulogne. Transverse folds inherent to mailing, two tiny marginal tears without loss at the fold.
Fascinating letter written by the Muse of the violets in the last months of her life: "J'ai reçu avec une très grande joie les volumes des Flambeaux éteints. Remerciez bien de ma part votre soeur d'avoir fait les corrections, et, je vous en prie, amenez-la moi lorsque vous reviendrez Avenue du Bois. Pour les six exemplaires de Sillages décollés donnez-les - je n'ai pas beaucoup d'amis et me soucie peu de distribuer des volumes au hasard. Maintenant, s'il est trop tard lorsque ma lettre vous parviendra et que les exemplaires me parvinssent quand même, ne soyez pas désolé, - cela m'est indifférent, je vous les ferai envoyer. Mes meilleurs sentiments d'amitié littéraire. Renée Vivien. Je vous envoie en même temps, sept volumes à distribuer au hasard parmi vos amis littéraires." ["I received the volumes of Flambeaux éteints with very great joy. Please thank your sister on my behalf for having made the corrections, and, I beg you, bring her to me when you return to Avenue du Bois. For the six unbound copies of Sillages give them away - I do not have many friends and care little about distributing volumes at random. Now, if it is too late when my letter reaches you and the copies reach me nonetheless, do not be sorry, - it is indifferent to me, I will have them sent to you. My best feelings of literary friendship. Renée Vivien. I am sending you at the same time seven volumes to distribute at random among your literary friends."]
The publication of Flambeaux éteints marks the first collaboration between the poet and her new publisher Edward Sansot. In these last painful years of life, Sansot and his friend Charles-Brun are her only two links with the literary world whose critics - once highly laudatory - have finally turned their backs on her. It must be said that Renée Vivien has decided to withdraw all her books from commerce and is gradually sinking into solitude and depression.
Handsome letter bearing witness to the last literary years of Sappho 1900.

Handwritten signed letter addressed to the poet Jean-Marc Bernard: “I read the very beautiful “eclogue” La Mort de Narcisse whose haughty poetry and dramatic breath I admired very much.“ Handwritten signed letter from Renée Vivien addressed to Jean-Marc Bernard, written in violet ink on a double leaf of paper decorated at the head with a border of violets. Transverse folds from having been sent.
“Monsieur, J'ai lu le très bel "églogue" La Mort de Narcisse dont j'ai fort admiré la hautaine poésie et le large souffle dramatique. Mes très sincères félicitations. Renée Vivien.” “Monsieur, I read the very beautiful “eclogue” La Mort de Narcisse whose haughty poetry and dramatic breath I admired very much. My very sincere congratulations. Renée Vivien.”
Jean-Marc Bernard was one of the founders of the poetic, satirical and monarchist magazine Les Guêpes which welcomed contributions from Paul-Jean Toulet and Francis Carco, among others. Together with the latter two, he was part of the École fantaisiste, a collective of young poets eager to break with the Parnassians and symbolists and whose ambitions were soon to be swept away by the arrival of the Great War. Jean-Marc Bernard lost his life on the front line, destroyed by a shell at the age of thirty-three.

Edition with some parts in first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Paper yellowed as usual.

First edition.
Rich iconography.
Handsome copy complete with its protective sleeve and slipcase.

First edition, one of 350 numbered copies on châtaignier paper.

Handsome copy despite the spine very lightly browned without gravity as is usual.

First edition.
Publisher's polychrome cardboard Bradel binding, smooth spine, joints with small tears at head and foot, cover specially designed by Francisco Borès.
Work illustrated with 8 original lithographs by the artist as well as 183 reproductions of his works, 12 of which are in color.
Very light harmless scuffs at foot of one joint.
Text by Jean Grenier.
Precious signed autograph inscription from Jean Grenier: "A Jean Paulhan le plus affectueusement et fidélement. Jean." ["To Jean Paulhan most affectionately and faithfully. Jean."]

First edition.
Publisher's full brown grained sheep binding, smooth spine decorated with gilt fillets.
Rich iconography.
Fine copy complete with its cellophane wrapper and slipcase.

Edition with some parts in first edition, one of 1100 numbered copies on pure thread paper.
Work illustrated with a portrait of the author by Pablo Picasso.
Spine with a very slight lack at foot.

First edition, one of 120 numbered copies on wove paper, the only deluxe copies after 36 on Holland paper.
Handsome copy.

First edition, one of 120 numbered copies on wove paper, the only deluxe copies after 36 on Holland paper.
Handsome copy.

First edition, one of 355 numbered copies on laid pur fil paper, the only deluxe copies after 120 on Hollande paper.
Handsome copy.

Pléiade library edition printed on Bible paper.
Publisher's full brown grained sheepskin binding, orange top edge, smooth spine decorated with gilt fillets,
Fine copy complete with its cellophane wrapper.

First edition in French.
Small stains on the first cover.

The first edition, of which there were no deluxe copies.
Photographic cover.
Handsome copy.

Gallimard, Paris 1961, 12 x 19cm, in original wrappers.

First edition, one of 20 numbered hors-commerce copies reserved for the author on pur fil paper, only deluxe copies.
Endpapers and inscribed half title page entirely shaded due to the envelope containing the author's autograph letter.
Rare and beautiful copy.
Rare presentation copy signed by Michèle Lacrosil to her friends Gilbert et Geneviève Lafragette: "... comme Sapotille cette inquiète Cajou voudrait être aimée et protégée par vous. Michèle L." “...like Sapotille, this troubled Cajou would like to be loved and protected by you. Michèle L.”
We enclose a note on Gallimard headed paper on which Michèle Lacrosil wrote the surname of her friends.
Finally, our copy is enriched with an autograph letter of 34 lines, dated 29 September 1967 from Michèle Lacrosil to her friends Lafragette, announcing the death of her mother and recounting her snubs as a writer: "... je suis soumise à mon éditeur ! " “...I am subject to my publisher!” and telling them of the recent completion of her latest novel (Demain, Jab-Herma): "... c'est le petit frère de Sapotille..." “...it is Sapotille's younger brother...”

First edition printed on ordinary paper.
Spine very lightly sunned with small light halos.
Autograph inscription dated and signed by Lucien Bodard to Jean-Louis Guillaud.

First edition, of which there were no deluxe copies.
Handsome copy.
Fine autograph inscription signed by Claude Lévi-Strauss to anthropologist Georges Balandier: "... cette mythologie de la dynamique sociale..." ["... this mythology of social dynamics..."]

First edition.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets.
Rich iconography.
Handsome copy complete with its dust jacket and cellophane wrapper, lacking the flexible slipcase.

First edition.
Publisher's polychrome cardboard binding, smooth spine.
Signed autograph inscription from Philippe Bertrand to a man named Guillaume accompanied by a drawing depicting geometric forms.

First edition of this selection and the notices on the authors established by Gérard de Lacaze-Duthiers.
Handsome copy complete with its publisher's slip.
Signed autograph inscription from Gérard de Lacaze-Duthiers to journalist Henry Lafragette thanking him for his laudatory article concerning this work.
Our copy is enriched with an autograph letter signed by Gérard de Lacaze-Duthiers to the same, on letterhead of the library of the aristocracy, dated May 30, 1959.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's binding in full brown grained sheep, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its rhodoid dust jacket, slipcase lacking.

Fine edition with Oudry's 276 engravings, from the 1755-1759 edition. [...] it is little known and quite rare, much rarer than the Desaint and Saillant edition of 1755. (Rochambeau, 124)
Near-contemporary bindings (late 18th century) in half brown calf, smooth spines decorated with camel morocco title and volume labels, paste-paper boards, all edges red. Rubbing to boards.
Some leaves uniformly browned and light dampstains without any damage to the engravings.
Contemporary bibliographical label pasted to verso of first endpaper.
Fine edition of this great classic of French literature illustrated by the greatest animal painter, Jean-Baptiste Oudry.

The first edition, of which there were no deluxe copies.
Handsome copy
Signed autograph inscription by Jean d'Ormesson to a woman named Annie: "... ce puzzle du monde..."

First edition, of which there were no deluxe copies.
Handsome copy, with press cutting included.
Handsome autograph inscription signed by Erik Orsenna to a woman named Isabelle: "... Et voilà, le reportage commencé en Inde par un appel chez vous... Bon voyage ! Et vive la douceur des surfaces ! Fidèlement Erik." ["... And there you have it, the report that began in India with a call to your home... Have a good trip! And long live the gentleness of surfaces! Faithfully Erik."]

Bibliothèque de La Pléiade edition printed on India paper.
Publisher's full grey grained sheep binding, mauve top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its glassine wrapper and dust jacket; the soft slipcase is missing.

First edition published in the Bibliothèque de La Pléiade series.
Publisher's binding in full brown grained sheep, smooth spine decorated with gilt fillets, handsome copy complete with its glassine wrapper as well as its slipcase.
Iconography.

The first edition, of which there were no deluxe copies.
Handsome copy complete with its illustrated dust jacket which shows some very light tears at the head of the spine.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full blue grained sheepskin binding, blue top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its cellophane wrapper and slipcase.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's full brown grained sheepskin binding, orange top edge, smooth spine decorated with gilt fillets.
Handsome copy complete with its cellophane wrapper and dust jacket, lacking slipcase.

First edition, one of 30 numbered copies on Japan paper, the only deluxe copies.
Half navy blue morocco binding, spine with five raised bands, gilt date at foot, marbled paper boards, pebbled paper endpapers and pastedowns, covers and spine preserved, top edge gilt, binding signed by Goy & Vilaine.

First edition and first printing of Eisen's illustrations engraved by Massard, one plate, one vignette and one tailpiece.
Contemporary binding in full blonde calf with scale pattern, smooth spine decorated with gilt fillets and fleurons as well as a black morocco title-label, triple gilt fillet framing the boards, gilt fillets on the leading edges, gilt lines on the headcaps, marbled endpapers and pastedowns, all edges marbled. Fine copy despite some discreet rubbing to the binding.
Provenance: Maurice Lacroix library with his bookplate pasted on the verso of the first endpaper.
Fine copy in first printing of this imitation of the famous Lettres portugaises by Mariana Alcaforado.

First edition, one of 20 numbered copies on pure Lana rag paper, the only deluxe copies along with a few hors commerce copies also on pure Lana rag paper.
Handsome copy despite the slightly faded spine.

First edition, one of 50 numbered copies on alfa mousse paper, the only deluxe copies along with a few hors commerce copies also on alfa mousse paper.
Handsome copy despite the spine showing slight sunning at head and foot.

First edition, one of 30 numbered copies on corvol l'orgueilleux paper, the only deluxe copies along with a few hors commerce copies also on corvol l'orgueilleux paper.
Handsome copy despite the spine showing slight sunning at head and foot.

First edition, one of 50 numbered copies on pur fil du Marais paper, the only deluxe copies along with a few hors commerce copies also on pur fil du Marais paper.
Handsome copy despite the spine showing slight sunning at head and foot.

First edition, one of 50 numbered copies on pur fil du Marais paper, the only deluxe copies along with some hors commerce copies also on pur fil du Marais paper.
Handsome copy despite the spine and covers showing slight sunning at head and foot.

Pléiade library edition printed on Bible paper.
Publisher's binding in full brown grained sheep, orange top edge, smooth spine decorated with gilt fillets.
Complete copy with its cellophane wrapper and soft slipcase.

Autograph letter signed by Renée Vivien addressed to Marcelle Tinayre, written in black ink on a double sheet of headed paper decorated with a border of violets. Transverse creases inherent to mailing.
Also a writer, Marcelle Tinayre was close to Renée Vivien, who entrusted her first verses to her to read. Upon Vivien's death, Tinayre paid tribute to her through several texts, notably a very beautiful tribute article published in the review Schéhérazade in 1910 entitled "Trois images de Renée Vivien".
"Chère grande amie, Votre si bonne carte de souvenir m'a réjouie et touchée. De tout coeur un remerciement chaleureux. Malgré les inévitables petits malaises que nous inflige ce temps abominable, je vais mieux, beaucoup mieux. Aussi serais-je très heureuse si vous et Monsieur Tinayre étiez libres, le 12, et pouviez venir dîner chez moi. J'aurai le plaisir de vous présenter ma soeur et mon beau-frère, qui seront à Paris. Vous devinez quelle joie me causera leur présence ! Croyez à toute mon admiration, à toute ma sympthie. Renée Vivien." ["Dear great friend, Your so kind remembrance card delighted and touched me. A warm thank you from the heart. Despite the inevitable small ailments this abominable weather inflicts upon us, I am better, much better. So I would be very happy if you and Monsieur Tinayre were free on the 12th, and could come dine at my home. I will have the pleasure of introducing my sister and brother-in-law, who will be in Paris. You can imagine what joy their presence will bring me! Believe in all my admiration, all my sympathy. Renée Vivien."] The Muse of violets was indeed very close to Toinette, her younger sister, who lived in London with her husband Francis. Renée Vivien was moreover the godmother of their son Paul (a very rare name then in England) in honor of his aunt and, in 1911, Toinette would give birth to a daughter whom she would name Renée in tribute to her deceased sister.
Very beautiful testimony to the friendship that Renée Vivien bore toward Marcelle Tinayre, a writer friend who contributed to perpetuating the memory of Sappho 1900.

Pléiade library edition printed on Bible paper.
Publisher's binding in full green grained sheep, blue top edge, smooth spine decorated with gilt fillets, complete with its glassine wrapper.
Handsome copy complete with its glassine wrapper and slipcase.

First edition, one of 50 numbered copies on pur fil paper, the only deluxe copies along with a few hors commerce copies also on pur fil paper.
Handsome copy despite the spine and boards showing slight sunning at head and foot, one endpaper shadowed due to a press article about the work.

First edition, one of 100 numbered copies on corvol l'orgueilleux paper, the only deluxe copies along with a few hors commerce copies also on corvol l'orgueilleux paper.
Handsome copy despite the spine and boards showing slight sunning at head and foot.

First edition, one of 50 numbered copies on pur fil du Marais paper, the only deluxe copies along with some hors commerce copies also on pur fil du Marais paper.
Handsome copy despite the spine which has a small tear at head.

Handwritten signed letter addressed to a poet: “You sing the rose loved by Psapphâ, who compared it to the loving virgins of Mitilini” Handwritten signed letter from Renée Vivien addressed to a poet, written in violet ink on a double leaf of paper decorated at the head with a border of violets. Transverse folds from having been sent.
“Monsieur, Je viens à l'instant de défaire le paquet qui contenait votre délicat volume, où j'ai cueilli de rares fleurs de poésie. Vous chantez la rose aimée de Psapphâ, qui la comparait aux vierges amoureuses de Mytilène. Parmi vos poèmes, je préfère : ''Sa Voix", "Sa Grâce" et "Les Mains et l'Apothéose" [...] Renée Vivien ” “Monsieur, I have just this minute undone the package that contained your delicate volume, where I picked rare flowers of poetry. You sing the rose loved by Psapphâ, who compared it to the loving virgins of Mitilini. Among your poems, I prefer: “Sa Voix", "Sa Grâce" and "Les Mains et l'Apothéose" [...] Renée Vivien”
Despite the precision of the titles mentioned, it has not been possible for us to identify the poet to whom Vivien sent this letter of thanks. These titles are reminiscent of the poems of the Muse aux violettes herself.

Autograph letter signed by Renée Vivien addressed to Charles Maurras, written in violet ink on a double leaf of headed paper adorned with a border of violets. Transverse folds inherent to mailing, envelope included.
Beautiful letter of thanks: "Monsieur, En feuillettant votre si intéressant volume : De l'Avenir de l'Intelligence, j'ai relu, avec un plaisir ému, les pages - trop indulgentes vraiment ! - que vous avez consacré à mes ouvrages. Merci infiniment. Et veuillez agréer mes très reconnaissants sentiments de confraternité littéraire. Renée Vivien" ["Sir, While leafing through your most interesting volume: De l'Avenir de l'Intelligence, I reread, with moved pleasure, the pages - too indulgent really! - that you dedicated to my works. Thank you infinitely. And please accept my most grateful sentiments of literary confraternity. Renée Vivien"]
Charles Maurras had indeed devoted a dithyrambic chapter of his work to the Muse of violets whose verses he compared to those of Verlaine: "Le vieux faune sentimental des Fêtes galantes et de Parallèlement reconnaîtrait chez Renée Vivien beaucoup plus qu'une élève, certainement une des Sœurs, une de ces Amies terribles qu'il a chantées. Quant à Baudelaire, il lui dirait : "Ma fille", aux premiers regards échangés. Baudelairisme profond, central, générateur." ["The old sentimental faun of Fêtes galantes and Parallèlement would recognize in Renée Vivien much more than a student, certainly one of the Sisters, one of those terrible Friends he sang of. As for Baudelaire, he would say to her: 'My daughter,' at first glance. Deep, central, generative Baudelairism."]

Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier and used as illustration for Paris et ses ruines by Victor Fournel, a work bearing witness to the ravages of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original black and white lithograph drawn and engraved by Jules David and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal worming, otherwise a handsome copy.

Original black and white lithograph drawn and engraved by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal worming, otherwise a handsome copy.

Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original black and white lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Some marginal soiling, otherwise a handsome copy.

Original color lithograph drawn and engraved by Léon Jean-Baptiste Sabatier and used as illustration in Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Handsome copy.

Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier and used as illustration in Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
Some marginal worming and a small tear without loss to lower margin, not affecting the image.

Original lithograph in colors engraved by Jules Gaildrau after a drawing by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
Some marginal foxing spots, otherwise a handsome copy.