Paris

First edition of the French translation, one of 325 numbered copies on alfa paper, the only deluxe issue together with a few alfa mousse copies not for sale.
Minor tears without loss at the head of the spine, which also shows slight sunning at the foot, final endpaper partially shaded.
A rare and pleasing copy.

New edition bringing together, in addition to Cortés's own correspondence, a collection of documents relating to the conquest of Peru, including letters addressed to the conquistador by his principal lieutenants (cf. Palau 63 205. Leclerc 2575.)

A pupil of Silvestre de Sacy in Arabic, Pascual de Gayangos y Arce (1809-1897) was one of the foremost Spanish orientalists of the nineteenth century; his research was chiefly devoted to Muslim history.

Spine cracked with small losses, a tear at the upper left corner of the front cover, some foxing, tears and marginal losses to the rear cover.

First edition illustrated with an engraved view of Oran by Fichot.

Only three records in the CCF (BnF, Troyes, Saint-Geniez). Not listed in Tailliart.

Contemporary half bottle-green cloth, smooth spine decorated with false raised bands and blind-stamped fillets, marbled paper boards, rubbed corners.

Some minor foxing, endpapers partly shaded.

Sole edition of this curious work composed by a "first-class engineer guard," intended to counter metropolitan prejudices against the Arabs of Algeria.

First edition, of which no copies were issued on deluxe paper.

Publisher’s binding in full black cloth, smooth spine, a fine copy complete with its illustrated dust jacket.

Illustrations.

Inscribed and signed by Pierre Jakez Hélias to friends named Fanny and André.

First edition, on ordinary paper, of the French translation.
A small tear restored at the foot of the spine, a pleasing copy.
Letter-preface by Jean Cocteau, preface by Somerset Maugham.
Illustrated cover with a portrait of the Aga Khan by Kees Van Dongen, with iconography.

Rare and precious signed autograph presentation from the Aga Khan to Madame Avrillier.

 

First edition.

Full red morocco binding, round spine with five raised bands decorated with gilt fleurons, slight rubbing on the caps, double frame of blind-stamped gilt fillets on the covers, with fleurons at the corners of the inner frame, edges slightly blunt, marbled paper endpapers and back covers, gilt edges and heads, very elegant 19th-century binding ‘a la Du Seuil’ signed Quinet on the first endpaper. 

Rare first edition of Chamblain de Marivaux's first theatrical success, The Surprise of Love, published four years before The Second Surprise of Love. This play, performed in the spring of 1722 before being published the following year in 1723, already contains all the essence of Marivaux's style, all its subtle gallantry. According to the Romantic poet Theophile Gautier, it is the author's masterpiece. 

First edition, one of the review copies.

Some light foxing to the spine and along the edges of the covers, a pleasing copy given the poor quality of the paper.

Inscribed by Raymond Queneau to Dominique Aury.

First edition, one of 85 copies on pur fil paper, from the deluxe issue after 26 on Hollande.

Spine and covers slightly sunned, marginal tears to the covers and at the foot of the spine.

Rare copy with full margins.

First edition on ordinary paper.

A moving and appealing copy.

Fine signed autograph presentation inscription from Dominique de Roux to his brother: "Pour mon cher Xavier père et maître des circonvolutions de ce récit. Et sans qui la vie n'aurait aucun sens. Affection fraternelle. Dominique."

First edition on ordinary paper.

Small pale dampstains on the spine.

Inscribed, signed and dated by Maurice Genevoix to Nicole and Philippe Derez.

First edition, one of 45 numbered copies on Vélin du Marais, ours one of 15 lettered copies not for sale, the only copies on deluxe paper.

Attractive copy despite a faint shadow along the margin of the upper cover.

First edition, one of 160 numbered copies on pur fil, the only deluxe paper issue.

Half red shagreen binding with corners, spine with four raised bands framed by black fillets, gilt date at foot, boards covered in moiré-effect paper, marbled endpapers and pastedowns, original wrappers and spine preserved, top edge gilt.

A handsome copy in an attractive binding.

A substantially cropped print bearing the same penciled number on the back of our photograph (11214), is in the Reutlinger archives at the Bibliothèque nationale de France (Album Reutlinger de portraits divers vol. 53, p.3). We have been unable to find any other examples of this photograph in other public collections. A similar photograph belatedly dedicated to Maurice Chevalier went on sale in 2008.

A beautiful, sultry shot of Colette probably taken the year of her banned dance show "Rêve d'Egypte" at the Moulin Rouge where she shared the bill – and a scandalous kiss – with her cross-dressing aristocrat lover Missy.

"Colette was a nude dancer, which at the time meant that she [...] draped herself in vaporous veils, concealing part of her anatomy under animal skins" (Paula Dumont). Colette had already used animal skins, hugging her figure in this picture, as a sensual costume in Charles Van Lerberghe's Pan, accompanied on stage by Lugné-Poe and Georges Wague. This was the first time anyone had dared to go without a flesh-colored body suit. Justifying her choice, she went on to say: "I want to dance naked if the body suit bothers me and humiliates my plasticity".

At the time of this photograph, in 1907, Colette was performing in countless shows, following her debut two years earlier in Nathalie Clifford Barney's Sapphic Salon where Mata Hari also danced. For Colette, dance was synonymous with emancipation in more ways than one - as a means of sustenance and liberation of her body which finally belonged to her after her separation from her abusive husband Willy in 1906. Her undulating, almost gestureless dance was linked by contemporary critics to that of Loïe Fuller and Isadora Duncan; her greatest success remained "La Chair", a risqué mime show she performed two hundred times in Paris and was subsequently produced with a new cast in New York's Manhattan Opera House. It was also in the halls of Parisian dance venues that Colette flaunted herself freely on the arm of her lovers. Her scandalous union with Missy, the virile Marquise de Morny who accompanied her on stage in male costumes, contributed to the fame of her performances.

This is probably the rarest photograph of Colette taken by Reutlinger who also photographed her draped in Grecian style or wearing her costume from "Le Rêve d'Egypte".

A rare visual testimony to a revolution in dance costume brought about by Colette, a key figure in twentieth-century artistic and literary Paris.

Rare first edition of Hector Berlioz's first book.
Some restorations to the top spine-end, volume label on the spine of the second volume not fully visible, boards strengthened or lined (first board of the first volume), some stains on the first boards of both volumes.
Fine condition inside almost without any foxing.
Our copy is housed in green half shagreen chemises and slipcases, marbled paper boards, slipcases lined with the same shagreen, gilt titles and dates on the spine.
Rare.

Entrance card (22.2 x 27.4cm), two tone recto print wood engraving on strong beige paper, central fold. One corner restored but a good copy.
Entrance ticket (n°1334 price 25) for the Grand Bal des Artistes organized at Bullier Hall, 31 rue de l'Observatoire in Paris on 23 February 1923 “for the benefit of the mutual aid fund of the Union of Russian Artists”.

Illustrated with a large, two tone wood engraving by Mikhail Larionov (1881-1964). On the back, the signature-stamp of S. Gourevitch, treasurer of the Union of Russian Artists.

Mikhail Larionov was a naturalized French, Russian painter and decorator, close to Kasimir Malevitch and Vladimir Tatline, husband of Nathalie Gontcharova. At the beginning of the 20th century, he was one of the pioneers of the Russian Avant-garde. In 1914, he moved to Paris and notably produced the sets for Serge Diaghilev's Russian Ballets.

First edition of this important and early collection of 50 superb lithographs of Algiers printed on china paper mounted on heavy wove, executed by the two painters Emile-Aubert Lessore (1805–1876), a pupil of Ingres, and William Wyld (1806–1889), a friend of Vernet. The work was originally issued in five parts: buildings, landscapes, figures, scenes, etc.

See: Bibliothèque algérienne de Gérard Sangnier, no. 207. Not in Blackmer. Playfair, 517. Tailliart, 896. Gay, 919. Brunet III, 1018.

Contemporary binding in half green shagreen, flat spine with triple gilt fillets and blind-stamped fleurons, gilt decorative bands at head and foot of spine, the upper band partially faded; marbled paper-covered boards with some marginal discoloration. Contemporary binding.

Spine restored, occasional scattered foxing.

First edition, printed in 500 numbered copies, of this splendid archaeological album featuring 78 in-text illustrations and 13 full-page plates with tissue guards (including 7 double-page or folding plates).

Text by Henri Lechat.

Publisher’s Bradel binding in full forest green cloth, smooth spine, headcaps slightly crushed, one joint split at head, spine and boards ruled in ochre, corners slightly rubbed, bookplate affixed to the front pastedown.

Copy from the library of industrialist Anatole Descamps (1833–1907), with engraved ex-libris by Devambez mounted on the pastedown.

A handsome copy.

First edition illustrated with 5 plates outside the text, including 4 folding lithographs printed in Marseille by Charavel: Plan of the camp at the foot of Mount Elbrus, View of Mount Elbrus, Inscription in Russian, Huno-Scythian alphabet, Inscription on two white marbles found at Magyar (cf. Blackmer 131, Atabey 105).

Spine split with small losses, some corner defects to the boards.

"The author was interested in tracing the origins of the Magyars to the Caucasian peoples. In 1829-1830 he travelled through the Caucasus and then into Armenia. He also produced a Turkish grammar,"

Abrégé de la Grammaire Turque, Pest, 1829 [Leonora Navari].

On the verso of the half-title appear the author’s and the publisher’s stamps and autograph signatures.

Printed ex-libris of J. de Sainte-Foy.

First edition printed in a very small number (cf. Polak 1648-1649).

Collection of two obituary notices published in the days following the death of Auguste-Nicolas Vaillant (1793-1858), the renowned navigator who commanded "La Bonite" during the celebrated scientific voyage of exploration of 1835-1837.

With continuous pagination (26 pp.), two separate title-pages and a general title, they are extracted from the "Moniteur universel" and the "Journal des débats" of 9 November 1858 (Vaillant died on 1 November).

The authors are Frédéric Chassériau and J.-J. Baude (their names appear at the end of each text). Cf. Taillemite 332.

A rare and appealing copy.

Fine autograph letter signed by Colette to her friend Bolette Natanson. Two pages written in ink on blue paper. Horizontal folds inherent to the mailing of the letter.
As ever protective and maternal with her friend, Colette compliments her: "Comme tu es gentille, - comme tu es Bolette". Nineteen years her senior, she praises the youth of "[her] child": "Tu es ma 'provision d'hiver', la jeunesse dont j'aurai besoin, plus tard, bien plus encore qu'à présent. Soigne-toi bien ma jeunesse en grange".
Having grown up from early childhood in artistic circles—she was the daughter of Alexandre and the niece of Thadée Natanson, the founders of the celebrated Revue Blanche—Bolette Natanson (1892-1936) formed friendships with Jean Cocteau, Raymond Radiguet, Georges Auric, Jean Hugo, and Colette.
Passionate about dressmaking, she left Paris for the United States with Misia Sert, a close friend of Coco Chanel, and was employed at Goodman. With her husband Jean-Charles Moreux, they opened in 1929 the gallery Les Cadres on boulevard Saint-Honoré and moved in the company of numerous artists and intellectuals. Their success was immediate and they multiplied commissions: the fireplace for Winnaretta de Polignac, the decoration of the Château de Maulny, the arrangement of Baron de Rothschild’s townhouse, the creation of frames for the industrialist Bernard Reichenbach, and finally the design of the shopfront for Colette’s beauty institute in 1932. Bolette Natanson also framed the works of her distinguished painter friends: Bonnard, Braque, Picasso, Vuillard, Man Ray, André Dunoyer de Segonzac, and others. Despite this dazzling ascent, she took her own life in December 1936, a few months after the death of her father.

First collected edition of which there were no grand papier (deluxe) copies, an advance (service de presse) copy.
A nice copy despite a tiny tear to foot of upper cover.
Rare autograph inscription signed by Robert Desnos to Pierre Berger: " ces feuilles déjà bien vieilles..."

First edition, a numbered copy on alfa du Marais paper, this one not included in the justification.
Handsome autograph inscription signed and dated by Aimé Césaire to Raymond Queneau: “Très sympathique hommage de ces bucoliques de sang et de soleil... [a very affectionate homage of these bucolics of blood and sunshine...]”
Covers and spine slightly sunned at edges (but not seriously).

Rare first edition.

A pleasing copy.
Contemporary full black cloth, spine gilt-stamped with a floral tool, double gilt fillet at foot of spine, red shagreen lettering-piece, blue paper endpapers and pastedowns, sprinkled edges, slightly frayed corners, contemporary binding.
Very rare signed and inscribed copy by Georges Gilles de la Tourette: "A mon cher confrère et ami le Dr Diamantberger. Gilles de La Tourette."

Dr. Mayer Saül Diamantberger was assistant physician at the Rothschild Hospital in the 1890s and regarded as one of the pioneers of rheumatology in France.  

First edition, one of 55 numbered copies on pure wove paper, the only deluxe paper issue.
Bound in half brown morocco, spines with five raised bands, gilt dates at foot, boards covered with abstract patterned paper, endleaves and doublures of brown paper, original wrappers and backstrips preserved, gilt edges, bindings signed by Thomas Boichot.
A precious copy of this foundational text of modern feminism.

Edition adorned with 65 original pochoir coloured illustrations by George Barbier, one of 877 numbered copies on Rives.
Bound in half navy blue morocco, spine in four compartments, gilt date at the foot, marbled paper boards, iridescent effect paper endpapers, wrappers and spine preserved, top edge gilt, binding signed Semet & Plumelle.
Pleasant, attractively set copy.

One of the very few copies bearing an autograph inscription—fewer than ten are recorded—of this first edition, containing the Marseillaise.
First edition illustrated with an engraved frontispiece by Charles-Étienne Gaucher after Jean-Jacques Le Barbier and four pages of engraved musical score at the end of the volume. La Marseillaise appears here in its true first edition, having first been pre-published in the Almanach des Muses in 1793 and circulated as separate leaves.
Contemporary half-sheepskin binding, smooth spine gilt-decorated with compartments, fleurons and fillets, red morocco title-piece, black pasteboard sides. Several manuscript and pasted ex-libris on the pastedown and endpapers. Spine restored, some foxing. The last two letters of the dedicatee’s name have been trimmed in the binding.
The work is enriched on the half-title with an exceptional autograph presentation by Rouget de L’Isle to a fellow artist of the Revolution: “M de La Chabeaussiè[re] / de la part de l'auteur.”
Rouget de Lisle and Poisson de la Chabeaussière, the recipient of the dedication, both embodied the revolutionary fervour and left their mark on the republican history of France through their writings.
La Marseillaise is presented here alongside other poems and songs. This first edition delivers the celebrated anthem in its original form: six quatrains, as written by Captain Rouget de L’Isle for the Army of the Rhine in April 1792, and proclaimed the national anthem in 1795 by the decree of 26 Messidor Year III.
As lyricists and men of letters, Rouget de L’Isle and La Chabeaussière were zealous servants of the Revolution but also victims of its excesses. At the time of this inscription, in Year V of the Republic, the two men were at the height of their glory: one as the author of the national anthem that thrilled revolutionary France, the other as the writer of the most widely disseminated republican catechism of the Revolution. Indeed, La Chabeaussière composed another major work of revolutionary heritage: a Catéchisme républicain, philosophique et moral, reprinted eighty-two times up to the Third Republic, which earned him a seat on the Commission exécutive de l’instruction publique. Like Rouget de L’Isle, he also achieved success as a lyricist and librettist, notably for the comic operas of Nicolas Delayrac. The history of La Marseillaise from its creation is interwoven with that of La Chabeaussière and of the composer Delayrac, whose heroic drama Sargines ou l’Élève de l’amour presents striking similarities with the anthem.
Neither La Chabeaussière nor Rouget de L’Isle, despite the fame of the Marseillaise, escaped the terrors of the Revolution. Declared “suspects,” they were both imprisoned in 1793, respectively at the prisons of the Madelonettes and of Saint-Germain-en-Laye. After these dark hours, they resumed a more peaceful existence and continued to collaborate actively with the Almanach des Muses, which first published La Marseillaise in volume form.
Upon La Chabeaussière’s death in 1820, the copy embarked on a most romantic history. It still bears the inscription of its second owner, Édouard Gendron: “Ce livre a été acheté en 1821 – à un carrefour près la place de l’école de médecine, parmi un tas de ferraille.”
First publication by its composer of the most celebrated symbol of the French Republic: La Marseillaise. Its precious presentation brings together revolutionary poets whose intertwined destinies left an indelible mark on the history of France.

Set of eight original color engravings, printed on laid paper and signed at the lower right and left of the plates. The plates are introduced by a text signed by Jean Cocteau and depict costumes for Shakespeare’s play (two Shepherdesses, Paulina, and Time).

Bradel binding in full decorative paper, smooth spine, brown shagreen title-piece, binding signed by Goy & Vilaine.

Original engravings created for the illustration of La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the twentieth century, celebrating the talent of French designers and artists at the height of the Art Deco movement.

A celebrated fashion periodical founded in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with an interruption between 1915 and 1920 due to the mobilization of its editor-in-chief. It comprises 69 issues printed in only 2,000 copies and is illustrated with 573 color plates and 148 sketches depicting designs by leading couturiers. From the outset, these luxurious publications were addressed “to bibliophiles and worldly aesthetes” (Françoise Tétart-Vittu, “La Gazette du bon ton” in Dictionnaire de la mode, 2016). Printed on fine laid paper, they employed a typeface specially created for the review by Georges Peignot, the Cochin type, later revived by Christian Dior in 1946. The engravings were produced using the pochoir technique, hand-colored and in some cases heightened with gold or palladium.
The venture began in 1912 when Lucien Vogel, a man of fashion and society—already involved with the magazine Femina—decided with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) to establish La Gazette du bon ton, subtitled “Art, modes et frivolités.” Georges Charensol reports the words of the editor-in-chief: “In 1910, he observed, there was no fashion magazine truly artistic and representative of the spirit of its time. I therefore thought of creating a luxury magazine with genuinely modern artists [...] I was certain of success, for in matters of fashion no country can rival France.” (“Un grand éditeur d’art. Lucien Vogel” in Les Nouvelles littéraires, no.133, May 1925). The success of the review was immediate, not only in France but also in the United States and South America.
At the outset, Vogel brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud, soon joined by Georges Lepape and Dammicourt; and finally his friends from the École des Beaux-Arts, George Barbier, Bernard Boutet de Monvel, and Charles Martin. Other talents quickly joined: Guy Arnoux, Léon Bakst, Benito, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Maggie Salcedo. Most of these artists were unknown when Vogel first engaged them, yet they would later become emblematic and highly sought-after figures in the art world. These same illustrators also created the advertisements for the Gazette.
The plates highlighted and exalted the creations of seven designers of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet, and Doucet. For each issue, the couturiers provided exclusive designs. Nevertheless, some illustrations did not reproduce actual models but rather conveyed the illustrator’s vision of contemporary fashion.
La Gazette du bon ton represents a decisive stage in the history of fashion. Combining aesthetic refinement with visual unity, it brought together for the first time the leading talents of art, literature, and couture, imposing through this alchemy an entirely new image of womanhood—slender, independent, and bold—further embodied by the new generation of designers such as Coco Chanel, Jean Patou, and Marcel Rochas.
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton greatly influenced the new composition and aesthetic choices of the “little dying magazine” Nast had acquired a few years earlier: Vogue.

Complete set of 115 copper-engraved plates with an additional plate (116 plates), all printed on either laid or wove paper, all hand-colored with watercolor. Two entirely different plates 39 follow each other, in first issue: "Les Titus et les cache-folies" was published in the 1817 and 1822 sets, and the other "La Politicomanie" appeared in 1827. This is the most complete series, which also includes the 11 new plates published from 1818 to 1822, numbered 105 to 115.

According to Vicaire, the plates were probably all printed between 1801 and 1822, and only the text preceding the plates was reprinted in 1827.

3/4 long-grained cherry half-morocco, smooth spine elaborately framed in gilt lentghwise, gilt tooled center of spine, gilt lettered title at head of spine framed in gilt, marbled boards, marbled paper endpapers and flyleaves. Minor brown spots are mainly confined to the 24 pp. of text, with very few on the plates, mainly on the margins and versos.

A rare and famous collection of costumes, genre and entertainment scenes from the French First Empire and Restoration eras, with very wide margins and magnificently hand-colored at the time. A veritable encyclopedia of thrills, pleasures and pageantry, published by Pierre de la Mésangère, leading fashion editor at the turn of the century. This copy includes two versions of plate 39, both of which are extremely scarce.
 

Edition of wich no leading copies exists.
Binding of the editor in full black fabric.
Iconography.
Slips slightly warped in margins, the book that had stayed in a damp place previously, otherwise nice copy.

Rare autograph signed Kenzo Takada Gilles Brochard.

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. 
Contemporary red morocco bindings, flat spines gilt in a lattice design with floral gilttooling, beige morocco volume and title labels, triple gilt fillet framing the boards, gilt fillet on the edges, gilt roll-tooled borders on the pastedowns, blue paper endleaves and doublures, gilt dentelle turn-ins, all edges gilt. Joints expertly restored.

A handsome copy, elegantly bound in contemporary red morocco with richly gilt-tooled spines, of this edition undertaken by Etienne Fessard, dedicated to the heirs to the kingdom or"enfants de France", the Duke of Berry, the Count of Provence, and the Count of Artois.

First edition of the translation by F. de Bretonne, assistant curator at the Sainte-Geneviève Library, based on a comparison of all earlier versions. The work is enriched with a suite of 10 vignettes by Charlet, retaining its original pink paper wrapper with vignette dated 1831; the volume also includes a portrait of Cervantes.

Half long-grain claret morocco binding with corners, signed at the head of the front endpaper S. David, late 19th century. Spine with four raised bands, decorated with complex and stippled tools within compartments. Gilt fillets on the bands. Double gilt ruling along boards and corners. Minor rubbing to some bands, joints, and corners. One corner slightly turned in. Occasional spotting in an otherwise fresh copy.

Original wrappers and spines preserved. Binding executed on untrimmed paper gatherings.

A very handsome copy.

Black-and-white photographic postcard depicting Gilbert Bécaud.

Discography of Gilbert Bécaud printed on the verso, with minor paper losses.

Inscribed and signed by Gilbert Bécaud to the noted autograph collector Claude Armand: "A Claude Gilbert," enhanced with a small cat sketch in blue ballpoint pen.

First edition of this collection of articles published in L'Opinion nationale (cf. Tailliart, 2584).

Half cherry calf binding, spine darkened with five raised bands, a date written in black ink at the head of the spine, marbled paper boards, hand-marbled endpapers and pastedowns, sprinkled edges, contemporary binding.

Auguste-Hubert Warnier (1810-1875), the son of a soldier of the Empire, first practised as a surgeon, then as a physician with the Army of Africa from 1834 to 1851, before embarking on a brilliant political career which briefly made him prefect, but above all deputy for Algiers from 1871. He was regarded as a specialist in all matters, indigenous or colonial, concerning the French possessions in North Africa.*

Bound at the end are by the same author: "L'Algérie devant l'opinion publique pour faire suite à L'Algérie devant le Sénat. Indigènes et immigrants. Examen rétrospectif." Algiers, Imprimerie Molot, 1864, VIII pp., 176 pp. Tailliart, 2585.

This is a collection of articles published in the Journal d'Alger.

And by Marshal Pélissier: "Etat actuel de l'Algérie, publié d'après les documents officiels par ordre de S. Exc. le Maréchal Pélissier, duc de Malakoff, sous la direction de Mercier-Lacombe". Paris, 1863, Imprimerie impériale.

First edition. 222 photographic portraits of actors of the period, presented as individual cards listing the films in which they appeared, together with a folding map of the cinemas of Paris.
Publisher's blue cloth. General wear and rubbing. A crease to the middle of the spine. The last three leaves of the index with angular loss affecting a few characters.

Seventh edition (cf. Playfair 1723).

Spine restored, small angular losses to the boards filled, staining to the covers, pleasant condition internally.

Alexandre-Marie Bellemare (1818-1885) served as official interpreter at the Directorate of Algerian Affairs.

Illustrated edition by Grandville, engraved by Geoffroy, comprising 29 hand-coloured plates hors-texte in the first volume, and in the second, 23 hand-coloured plates hors-texte along with 2 black botanical plates illustrating the physiology of plants, "Horticulture des dames" and "Culture des fleurs." For this edition, the plates were re-coloured by Maubert, with fresher and more vivid tones, considered superior to the first edition. Accompanied by 3 pages of sheet music for the romance Le myosotis. 
Contemporary half blue shagreen bindings. Spines with raised bands decorated with three gilt panels. Some scattered foxing, title-page of volume 2 with spotting. A few leaves slightly protruding. Spines somewhat darkened. Signs of rubbing. Tip of one corner lacking. A good copy.

First edition printed in 51 copies numbered and initialled by the author on Whatman.
Playful and striking signed presentation inscription from Jean Ajalbert to Henry Fèvre: "... ex-écrevisse de rempart, ces vers de l'auteur des bastions..."
Illustrated with an original lithograph by Paul Signac as frontispiece.
Minor spots on the lower cover, a rare and handsome copy.

First edition, quite rare, published anonymously.

Contemporary full brown calf binding. Spine with raised bands richly decorated. Red morocco title-label. Roulette on edges. One lack at head. Upper joint worn with small lacks. 2 corners bumped. Rather fresh copy.

First edition, with no mention of deluxe paper copies.
Precious signed autograph inscription from Octave Mirbeau to his friend Jules Renard.
Blue pencil mark by Jules Renard on the front cover.
Our copy is further enriched with Jules Renard's celebrated ex-libris, designed and engraved by Henri de Toulouse-Lautrec.

First edition of the French translation. No grands papiers (deluxe copies) were printed.
Some loss of plastic film on the spine, two light damp-stains on the upper and lower edges.
Signed and dated by Andy Warhol with an original drawing on three pages: verso of the first cover, endpaper and title page.

Second edition, first for some parts, one of 100 copies on vergé blanc paper.
Contemporary Bradel half dark-green cloth over marbled paper boards, the spine with gilt fleuron, date and double gilt fillets at foot, upper corners rubbed, covers preserved.

An attractive copy in a pleasant binding.
Handsome autograph inscription from Paul Verlaine to Alice Densmore.

First edition, one of 25 copies on handmade laid paper, numbered and justified by the publisher, the only deluxe issue.
 
Bradel binding in half chocolate-brown morocco with corners, smooth spine, gilt date at foot, marbled paper boards, marbled endpapers and pastedowns, illustrated wrappers by Manuel Orazi and backstrip preserved.
Work illustrated with 136 black and colour drawings, in- and out-of-text, by Georges Bottini.
 
Bookplate mounted.
 
Our copy is enriched with a full-page original drawing, signed by Georges Bottini and heightened in black ink, depicting Jacques Beaudarmon wearing a bowler hat and conversing with the « môme ». This drawing appears as a woodcut illustration on page 133.
 
The drawing is inscribed by Georges Bottini to M. Casanove « en grande sympathie ».
 
Very rare deluxe copy of Jean Lorrain’s masterpiece.

First edition of this issue of the magazine edited by Jean-Louis Bory, with Pierre Bourgeade as editor-in-chief.
The entire issue is devoted to the work of Arman, who also authored the texts.
Illustrated throughout.

A handsome copy.

First edition of the French translation, illustrated with a portrait frontispiece and a folding map of Beloutchistan and Sindhy, together with parts of Kotch, Sedjistan, Khorasan, and Persia (cf. Quérard VII, 300).

Traces of removed bookplates on the pastedowns.

Half blond sheepskin bindings, smooth spines decorated with gilt fillets and garlands, title and volume labels in fawn sheep, upper cap of the second volume lacking, small loss to the upper cap of the first volume, traces of rubbing to the spines, corners in green vellum, marbled paper boards, sprinkled edges, contemporary bindings.

Uncommon first edition, cf. Polak 7724 (only three copies recorded in the CCF: Musée de la Marine, Angers, and Caen), illustrated with a portrait frontispiece of Count Martin lithographed on cream paper mounted, together with 6 folding lithographed maps hors texte.

Spine cracked with small losses, some foxing.

Rare copy complete with the extensive printer’s catalogue at the end of the volume.

This account of Admiral Pierre Martin (1752-1820) was published by his grandson, Denis Pouget (1808-1892), through his only daughter Marguerite. It notably discusses the fire-ship affair off the Île d’Aix, a naval battle between the British and the French which took place on 11–12 April 1809 during the Fifth Coalition, and which led to the Admiral’s near-permanent disgrace.

First edition of this treatise on the jurisdictional privileges granted to France by the Porte, a true system of exemptions benefiting French nationals.

Bound in full black cloth, spines smoothly restored, red morocco lettering-pieces, blind-ruled panels on covers, marbled endpapers and pastedowns.

In addition to reduced customs duties, those concerned were exempted from most local taxes and subject only to the jurisdiction of their consulates, rather than to Ottoman courts.

Small areas of discoloration to the covers, some scattered foxing.

First edition, one of the rare copies printed on deluxe paper.

Full cherry-red shagreen binding, spine with four raised bands decorated with gilt fillets and triple gilt panels, some rubbing to headcaps and bands, gilt rolls at the headcaps, gilt fillet, dotted and garland borders on the covers, scratches and stains to the lower portion of the front cover, white moiré silk endpapers and pastedowns, gilt garland borders on the pastedowns, all edges gilt, gilt dots on the edges, contemporary binding.

One wormhole at the foot of the final leaves not affecting the text, some foxing, particularly on the white endpapers, library shelf labels pasted on a pastedown.

Important official directory, listing the names and positions of staff of the Chambers of Agriculture and Commerce, the Grandes Écoles, engineers of Bridges and Roads, Mining engineers, Railways, etc.

A copy handsomely preserved in a contemporary binding.