Paris

First edition, one of 50 numbered copies on Japon, ours unjustified, deluxe copy.
Fine copy, spine and boards of the chemise marginally sunned and spotted.
Letter-preface by Jean-Jacques Brousson.
Photographic portrait of Fernand Siméon by Laure Albin Guillot.
Work illustrated with a frontispiece, black illustrations in the text as well as 15 hors-texte plates in black and colors extracted from works illustrated by the artist.
Our copy lacks the original drawing by Fernand Siméon which should appear in the deluxe copies.

Illustrated edition with 17 wood-engraved vignettes by Fernand Siméon, one of 25 numbered copies on Japon Shidzuoka, ours unnumbered but justified "copy printed for Léon Pichon", deluxe copy after 15 Japon à la forme.
Handsome complete copy including, as mentioned in the justification, the suite on Chine of the wood engravings.

Molloy, “personnage” de Beckett First edition of the master's thesis presented by Janine Brun under the direction of Robert Mauzi.
A pleasant copy.
Precious handwritten inscription dated and signed by Samuel Beckett to Janine Brun: “Pour Janine Brun, mes meilleurs vœux. Samuel Beckett. Paris Février 1981.” (“For Janine Brun, my best wishes. Samuel Beckett. Paris February 1981.”)

First edition, one of 793 numbered copies on vellum.
Handsome copy.
Work illustrated with a frontispiece portrait of the author by Paul Valéry engraved on wood by G. Aubert.

First edition.
Bradel binding in half burgundy cloth, smooth spine decorated with gilt monogram, date and double gilt fillets at foot, brown shagreen title-label with rubbing and slight losses, speckled paper boards, binding stamp-signed Paul Vié in blind.
Some foxing.

First edition of the French translation established by Ratimir Pavlovic, of which there were no deluxe copies.

Handsome copy.

Autograph inscription dated and signed by Dora Teitelboim to her friend the poet Charles (Dobzynski): "... A Charles avec tout mon coeur..." ["... To Charles with all my heart..."]

First edition illustrated with three folding plates at the end of the volume.
A tear at the foot of the joint on the back board.
Illustrated cover.
Rare copy.

The first edition, of which there were no deluxe copies.

Bradel binding in full wood-effect paper, smooth spine, author's name and title lettered in orange and vertically, in the center of the front board, inlaid, a photographic portrait, covers and spine preserved, slipcase bordered with the same wood-effect paper, brown paper boards, original contemporary binding signed Leroux.

Handsome copy pleasantly executed by one of the last great masters of French twentieth-century bookbinding.


 

New edition expanded with a preface by the author.
Covers slightly and marginally shaded, otherwise handsome copy.

The first edition, of which there were no deluxe copies, a Service de Presse (advance) copy.
Handsome copy despite some foxing and paper discoloration due to the poor quality of paper in the immediate post-war period.
Autograph inscription signed by Pierre Labracherie to Maurice Fombeure: "... franc compagnon et poète de haut goût..." ["... true companion and poet of high taste..."]

First edition, one of 25 numbered copies on laid paper Lafuma, the only deluxe copies.
Handsome copy, retaining its deckled edges.

First edition of the French translation, one of 25 numbered copies on vélin crèvecoeur, deluxe copy after 10 pur fil
Gift inscription dated in black ink from bookseller Claude Buffet at head of first endpaper.
Handsome copy.

First edition, one of 500 numbered copies on special bouffant paper, the only issue after 60 on alfa paper.
Handsome copy.
Cover illustrated with a drawing by Henri Matisse.
Autograph inscription dated and signed by Armand Monjo to Charles Dobzynski.

Belgian pirate edition published the same year as the first separate edition which was banned for Belgium and abroad.
Publisher's binding in full blue cloth, smooth spine, blind-ruled frame on the covers.
Some minor foxing without consequence.

First edition.
Handsome copy.
Contributions by Jean Laurent "Artaud à n'en plus finir", Pierre Boujut "La fascination des zéros", Roland Raveton "Deux mots sur Hélène Cixous"...
Cover illustrated with a drawing by Pierre Zellmeyer.

First edition of this issue dedicated to Pierre Boujut.
Handsome copy.
Preface by Pierre Chabert.
Texts by Pierre Boujut.
Cover illustrated with a drawing by Louis Mésonnier.

First edition.
Stained covers, handsome interior condition.
Contributions by Edmond Humeau, Albert l'Ons, Pierre Boujut, Abélard de Kernako, Adrian Miatlev, Emmanuel Eydoux...

First edition.
Our copy is presented in temporary full marbled paper covers, with handwritten title label pasted at head of first cover.
Small gift inscription in pen at head of title page, occasional foxing, one small hole not affecting text at head of table of contents page.
Rare and handsome copy complete with its folding plate at rear illustrated with 8 figures.

New edition. Limited to 150 copies, numbered and initialed by the publisher in manuscript. Copy no. 82. All pages with Renaissance-style chromotypography borders. Initial letters and rules, titles in gold. Preliminary notice by Albert de Rochas.

Modern full raspberry morocco binding signed by Christiane Pesquet. Smooth spine with title along length. Boards with wide bands of fleur-de-lis paper. The same paper is found on the endpapers, the second endpapers with gold paper. Spine uniformly lightened, otherwise handsome copy.

Copy with covers and spine preserved, uncut, full-margined, as issued.

This tale was written at the beginning of the 16th century and had several editions, the last of which seems to date back to 1555. The attribution to Jeanne de Flore is not certain but probable.

First edition.
Handsome copy.
Cover illustrated by Jacques Monory.
Fine autograph inscription dated and signed by André Velter to Charles Dobzynski.

First edition.
Contributions by Herman Melville "Le campanile", Georges Bataille "La discorde", Michel Leiris "Divisé", Tristan Tzara "Avoir le temps", Julien Gracq "La barrière de Ross", Clément Pansaers "Comment le père Pansa faillit devenir bio-chimiste", Raymond Queneau "Un poème"...
Spine with two small lacks at head and foot, small corner lacks to second cover

The first edition, of which there were no deluxe copies.
Handsome copy.
Autograph inscription dated and signed by André Comte-Sponville to Françoise Garçin.

First edition, one of 100 numbered copies on deluxe paper, the only deluxe copies.
Handsome copy presented in sheets, under double chemise and wine-colored slipcase.
A tear with split to one joint of the slipcase, handsome copy.
Beautiful autograph inscription dated and signed by Henri Queffelec to Doctor Henri Moreau: "... grand connaisseur et grand ami de la mer, en espérant qu'il trouve ici un peu d'aliment pour la nostalgie maritime dont il doit souffrir à Paris - bien qu'il soit docteur !..." ["...great connoisseur and great friend of the sea, hoping that he finds here some nourishment for the maritime nostalgia from which he must suffer in Paris - although he is a doctor!..."]

First edition, one of 35 numbered copies on pur fil paper, the only deluxe copies.
A handsome copy despite minor worming to the top edge and at the head of the spine.

First edition, illustrated with 44 wood-engraved plates and numerous wood-engraved vignettes in the text (the title page announcing 300 drawings) after Nanteuil, Gavarni... A handsome Romantic illustrated work. 2 frontispieces, the first by Nanteuil, the second by Edouard de Beaumont.
Contemporary half dark green shagreen binding. Spine with flat false raised bands decorated with compartmentalized Romantic tools, gilt and blind fillets. Boards rubbed, corners turned over and bumped. Light scattered foxing. A good copy, with attractive decorative spines.
Historical texts on the streets of Paris by Jules Janin, Eugène Briffault, Louis Huart... under the direction of Lurine. The work traces the history of certain streets of Paris, squares, districts... the most famous of the capital.

First edition, one of 150 numbered copies on Holland paper and reimposed in Tellière quarto format, deluxe copy.
Half khaki green shagreen binding, spine with four raised bands, gilt date at foot, boards with abstract decorative pattern paper, marbled endpapers and pastedowns, original wrappers preserved.
Trace of removed bookplate on one pastedown.
Handsome copy of the author's first work.

Edition illustrated with original watercolors by Camis, one of 50 numbered copies on Japan paper, deluxe copy.
Handsome copy.
Our copy does include, at the end of the volume, a duplicate suite in violet of the illustrations but is not complete with its original watercolor contrary to what is indicated in the justification page.

Third edition with some parts in first edition.
Rare and handsome copy

First edition, one of 529 numbered copies on ordinary paper.
Handsome copy illustrated with photographs and complete with its illustrated dust jacket showing clear dampstains to the margins of the back cover.

First edition, one of 333 numbered copies under pink flower wrappers.
Covers slightly and marginally sunned without significance, a tiny lack at head of second cover.

First edition, one of 320 numbered copies on Annonay laid paper, the only deluxe copies after 50 on Holland paper.
A tiny lack at foot of spine at the deckled edges, three small discoloration spots on the spine, handsome copy.

First edition of the French translation, one of 70 numbered copies on handmade laid paper, the only deluxe copies announced.
Minor lacks at foot of spine at the deckled edges, five small discoloration spots on the first cover.
Rare full-margined copy.

First edition.
Half brown shagreen binding, spine with four raised bands decorated with triple black fillets, gilt initials at foot, marbled paper boards, pebbled endpapers and pastedowns, speckled edges, contemporary binding signed L. Bauser.
Work illustrated with a facsimile frontispiece.
Handsome copy attractively bound despite some light rubbing to headcaps.
Autograph inscription signed by Maurice Paléologue to journalist Charles Buloz.

First edition, one of 20 numbered copies on Japan paper, deluxe issue.
Texts by Francis Carco, Odette Pannetier, Georges de La Fouchardière, Jacques de Lacretelle and Jean Sennep.
Each text in order is illustrated by André Galland (for Carco), Auguste Roubille (Odette Pannetier), Joseph Hémard (Georges de la Fouchardière), Hellé Hamon (Jacques de Lacretelle) and Jean Sennep (Jean Sennep).
Handsome copy complete with its slipcase.

First edition of the French translation, one of 25 numbered copies on Annam vellum, deluxe copy.
Work illustrated with a frontispiece by Guillaume Monin.
Handsome copy retaining its publisher's wraparound band.

First edition, one of 33 numbered copies on handmade paper, the only deluxe copies.
A handsome copy.

Illustrated edition with drawings by Piem.
Publisher's full white cardboard binding, smooth spine, illustrated front cover.
Handsome copy.
Amusing signed autograph inscription by Piem enriched with a drawing showing Piem watching a television whose screen is replaced by the two figures to whom this copy is dedicated: "Georges et Gilles, ça me change un peu. Amicalement. Piem." ["Georges and Gilles, this is a nice change for me. With friendship. Piem."]

Illustrated edition with 120 original drawings by Daniel Vierge, one of 100 numbered copies on China paper.
Half tawny morocco binding with corners, spine with five raised bands set with double gilt fillets decorated with double gilt compartments, the compartments enriched with mosaic morocco pieces in red, blue, brown and green, gilt fillet frame on marbled paper boards, combed paper endpapers and pastedowns, covers and spine preserved (front cover entirely sunned), top edge gilt, contemporary binding signed Stroobants.
Handsome copy in perfect condition.
The work is complete with the portrait of Daniel Vierge as frontispiece, engraved in mezzotint, and the "remarque" by Daniel Vierge on the half-title page.
Our copy includes a suite of four unpublished original watercolors by Daniel Vierge engraved as etchings by G. Noyon, here in three states including pure etching and proof with remarque.
At the end of the volume and following, the prospectus written by Edouard Pelletan is included.
Manuscript signature of Daniel Vierge below the justification page.

Edition decorated with color illustrations by Lucien Boucher, one of 50 numbered copies on Japan paper, deluxe issue after 3 old Japan copies.
Full chocolate brown morocco binding, spine with four raised bands, gilt date at foot, endpapers and pastedowns of marbled paper, gilt fillet frame and double hazelnut brown mosaicked morocco fillet on pastedowns, covers and spine preserved, top edge gilt retaining deckled edges, slipcase with chocolate brown morocco entry, marbled paper boards, hazelnut brown felt lining, contemporary binding signed J. Van West.
Handsome copy beautifully bound in full morocco by J. Van West.
Our copy is exceptionally expanded with three original signed watercolors by Lucien Boucher (with manuscript notes in pencil) that served for the illustrations on pages 29, 140 and 261.

Illustrated edition with 31 original color compositions by Marianne Clouzot, one of the numbered copies on handmade rag paper.
Half turquoise blue morocco with corners, smooth spine decorated with a floral frieze made of blue and red mosaicked morocco pieces, marbled paper boards, endpapers and pastedowns of the same paper, covers and spine preserved, top edge gilt.
Handsome copy beautifully bound.

First edition published anonymously and decorated with original illustrations in red chalk by Joseph Roy, one of 25 numbered copies on Japan paper, the only deluxe copies.
Bradel binding in half brown morocco with corners, faded spine with five raised bands set with gilt dots decorated with double gilt compartments richly decorated, date gilt at foot, frame of gilt fillets on pebbled paper boards, combed paper endpapers and pastedowns, covers preserved, light rubbing to corners, binding signed Carayon.
Some light foxing affecting essentially the endpapers.
Rare.
Manuscript signature of the publisher below the edition statement.

First edition, one of the rare copies on laid paper of which no mention is made.
Full black morocco binding, spine with five raised bands, place and date gilt at foot, cold-stamped roulettes on headcaps, marbled paper endpapers and pastedowns, frame of double gilt fillets and gilt fleurons in corners of pastedowns, covers and spine preserved, small tear on second cover, top edge gilt, contemporary binding signed René Kieffer.
Preface by Edmond Frank, work illustrated with a portrait of the author as frontispiece drawn and engraved by H. Danger.
Our copy is enriched with a double portrait of Paul Marrot as frontispiece and bears an autograph inscription signed by H. Danger to the preface writer of the work, Edmond Frank.
Fine and rare deluxe copy established in a full morocco binding signed René Kieffer.

First edition, one of 100 named copies reserved for friends of the author on vellum, no other deluxe copies are mentioned.
Rare and handsome full-margined copy in black sheepskin-effect covers.

Invitation card to the Quat'z'Arts Ball - “L'Entrée de Cyrus dans Babylone”
PMarmy, Paris 1925, 22.5 x 32 cm, one leaf
Invitation card to the Quat'z'Arts Ball - “L'Entrée de Cyrus dans Babylone” which took place on 22 June 1925 in Wagram. Very beautiful colour illustration by Théo Sardnal depicting Cyrus the Great.
This rare document presents the tickets in the lower margin and solemnly specifies: “Le comité sera impitoyable pour tout costume qui ne sera pas de l'époque” “The committee will be ruthless with all costumes that are not of the era”.
The first Quat'z'Arts ball, a great celebration organised by the students of the École nationale des beaux-arts in Paris, took place on 23 April 1892. This tradition continued until 1966.
A superb copy in bright colours and in new condition.

Definitive edition illustrated with 24 original etchings by Edouard Chimot, one of 355 numbered copies on Arches vellum.
Full black morocco binding, smooth spine decorated with horizontal palladium bands heightened with horizontal lines of red and brown mosaic morocco, cold-stamped roulettes on headcaps, traces of rubbing on one weakened joint, covers decorated with a large interlacing design in palladium set with pieces of red and green mosaic morocco, endpapers and pastedowns of moiré-effect paper, frame of palladium fillet and palladium fleurons in corner-pieces of pastedowns, covers and spine preserved, cold fillet on edges, top edge gilt, slipcase bordered with black morocco, marbled paper boards, beige felt interior, contemporary binding signed René Kieffer.
Handsome copy in a spectacular Art Deco binding in full mosaic morocco signed René Kieffer.

First edition, one of 50 numbered copies printed on Japon impérial, the deluxe copies after 1 unique Japon and 19 vieux Japon.
Handsome copy.
Work illustrated with original etchings by Camille Roche.
Handsome copy complete with the double state of the etchings, with a proof of the cancelled plate as stipulated in the justification page.
Our copy lacks its slipcase, bookplate pasted on an endpaper.

First edition, one of 26 numbered copies on Japan paper, deluxe issue after 25 on China paper.
Half green morocco with corners, smooth spine decorated with two turquoise mosaic morocco cartouches adorned with a scattering of gilt stars as well as gilt ink pot, life buoy and sailor's beret, gilt fillet frame on marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, elegant contemporary binding signed Affolter.
Spine and boards marginally lightened.
A handsome, perfectly established copy.
Provenance: from the library of the Duke of Massa with his engraved bookplate mounted on an endpaper.

First edition, one of 950 numbered copies on pure rag Johannot paper, the only deluxe copies after 50 on Renage vellum.
A handsome copy despite the spine and boards very slightly and marginally sunned.

Edition illustrated with 30 original compositions, 19 lithographs and 11 drawings printed in sanguine, by Edouard Chimot, one of 75 numbered copies on Annonay laid paper.
Full red shagreen binding, smooth spine, pebbled paper endpapers and pastedowns, covers preserved, top edge gilt.
Handsome copy well complete as indicated in the justification page with its original drypoint, the compositions finished in colors and a suite in black of the illustrations.

First edition printed on alfa paper.
Half purple morocco binding with corners, spine slightly faded with four raised bands decorated with a gilt and watercolored compartment representing la Bechellerie, moiré-effect paper boards, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt, bookplate pasted on a pastedown.
Handsome copy attractively bound.

First edition.
Publisher's full navy blue boards, smooth spine, blue edges.
Handsome copy.

First edition.
Abundant iconography.
Fine copy of this guide for collectors of illustrated books printed in Belgium before the 18th century.

First edition, one of 1010 numbered copies on Johannot paper, the only printing with 140 on Japan paper.
Work illustrated with heliotype plates.
Minor scuffs to the joints of the board chemise, a shadow on the endpaper, otherwise handsome interior condition.

Rare period photograph of Fernand Destouches (1865-1932), father of Louis-Ferdinand Céline, carte-de-visite format albumen print mounted on card from studio A. Émile.
Two small adhesive marks to lower margin of the print, also showing two tiny lacks to upper corners. Manuscript caption on verso.

One of the principal protagonists of Death on the Installment Plan, the petit-bourgeois Fernand Destouches from Le Havre is transformed by his son into a formidable belching and irascible character:
« Mon père Auguste, il tripotait, sacrait, jurait, déglinguait chaque fois la douille et le manchon. C'était un gros blond, mon père, furieux pour des riens, avec un nez comme un bébé tout rond, au-dessus de moustaches énormes. Il roulait des yeux féroces quand la colère lui montait. Il se souvenait que des contrariétés. Il en avait eu des centaines. Au bureau des Assurances, il gagnait cent dix francs par mois. » ["My father Auguste, he fiddled, swore, cursed, broke the socket and sleeve every time. He was a big blond, my father, furious over nothing, with a nose like a baby's all round, above enormous mustaches. He rolled fierce eyes when anger rose in him. He only remembered annoyances. He'd had hundreds of them. At the Insurance office, he earned a hundred and ten francs a month."] (Death on the Installment Plan, Denoël & Steele, 1936)
Throughout his life Céline maintained an atmosphere of fictional romance around his father's life and claimed that he held a baccalaureate and a degree in letters. The family's financial failures as well as his father's aborted ambitions, amplified by Céline into sordid proletarian dramas, served as the cornerstone for Death on the Installment Plan, which he forbade his mother to read.

Of utmost rarity.

Photographic portrait of Hermance Delhaye Destouches (1830-1869), paternal grandmother of Louis-Ferdinand Céline, in cabinet card format on albumen paper mounted on cardboard from J. Couturier studio.

Cardboard slightly trimmed at lower margin. Handwritten caption on verso.

A bourgeoise of Flemish origin, Céline's grandmother married Auguste Destouches in 1860 and had five children. Upon the premature death of her husband in 1874, at the age of thirty-nine, the provincial Hermance tried her luck in Paris with Amélie, Céline's aunt, where she squandered her fortune and ended up being kept thanks to her daughter's demi-mondaine lifestyle.

In Mort à crédit, Céline borrows her second name, Caroline, for the character of the grandmother who runs the antique shop on rue Montorgueil. This aspect of the character, however, relates to the shopkeeper life of his maternal grandmother Céline Guillou, whose first name served as the writer's pen name.

First edition, on ordinary paper, of the French translation by Philippe Jaccottet.
Spine and boards marginally sunned as often.
Rare complete copy in 4 volumes.

First edition, one of 175 numbered copies on vellum, deluxe copy.
Handsome copy

Important first edition.
Half havana sheep binding, smooth spine decorated with gilt fillets, two light dampstains on spine which also shows some scuffs, marbled paper boards, contemporary binding.
Some foxing, one dampstain in margins of final leaves not touching text.
Rare autograph inscription signed by Etienne Jean Georget: "L'auteur à son confrère le Dr Moulin. Georget." ["The author to his colleague Dr. Moulin. Georget."]

New edition of the French translation illustrated with 30 original etchings by Maurice de Becque, one of 250 numbered copies on handmade Rives laid paper.
Half tawny morocco binding with bands, spine with five raised bands alternately set with red and brown mosaic morocco fillets, wood-grain paper boards framed with red and green mosaic morocco fillets, brown paper endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, contemporary Art Deco binding.
Handsome copy skillfully bound.

First edition in volume, one of 50 numbered copies reimposed on Japon impérial, deluxe issue after 1 unique Japon and 19 vieux Japon.
Handsome copy despite the spine and covers slightly and marginally lightened as usual.
Work illustrated with a portrait of the author engraved with dry-point by Lucien Madrassi and original woodcuts by Paul de Pidoll.
Handsome copy complete with the double state of the dry-point, the proof of the cancelled copper plate and the suite of color illustrations as stipulated in the justification page.
Our copy lacks its slipcase.

First edition, one of 150 copies on B.F.K. de Rives, the only issue after 50 other deluxe copies.
Some discreet restorations to spine and covers.
At the colophon, our copy is exceptionally enriched with the very rare manuscript signature of Louis-Ferdinand Céline, then in exile in Denmark.
The publisher, Pierre Lanauve de Tartas, specified, just above Céline's signature, "Author's copy".
This very rare copy indeed bears, printed on the front cover, the initial title of the work: Lettre à J. B. Sartre. We include the flying slip bearing the final title "à l'agité du bocal" which was glued onto the entirety of the print run subsequently distributed.

Precious author's copy of Céline's scathing response to Jean-Paul Sartre, who, in Réflexions sur la question juive, had accused him of having been paid by the Germans under the Occupation for having held such indefensible antisemitic positions.

First French edition, one of the few named copies on Japan paper for each of the volumes, the recipient's name having been neatly erased.
Spine and covers slightly and marginally lightened.

First French edition, one of the few named copies on Japan paper, the recipient's name having been neatly erased.
Spine and covers slightly and marginally lightened, a small tear at the foot of the spine.

Edition with some parts in first edition for which no deluxe copies were printed, one of the advance copies.
Precious signed autograph inscription from Henri Michaux to his schoolmate and friend Robert Guiette.
Handsome rare copy with signed autograph inscription.

Edition ornamented with original color illustrations by Jean-Marie Camus, one of 40 numbered copies on Arches vellum with wide margins, deluxe issue after 10 other Arches copies.
Our copy includes, as indicated in the print justification, a complete color suite of all illustrations.
The slipcase and chemise are missing.
Handsome copy.

First edition, one of the copies on Japon.
Texts by Jules Renard, Anatole France, Sully-Prudhomme, Gustave Geffroy, Louis Tynaire, Gabriel Séailles, René Binet, Georges Renard...
Lithographed or wood-engraved illustrations in red and black by Eugène Carrière, Félix Régamey, Carlos Schwabe, Georges Rochegrosse, Alfred Lenoir, Auguste and Georges Leroux, Daniel Vierge, Charles Fouqueray, Théophile-Alexandre Steinlen, Lucien Vogel, Charles Léandre, Henri Fantin-Latour, Eugène Grasset, Alexandre Lunois, Georges Scott...
Bradel binding in full paper, palladium title on smooth spine, marbled endpapers and pastedowns, covers and spine preserved, top edge palladium.
Handsome copy attractively bound.

Rare uniform set of Didot stereotype editions. The title page of each volume is preceded by an advertising and presentation leaf of the edition composed as follows: This stereotype in-18 edition is sold in Paris, by P. Didot l'Aîné and by Firmin Didot. Price in sheets: Ordinary paper, fine paper, laid paper, deluxe laid paper. All the present editions are printed on laid paper or deluxe laid paper. Let us recall that it was François Ambroise Didot who perfected the manufacture of laid paper in France in 1780, which was particularly well suited to printing Didot typefaces.
Contemporary full red Russia leather binding. Smooth spine decorated with 5 fleurons and multiple roulettes. Decorative frames on the boards. Roulette on the leading edges and interior. Gilt edges. Some rubbing.
Superb set, very rare in this condition.
Details of the editions:
Fables de La Fontaine suivies d'Adonis, poeme. An VII. (cxij, 136pp. et (4) 256pp.) Trace of dampstaining in lower margin from leaf xlix to cx. 2 volumes. Handsome set with fresh paper.
Poésies de Malherbe. An VIII. (xxiv, 202pp.). Trace of pale dampstaining in upper margin throughout the volume, fading, reappearing... 1 volume. Handsome copy.
Oeuvres de Regnard. 5 volumes. 1801. xxiij, 275pp. (1) et 268pp. (1) et 266pp. (1) et 265pp. et (2) 252pp. 2 borders rubbed over several cm. Handsome copy with fresh paper.
Oraisons funèbres de Fléchier. 2 volumes. (4) 253pp. (4) et 256pp. Trace of dampstaining in upper margin of the first 30 leaves of volume 1, and the first 4 leaves of volume 2, otherwise fresh paper. Handsome copy.
Oeuvres de Racine. 5 volumes. 1803. 267pp. et 288pp. et 290pp. (1) et 264pp. (1) et 317pp. (3). Catalogue at end of stereotype editions. Handsome copy, very fresh.
Lettres persanes par Montesquieu. 1803. 2 volumes. 234pp. et 226pp. 2p. catalogue of stereotype editions. Handsome copy, fresh.
Considérations sur les causes de la grandeur des Romains, par Montesquieu. (4) 262pp. 2p. catalogue. Trace of rubbing at head. Handsome copy, fresh.
Commentaires sur Corneille, par Voltaire. 1806. 4 volumes (4p. catalogue at beginning of volume 1). (2) 299pp. et 332pp. et 336pp. et 224pp. Scattered foxing.
In 1795, Firmin Didot perfected a stereotypy system, usable on an industrial scale. Each page was composed with hollowed matrices into which the alloy was poured directly, avoiding letter-by-letter composition. It was only after 1798 that Didot took up the classics. Let us recall that the famous Didot typeface dominated the entire 19th century, and that the stereotype edition forms a major milestone in the history of printing, as the Elsevier editions were in their time.

L'Anniversaire de l'infante
[The Birthday of the Infanta]Edition illustrated with paged and unpaged drawings by Alastair with 110 printed copies, ours is one of 100 copies printed on Holland Van Gelder Zone, the only grand papier (deluxe) copies after 10 Japan Imperial. Scattered foxing, most noticeable at the beginning and end of the volume.

New edition.
Bradel binding in half yellow cloth, smooth spine, navy blue shagreen title label with two small lacks, combed paper boards, endpapers and pastedowns of pebbled paper, covers preserved.
Some minor foxing without gravity.
Rare.

First edition, one of the rare copies numbered and justified by the author on Japan paper of which no mention is made, deluxe copy.
Full red morocco binding, spine with five raised bands set with black fillets, gilt roulettes on the headcaps, gilt monogram of Julia Bartet at the head of the first cover, endpapers and pastedowns of khaki watered silk, frame of quintuple gilt fillets decorated with gilt fleurons in the corners on the pastedowns, covers and spine preserved, top edge gilt on deckled edges, double gilt fillets on the leading edges, slipcase with red morocco entry, marbled paper boards, interior of watered and embroidered silk, superb contemporary full morocco binding signed by Kauffmann.
Very fine signed autograph inscription from Jean Lailler in the form of a quatrain to the actress Julia Bartet: "A Bartet qui m'appprit que la beauté délivre / A l'Amie au grand coeur dont l'appui m'est si doux / A vous par qui j'ai su qu'un seul regard enivre / Ce volume qui doit de vivre / A Bartet - à l'amie - à Vous. / Affectueux hommage. 1er Mai 1910." ["To Bartet who taught me that beauty delivers / To the Friend with the great heart whose support is so sweet to me / To you through whom I learned that a single glance intoxicates / This volume that owes its life / To Bartet - to the friend - to You. / Affectionate tribute. May 1st 1910."]
One joint with some light rubbing, otherwise a very fine and rare copy.
Copy established in a perfect contemporary full morocco binding signed Kauffmann.

Autograph letter signed by Colette addressed to her friend, the man of letters and lawyer Adrien Peytel, two pages written in black ink in hurried handwriting on a double sheet with L'Eclair newspaper letterhead.
A central fold inherent to the folding of the letter for mailing.
Fine letter from Colette, testimony to the confusion that seized France at the dawn of the Great War: "Nothing is working. I am stuck here for a piece they are asking me to write." The writer worries: "I have no news from Sidi [Henry de Jouvenel]. I am creating a whole head of worries for myself. I don't know where he is, he wrote to me that he was leaving with the 29th for the Somme. Ah! la la la la la la..."
"Colette a entendu sonner le tocsin en Bretagne, où elle passait un séjour ensoleillé avec le baron Henry de Jouvenel, et leur fille, dans sa maison de Rozven. La guerre la surprend en plein bonheur, à quarante et un ans. [...] Son mari, appelé dès le 2 août, devant rejoindre le 29e régiment d'infanterie, à Verdun, elle a aussitôt envoyé sa fille, à peine âgée d'un an, avec sa nurse, au château de Castel Novel, en Corrèze - chez sa belle-mère. Et elle est rentrée à Paris." ["Colette heard the tocsin ringing in Brittany, where she was spending a sunny stay with Baron Henry de Jouvenel, and their daughter, in her house at Rozven. The war surprised her in the midst of happiness, at forty-one years old. [...] Her husband, called up from August 2nd, having to join the 29th infantry regiment, at Verdun, she immediately sent her daughter, barely a year old, with her nurse, to the château de Castel Novel, in Corrèze - to her mother-in-law's. And she returned to Paris."] (Dominique Bona, Colette et les siennes)

First edition, of which there were no deluxe copies.
Handsome copy.
Signed autograph inscription from Claude Roy to a couple of friends named Robert and Renée.

First edition, one of 10 numbered copies on Japan paper, this copy nominative, deluxe copy.
Handsome copy despite the first cover marginally and lightly shaded.

First edition, one of 20 numbered copies on Japon super nacré, deluxe copy.
Work illustrated with in-text color illustrations by Georges Gaudion in the manner of Henri de Toulouse-Lautrec, Lucien Boucher, Maurice Vlaminck, Auguste Rodin and Othon Friesz.
Small lack at foot of the split slipcase.
Fine copy.

Illustrated edition with 30 original watercolors by Yvonne Préveraud, one of 38 numbered copies on Japon impérial.
Half old rose shagreen binding with corners, smooth spine decorated with gilt floral motif, marbled paper boards, endpapers and pastedowns of the same paper, original wrappers and spine preserved.
Handsome complete copy, as indicated in the justification page, with the full suite of illustrations.
Our copy is exceptionally enhanced with an original black ink drawing by Yvonne Préveraud depicting a seated nude woman which she dedicated to a friend named Louis.

First edition, one of 35 numbered copies on Holland paper, the only deluxe copies mentioned.
Half dark green morocco-grained shagreen binding with corners, faded spine with four raised bands set with gilt dots and decorated with double gilt compartments notably featuring a gilt Cupid drawing his bow, red shagreen title-label and author label, moiré-effect paper boards, marbled endpapers and pastedowns, original covers and spine preserved, top edge gilt retaining deckled edges.
Handsome copy despite the slightly faded spine with some rubbing to one joint and the head caps.

Edition illustrated with 17 wood-engraved vignettes by Fernand Siméon, one of 25 numbered copies on Japon Shidzuoka, deluxe copies after 15 Japon à la forme.
Handsome complete copy, as mentioned in the justification page, with the suite on China of the wood engravings.

First edition, one of 10 numbered copies on Japan imperial paper, the only deluxe copies.
Full green morocco binding, faded spine with four raised bands, black roulettes on headcaps, boards marginally faded, pastedowns in full almond green morocco set with a vegetal frieze of forest green mosaicked morocco, moiré silk and embroidered endpapers, following endpapers of marbled paper, original wrappers preserved, top edge gilt retaining deckled edges, superb full morocco doublure and mosaic binding by Marius Michel.
Cover illustrated by Alcide Théophile Robaudi.
Copy established in a full morocco doublure and mosaic binding by one of the most important binders of the 20th century.

First edition of this lyric tragedy in three acts set to music by André Gailhard, one of 20 numbered copies on Japan paper, the only deluxe copies.
Half tawny shagreen binding with corners, spine slightly darkened with four raised bands decorated with gilt fillets and compartments of brown mosaicked shagreen, gilt date at tail, moiré-effect paper boards, marbled paper endpapers and pastedowns, top edge gilt retaining deckled edges, binding signed by Saulnier.
Fine and rare full-margined copy.

Illustrated edition with 5 plates and colored vignettes by Henri Cassiers, one of 150 numbered copies on Japan paper, deluxe copy.
Fine copy, complete as specified in the colophon with its colored frontispiece and duplicate suite of illustrations.

Edition illustrated with 16 original color etchings by Edouard Chimot, one of 25 copies on Imperial Japan paper, deluxe copy after 46 other Japan copies variously enhanced.
Full red morocco binding, spine with four large raised bands set with gilt fillets, burgundy watered silk endpapers and pastedowns, frame of triple gilt fillets on the pastedowns, following endpapers of marbled paper, all edges gilt, original wrappers preserved, slipcase with red morocco entry, moiré-effect paper boards, marbled paper interior, superb full morocco binding signed Vaissière relieur castrais.
Our copy contains the three states of the 16 plates hors-texte and an original color drawing signed by Edouard Chimot as indicated in the justification page.
Fine copy perfectly established in a signed full morocco binding with an original color drawing by Edouard Chimot.

Edition illustrated with vignettes and ornaments in 2 colors by André Domin, one of 50 numbered copies on Japan paper, deluxe copy.
Fine copy enhanced at the end of the volume with a duplicate suite of the illustrations.
Music by Félicien David at the end of the volume.

Edition illustrated with 7 original wood engravings by Jules Léon Perrichon and a portrait of Denis Diderot by Bernard Naudin, one of 20 numbered copies on Japan paper, deluxe copy.
Bradel binding in full boards with overlapping flaps in vellum style, endpapers and pastedowns of gold and silver effect paper, covers and spine preserved, top edge gilt on deckled edges, contemporary binding.
Fine copy, well complete, at rear, with its duplicate suite on China paper of the original woodcuts and the double state of the frontispiece portrait.

First edition, one of 650 numbered copies on Japon impérial paper.
Work illustrated with 17 original color compositions by Charles Jouas.
Handsome copy despite light marginal foxing of no consequence on the first cover.

First edition, one of 10 numbered copies on imperial Japan paper, the only deluxe copies.
Rare and handsome copy despite small lacks to spine and traces of corner creases on boards.

First edition, one of 150 numbered copies on Japan paper, deluxe copy.
Half tan shagreen binding with corners, smooth spine faded decorated with gilt cartouche and black typographical motifs, marbled paper boards, marbled endpapers and pastedowns, covers and spine preserved.
Work illustrated with 28 original compositions by Oreste Cortazzo engraved as etchings by Abot and Clapès.
Our copy, like all copies of the deluxe edition, is complete with the double state of the etchings.
Spine and boards slightly and marginally faded.

New edition of the French translation illustrated with original compositions by Henri Deluermoz engraved by Louis-Joseph Soulas, one of 35 copies on Holland paper, the most limited deluxe paper printing after 1 unique Japan copy.
Full chocolate brown morocco binding, spine slightly faded with four raised bands, endpapers and pastedowns of moiré-effect paper, frame of triple vertical gilt fillets separated by gilt squares on the pastedowns, covers and spine preserved, a small lack at head of second cover, top edge gilt retaining its deckled edges.
A shadow on one endpaper and its facing page.
A full-margined copy handsomely bound.

New edition.
Work illustrated with a frontispiece gris-gris by Antonin Artaud.
Handsome copy complete with dust jacket
Full-page bicolored autograph inscription signed by Henri Pichette to Annie Vanpeene: "... regardez il y a un robin dans la signature." ["... look there is a robin in the signature."]