Love from Brutal to Sacred

First edition, one of 80 numbered copies on vélin pur chiffon de Lana, the only grand papier (deluxe) copies.
A very nice copy.

Erotic manuscript consisting of two beveled wooden boards with two paintings and 10 leaves with a painting on the recto and a handwritten Tibetan text on the recto. The text is the same on the 10 leaves, it is a mantra. On two of the leaves it is almost completely erased. On the recto of the two wooden boards there are also two different handwritten mantras. The paintings are executed directly on the wood and the leaves. The dimensions of the paintings vary somewhat, from 5.5 cm, 6 cm to 12, 14 cm in width.
This form, 2 pieces of wood with leaves in the middle, is traditional. The whole was often attached by a string, or by holes in the wood through which a string was passed. Very good condition overall, with small stains on the paintings on wood.
The paintings unfold 12 sexual positions in an abstract and geometric environment, composed of curves. In several paintings the colors of the background, of the ground change. The woman systematically wears a crown. It is easy to distinguish the religious or sacred character of sexuality in these images. The colors used are vivid, with an omnipresence of orange, golden and white strokes, yellow...

First edition.

Black half morocco binding, spine with four raised bands adorned with gilt dotted fillets and double gilt compartments decorated at the corners, gilt date and the inscription "Ex. de J. Drouet" at the tail, marbled paper boards and endpapers, preserved covers and spine, top edge gilt, binding signed by René Aussourd.
Some minor foxing, mainly at the beginning and end of the volume.

Precious signed and inscribed copy by Victor Hugo to Juliette Drouet, the great love of his life: ‘To you, my lady. Humble homage. V.'

This copy comes from the library of Pierre Duché, who acquired Juliette Drouet's entire library and commissioned René Aussourd to bind the volumes uniformly, marking each with an identifying inscription at the foot of the spine.

Bookplates pasted on a pastedown and a flyleaf.
In late 1878, after more than forty years together, Victor Hugo and Juliette Drouet finally moved in together at Avenue d'Eylau, in the small town house where the poet would spend his final years. "From that moment on, Juliette's life became little more than an unbroken sorrow, a servitude of every hour. She herself suffered from stomach cancer, knowing she was condemned—to die of hunger!" (Louis Guimbaud, Victor Hugo et Juliette Drouet, Paris, 1927). Despite her illness and severe physical weakness, she remained devotedly at Hugo's side as his caregiver. It was during this time that Bastien Lepage painted a strikingly realistic portrait of her: "From her goddess-like face, once serene and noble, the relentless illness had made a frail human visage, drawn and hollowed, furrowed with wrinkles—each one telling a story of pain." (ibid.)

Religions et religions was published two years before Juliette's death; is was one of the last books Hugo dedicated to the unwavering love of his life. In a final tribute to her lifelong devotion, he later offered her a photograph inscribed: "Fifty years—that is the most beautiful marriage."

Copy from the most intimate source.

Rare and highly sought-after first edition (...) of which only a portion of the copies contains a preface (cf. Clouzot). The important account of the lawsuit concerning The Lily of the Valley that precedes the novel was not retained in subsequent editions and is often lacking in a number of the copies published by Werdet.

Copy complete with both the preface and the account of the lawsuit that opposed Balzac to the publisher François Buloz. Contemporary half green sheepskin bindings, smooth spines decorated with gilt romantic typographical motifs, gilt fillets at heads and tails, marbled paper boards, paste paper endpapers and pastedowns, marbled edges, contemporary romantic bindings. Some minor foxing, bookseller's descriptive label pasted at head of front pastedown of the first volume.

Exceptional copy in an elegant contemporary binding.

First edition, one of 150 numbered copies on Hollande, the only deluxe issue copies after 5 on Japon.
A very fine copy, as issued, with an important manuscript document by Elme-Marie Caro, 1 page in ink on a double leaf, undated [1887 ?].
Maupassant's last novel Notre Coeur is also one of his most autobiographical. The writer was strongly influenced in this piece by famous literary and artistic "Salons" held by high society women, which he frequently attended. The novel confronts a man of letters with one of these strong-headed women of late 19th-century Paris. He describes the main character Michèle de Burne as "a woman of refinement, of indeterminate sensibility, restless, without fixed resolves, her feelings in constant turmoil, who seemed to have made it part of her experience to employ every narcotic that quiets the aching nerves: chloroform that stupefies, ether and morphine that excite to abnormal reverie, kill the senses, and deaden the emotions"
Maupassant sketches the fictional portrait of Countess Potocka, to whom he was one of the most fervent suitors, called "Macchabées" or "morts d'amour" , according to the rules of the literary game created in her famous Salon. He paints the picture of his unrequited love through this modern, liberated although oppressive woman, who only finds pleasure in the enslavement of her lover.

Our copy exceptionally contains a precious "Convocation extraordinaire du Club des Macchabées", an amusing original document written by philosopher Elme-Marie Caro.
Countess Potocka is referred to in the document as "the Patroness, Head of the Executive and Decorative Power of the Macchabees", and the list of her suitors "specially and ex officio summoned, without procrastination or apology" includes some of the Countess's Salon regulars: Clovis Bachelier, Adrien de Montebello, Olivier Taigny and Dubois were members of the administrative committee, painters Jean Béraud and Henri Gervex represented the art world, and writers Georges Legrand, Elme-Marie Caro and Gustave Schlumberger the literary world. The "President" of this society is none other than famous actor Coquelin aîné, member of the Comédie française.
Although he does not appear on this invitation, Maupassant played a major role in this infamous group as "Perpetual Secretary of the Permanent Council of the Club des Macchabées".
A precious document bearing witness to the fascinating Countess who inspired Maupassant, Marcel Proust for his Duchesse de Guermantes and Aimé Guerlain who created for her his Shore's Caprice perfume.

Partly first edition, gathering the most famous speeches by Victor Hugo, including some of his most memorable addresses delivered at the tribune of the Legislative Assembly—most notably the speech on constitutional revision and the powerful plea he gave at the trial of his son, on 11 June 1851, before the Cour d'assises of the Seine, in defense of the inviolability of human life. Spurious mention of “eighth edition.”
Complete with the rare portrait of the author by Masson printed on China paper, as frontispiece.
Scattered occasional foxing.
Precious inscribed copy signed by Victor Hugo to Juliette Drouet : « à mon pauvre doux ange aimé. V. »
A treasured copy belonging to Victor Hugo’s muse and mistress. This moving and remorseful dedication is Hugo’s response to the tragedy Juliette endured that same year, having just discovered he had been unfaithful for seven years with Léonie Biard. In June 1851, Biard sent Juliette the letters Victor had written to her. In July, Hugo swore eternal fidelity to Juliette, and in August inscribed this plea for a more compassionate justice to her.
In the autumn, Juliette demanded that Hugo meet Madame Biard to formally end the affair—a meeting she choreographed in every detail, and to which Hugo complied.
Provenance: libraries of Pierre Duché (1972, no. 75) and Philippe Zoummeroff (2001, no. 71).

First edition, an advance (service de presse) copy.

Three small wormholes and a clear dampstain to margin of upper cover, one joint cracked at foot.
Retaining its prière d'insérer. 
Very precious and moving autograph inscription signed and dated by Maurice Blanchot to his mother and sister: "Personne ne reçoit tant de Dieu que celui qui est entièrement mort. Saint Grégoire. Pour sa chère maman et sa vieille Marg, en toute affection. Maurice [No one receives God so fully as someone who is entirely dead. Saint Gregory. For his darling mother and old Marg, with all love. Maurice]."

First edition, one of 90 copies on Holland paper, ours being one of a few lettered hors commerce copies.
Bradel binding in half brown box, smooth spine, decorated paper boards, brown endpapers and pastedowns, original covers preserved, top edge gilt, binding signed by Goy & Vilaine.
Precious autograph inscription signed by Paul Valéry: « A Victoria Ocampo, - a sus piès de Vd - ce petit rien qu'elle a bien voulu désirer. »
A superb dedication that marks the beginning of the enduring friendship between the two writers, beyond all differences.
At Valéry's death in 1945, Victoria Ocampo would recall their first meeting in December 1928 during a writers’ dinner to which the young Argentine, newly arrived in Paris, had been invited.
A founding moment of their friendship and of the mutual admiration testified by their moving correspondence, it is against the measure of this first impression that Victoria Ocampo described her relationship with the poet and « les sentiments contradictoires que suscitèrent en [elle] la rencontre de l'œuvre et de l'homme qui la conçut : émerveillement, étranglement, admiration, accablement, bonheur. Effets, sur une Sud-Américaine, amoureuse du génie français, d'une des plus grandes intelligences européennes, lorsqu'elle s'en approcha - un peu tremblante - comme d'un feu qui vous attire et vous tient à distance du même coup. »
There is no doubt that Valéry’s impression was no less intense, since he addressed to her, soon after, this humble dedication reminiscent of Victor Hugo’s treasured inscriptions to Juliette Drouet « à vos pieds, Ma Dame ».
As the fallen poet’s epistolary confidante during the harsh years of war, Ocampo would pay him, at his death, a fervent homage « par-delà l'intelligence et la bêtise, par-delà la vie. Avec mon respect, mon culte, ma tendre affection si nouée à l'humain. Avec tout ce qui en moi, tant que je vivrai, ne cessera de le sentir vivant, ne cessera d'être le lieu périssable où son immortalité commence. »
A few small spots of foxing.
A perfectly preserved copy.