Académie Française Members

The first edition, which appeared in plain covers
This copy has a chemise of half blue morocco over blue marbled paper boards and slipcase of blue marbled paper edged with blue morocco
Foxing, an angular lack to the first blank endpaper, traces of folds to plain covers
Very rare autograph inscription from François-René de Chateaubriand: “De la part de l'auteur [from the author]” to head of half-title
A precious, unsophisticated copy enriched with an autograph inscription from the author.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's binding in full blue grained sheep, top edge blue, smooth spine with gilt fillets.
Fine copy complete with glassine wrapper, dust jacket and slipcase which shows minor tears at foot of no consequence.

First edition.
Richly illustrated.
A very good copy retaining its dustjacket, plastic wrappers and slipcase.

Bibliothèque de La Pléiade edition printed on Bible paper.
Publisher's binding in full blue grained sheep, smooth spine decorated with gilt fillets, complete with dust jacket and cellophane wrapper.

First edition.
Half caramel shagreen binding, spine with five raised bands set with black fillets decorated with black double compartments at the centers of which appear the gilt monogram of the great bibliophile Roger de Cormenin repeated five times, turquoise blue shagreen title label, marbled paper boards, marbled endpapers and pastedowns, top edge gilt, elegant later unsigned binding.
Provenance: from the library of Roger de Cormenin, son of Louis de Cormenin who was the confidant and secretary of Théophile Gautier and also the intimate friend of Gustave Flaubert.

First edition.
Half-sheep binding in navy blue, spine with five raised bands set with black stippling decorated with double black fillets, marbled paper boards, marbled endpapers and pastedowns, one tear to a leading edge, contemporary binding.
Some minor foxing of no consequence.

First edition.
Half red shagreen bindings, spines with five raised bands set with black fillets and decorated with gilt fleurons, marbled paper boards, endpapers and pastedowns of marbled paper, one corner slightly bumped, minor traces of rubbing on bottom edges, contemporary bindings.
Some occasional light foxing.
Provenance: from the library of Jules Félix Louis Gastinger with his bookplates pasted on the pastedowns.
Handsome copy attractively established in uniform contemporary binding.

First edition, one of 1020 numbered copies on pur fil paper.
A good copy.

First edition, one of 20 numbered copies on Japan paper, the only deluxe copies.
Letters written by George Sand among others.
A small lack at head of spine, handsome copy with full margins.

First edition, one of 15 copies on Whathman paper
Contemporary Bradel binding by Paul Vié in red cloth, gilt fleuron to spine, midnight blue morocco titlepiece, double fillet and date at foot of spine
Handsome autograph inscription from Victor Hugo to Leconte de Lisle, poet and head of the Parnassianist movement, who would go on to take over Hugo's chair at the Académie Française.

First edition.
Half blue-grey cloth Bradel binding over marbled paper boards by Champs, spine with gilt stylized floral motif, date and double gilt fillet to foot, navy blue shagreen title-piece with a small angular lack to top, covers preserved.
Autograph inscription signed by Victor Hugo to his friend, the literary critic Henri Trianon.
Small manuscript correction to the first page of the introduction, a few small wormtracks to the title and half-title.
Provenance : Morizet collection, collection of Raymond Boueil with his engraved ex libris, Maurice Escoffier (Le mouvement romantique N°1557), Robert Schumann, manuscript initials (1965, N°207) and Philippe Zoummerouff (2001, N°62).

First edition of the german translation by Paul Celan, printed on vergé.

Slight foxings, not serious, on one cover of the slipcase.
A good copy.
Autograph inscription, signed and dated, by Paul Celan to the surrealiust painter Edgar Jené and his wife : "Für Erica und Edgar Jené herzlich, Paul Celan. Paris, am 30. Oktober 1960".

First edition on ordinary paper of this selection of poems established by Henri Parisot, false statement of fourth edition.
Preface by Léon-Paul Fargue.
Spine slightly wrinkled with a small tear at foot.

Illustrated with 52 original etchings in bistre by Georges Bouisset, one of 350 numbered copies on pure Arches laid paper.
The work is also decorated with wood-engraved tailpieces.
Spine lightly discolored and faded as is generally the case, otherwise a fine copy.

First edition, one of numbered copies on vergé blanc, advance (service de presse) copies.
Handsome autograph inscription signed by André Gide to (Jean-Emile) Laboureur.
Spine and covers uniformly and lightly sunned, as usual, internally good.

Original edition.
Binding half old red grief with some discreet restorations, back with five nerves, when tail, paper plates to the tank, and contreplats combed guards lined paper, preserved covers, red head, contemporary binding.
Precious autograph signed by Victor Hugo Alphonse Daudet.
Buffer library of Madame Daudet on the first guard.
Victor Hugo is for Alphonse Daudet, like other writers of his generation, the undisputed master of arts Hall of Fame. His father figure sprinkles the works of Daudet, commonly called alongside those of Rousseau, Byron, Sand and Delacroix.
If during childhood and youth Daudet, Hugo, exiled giant on his island of Guernsey, remains an unattainable ideal, "almost beyond humanity," Back in France allows him to meet him someday. Around 1875, shortly after the publication of his first works, Alphonse Daudet and Julia are well received in Hugo who now lives with Juliette Drouet.
They therefore become intimate of the house until the poet's death. Victor Hugo is involved in the education of the young Léon Daudet, best friend grand-son of Hugo, George and later husband of Jeanne ephemeral.
In his Memories of a literary circle, Julia Daudet evokes friendship of ten years with the "idol of all France poetic"
"I see the great Victor Hugo end of his table; the old master, a bit isolated, a little deaf, sits with God silences, absences of a genius on the brink of immortality. The white hair, colored head, and this eye old lion that develops side with power ferocity; he listens to my husband and Catullus Mendes between which is very lively discussion about youth and celebrity known men and their attractiveness to women. [...] During the debate we went to the salon, Victor Hugo dream by the fire, and famous, universal and demigod regret perhaps his youth, while Mrs Drouet sleeping quietly. »
The friendship between the last great romantic writer and one of the masters of the early naturalist school reflects the sharpness of Victor Hugo who, at the height of his fame, and retains a special kind attention for the remote yet modern literature Hugo's lyricism.

This dedication Hugo Daudet on a skilled, with The Pope and Religions and Religion, of "philosophical testament" by Henri Guillemin, symbolically resonates as a legacy by a devout follower of the political and moral responsibility of the writer.

Provenance: Alphonse Daudet, sales Sickles (1990, IV, No. 1200) and Philippe Zoummeroff sale (2 April 2001).

Gift extract of a literary circle by Julia Daudet:
"How can we forget that first visit home, rue de Clichy, in the modest apartment so disproportionate to his glory, the idea we had of the glory that had filled palaces: He gets up the seat he occupied the fire in front of Madame Drouet, his old friend, (...) I am amazed at its size, but soon, when it will meet me and talk to me, I would find it very big, very intimidating. And this I felt so shy, I always try them in front of Victor Hugo, the result of this great admiration, respect it as an absent god, my parents instilled in me the genius of a poet. I will overcome never that trembling voice every time I answer his kind words, and I say astonish for nearly years to hear women, admitted to him, maintain their inner and their usual trivia.
That night, when he had made me quite confused, Mrs Drouet, she said with a charming good grace - Here is the corner of the old and you are too young for us. But Victor Hugo will introduce you to his daughter, Mrs. Lockroy; alone has standing to that.
And I was driving on the other side of the room, moderately large, though, but that was as divided in two by a table topped with a bronze elephant, very majestic, Japanese or Chinese, I think. It was enough to make two very distinct small groups that communicate easily, but without merging.
At the time of his return, Victor Hugo was dazzling wit, many memories and told with an inexhaustible verve when the policy is not too invading his hospitable table. And grace in the home, what noble ways, what a beautiful smile grandfather in her hair I have gradually seen to blanch the snow eighty years I poets, all the poets attending this salon on Rue de Clichy, later the hotel Avenue d'Eylau. But here it was the change of place? There was like a step down in health, and in the spirit of good old man. Yet he always loved to entertain his friends, and the hospitality of this open house was not one of his charms least because, around the table, embellished with a piece by the two grandchildren of the Master, the guests were seeking their watchword in the eyes of the host, and he sometimes found a vein of memories so vivid, so picturesquely expressed, which remained blinded entire evening. M mo Drouet slowly growing old with him, sheltered under two snow bands, a somewhat theatrical elegance and quaint, until a ruthless evil dug his face so thin, made painful effigy has painted Bastien Lepage, who was to die prey to the same torture. In the recent times, the Master looked painfully, intimate dinners, that empty plate, that noble ravaged face.
- Mrs Drouet, you do not eat, you must eat, have courage.
Eat! She was dying. Did he know? Was he trying to delude himself the fine old so tough and strong, and who saw this companion from fifty years!
In the large room where looks beautiful portrait of Bonnat, the paternal gesture, where the bust by David presides immensely; in the lounge, decorated with these striped multicolored tapestry that seemed strained to Dona Sol; in the garden come to the verandah by a flight of stairs two reappear Leconte de Lisle, Meurice and Vacquerie, Paul de Saint-Victor, smiling Banville, Flaubert and Goncourt conversing together, Mallarmé, Leon Cladel, Francois Coppe, Catullus Mendes, Clovis Hugues, shadows in a faded Eden; and Leon Glaize, Gustave Rivet, Pierre Elzéar, the tiny pink Ms Michelet offering a festive evening, and ambassadors, diplomats, Emperor of Brazil; painters, sculptors, and many politicians that I do not remember the names!
Here the immediate impression that I drew one of those evenings when we visited, Alphonse Daudet and me, a snowy evening, where during the ride our horse fell three times across the Esplanade des Invalides:
I see the great Victor Hugo end of his table; the old master, a bit isolated, a little deaf, sits with God silences, absences of a genius on the brink of immortality. The white hair, colored head, and this eye old lion that develops side with ferocity of power; he listens to my husband and Catullus Mendes between which is very lively discussion about youth and celebrity known men and their attractiveness to women. Alphonse claims that in a living room filled with all sorts of talents, of any age, a young man, the unknown author, the poet will ignored her female eyes beautiful it is. Catullus Mendes replied that he will initially unnoticed, and that all women will go to awareness: this seems true to me. Fortunately women do not have the eyes of their face, but those of the mind and heart. For the intellectual, the beauty of an artist, a poet does not count, it is the look of the thinker, the tormented face of the man who lives his feelings. They go to the talent, grief passes, they hardly thinking about physical beauty. Now one might reply that this is an ambitious sympathy they seek famous authors, but the other feeling, one that would attract to this tempting youth whose Alphonse speaks, seems less blameless.
And I laugh to this claim of two charming conversationalists, generate, analyze us. But to say the woman is like saying the bird; there are so many species and genera, warbling and plumage are so different!
During the debate we went to the salon, Victor Hugo dream by the fire, and famous, universal and demigod regret perhaps his youth, while Mrs Drouet sleeping quietly. His beautiful white hair shading his fine head like two wings of a dove, and knots of her bodice following her sweet breath, almost resigned, old woman asleep.

It was soon after this event took place the great manifestation of scrolling Paris Avenue d'Eylau, before the windows of the small room that became mortuary in May 1885 filled with roses and simply furnished, such as accounts, museum Victor Hugo, a part taken in the former apartment of the poet, Place Royale.
Although suggestive, the old home of the Marsh, "and when you think that there Victor Hugo wrote almost all his historical plays one imagines the poet, opening, the morning hours that were familiar to him, this high window on hotels all equal and same style, around the square, and remembering tournaments, duels, walks and agitations of several generations disappeared under the shadow of these ancient and solid arcades and not keeping track of the fugitive humanity.
We still had dinner at Victor Hugo week before his death. He tells us by entering paler than usual, the inflected approach:
- I will soon go, I feel it; and then relying on the shoulder of George: No 'that' a long time ago that I would be gone.
I have never forgotten the focus rather solemn and as prophetic those words, I was imbued with sadness and foreboding; I felt the dispersion of this unique center and could not re ever! "

First edition, one of 23 numbered copies on alfa, the only large paper copies with 10 copies on pur fil.
A nice copy.

Third edition.
Bradel binding in full mauve cloth decorated with vegetal motifs, smooth spine faded decorated with a gilt monogram, gilt date at foot, original wrappers preserved, top edge gilt, contemporary binding signed by Paul Vié.
The work illustrated with a portrait of Madame de Custine as frontispiece.

First edition.
Half black morocco binding, spine with five raised bands, marbled paper boards, marbled endpapers and pastedowns.
Our copy expanded with a mounted autograph note that does not appear to be in the author's hand: "A Madame, Madame la comtesse Charles de Goutaud, rue Louis le Grand n°23", dated December 1821. This note is found on the back of an invitation to the blessing of the new chapel of the Infirmerie Marie-Thérèse. Céleste de Chateaubriand, the author's wife, had founded this hospital in 1819, an institution whose mission was to welcome elderly priests and noble women who had become widows during the Revolution. Located on rue Denfert, at number 86 as indicated by this invitation, this institution still exists and welcomes retired Parisian priests. Lacks not touching text at the location of the seals.
A small paper manufacturing flaw at the foot of the title page.

First edition.
Half red morocco with corners, smooth spine decorated with triple gilt fillets and blind typographical motifs, red paper boards, two marginal stains at foot of boards, marbled endpapers and pastedowns, corners slightly bumped, yellow edges, contemporary binding.
Some minor foxing of no consequence.

First Gallimard edition, one of 58 numbered copies on Japan paper, deluxe copy.
Half purple shagreen binding with corners, spine with four raised bands with slight harmless scuffs, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding.

First Gallimard edition, one of 50 numbered copies on Japan paper, ours unnumbered, deluxe copy.
Half purple shagreen binding with corners, spine with four raised bands with slight harmless scuffs, marbled paper boards, endpapers and pastedowns, covers and spine preserved, top edge gilt, contemporary binding.
Work illustrated with charming woodcuts in text.

First edition, one of 300 numbered copies on handmade vellum, the only deluxe copies.
Illustrated with a vignette by Henri Matisse on the cover.
A small stain of no consequence at the foot of the front cover, otherwise a handsome copy.

First edition, one of 800 numbered copies on Auvergne paper.
Autograph inscription signed by André Thérive to Emile Mireaux "... qui a gardé sûrement le goût des canulars" ["... who surely retained his taste for hoaxes"].
Spine and first cover uniformly faded as usual, second cover marginally faded, handsome interior condition.

First edition.
Contributions by M. Jouhandeau "Journaliers", M. Yourcenar "Agrippa d'Aubigné", P.J. Jouve, Saint-John Perse on R. Tagore, M. Eliade "Note pour un humanisme"...
Handsome copy.

The first edition, of which there were no deluxe copies.
Signed and inscribed copy.
Iconography.
Very light worming to edges without significance.

The first edition, of which there were no deluxe copies.
Signed and inscribed copy.
Work illustrated with drawings by Edmond-Maurice Pérot.

Tenth edition but first in parts, as reviewed and expanded.
Contemporary half navy blue morocco over marbled paper boards by E. Babouot, spine in six compartments with gilt dots and double gilt compartments richly decorated with gilt motifs, gilt fillet frame to covers, some corners slightly bumped, marbled endpapers and pastedowns, ex libris of Victor Hugo pasted to versos of upper covers.
Handsome autograph inscription signed by Arsène Houssaye to Victor Hugo, "au maître des maîtres / à mon cher Victor Hugo / Arsène Houssaye [To the master of masters / my dear Victor Hugo / Arsène Houssaye]”, on a leaf bound in at start of first volume.
The page with the inscription has a small angular lack, a few spots mostly affecting the endpapers.

First edition, small printrun, of the first work by Marguerite Yourcenar, written under her semi-pseudonym of Marg Yourcenar
A very good and rare copy of this work, of which there were no large paper copies.

First collected edition; only the first volume had appeared in 1779, published by the author; it is reprinted as issued with its relay title page. A series found quite rarely.
Contemporary full speckled blonde sheep binding. Smooth spine with two repeated tools (wheat sheaf and urn). Ornate black morocco title label and ornate beige morocco volume label. Restoration at head of volume I with a fawn leather piece covering the first two compartments; the first volume therefore no longer has its title label. Upper and lower joints of volume I largely cracked; joints restored on volumes 2, 3, 4; partly cracked at upper joint on volume 5. Good overall appearance. The eulogies are biographies that were read at Academy sessions, bringing together all the 18th-century members numbering 100. These speeches are often annotated for greater precision. The term eulogy should not be taken in its modern sense, as these are not only biographies and scholarly studies of a life but also critiques of a work and character, and all these lives provide precious information. Jean Le Rond d'Alembert was elected on November 28, 1754 to the French Academy. He became its perpetual secretary on April 9, 1772. This edition is the work of Condorcet. Label of J. B. Desgrand, lawyer in Annonay.

First edition.
Spine with small lacks, not serious, to head and foot, two angular lacks to foot of covers, scattered foxing.

Second edition illustrated with 20 handsome full-length costumed portraits hand-colored by Geffroy, printed on heavy paper.
Half wine-red shagreen binding with corners. Spine with raised bands decorated with gilt compartments. Fillets on boards. Spine evenly sunned. Copy on very white paper, with a few very rare pale foxing spots.
Handsome copy.

First edition, our copy being one of the service de presse copies. Cover somewhat faded, pale dampstain affecting the entire spine. Literary contributions by Saint-John Perse (Chanson), Max Jacob (Poèmes), André Breton (Introduction au discours "Sur le peu de réalité"), Léon-Paul Fargue (Nuées), Valery Larbaud (Lettre d'Italie), etc. Commerce, literary review founded by Marguerite Caetani, appeared as twenty-nine "quarterly notebooks published under the direction of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and was not content merely to showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten key texts. Some pages marginally shaded, otherwise a handsome copy.

First edition published in 2900 copies, ours being a Service de Presse (advance) copy.
Literary contributions by Paul Claudel (Le Livre de Christophe Colomb), T.S. Eliott (Som de l'Escalina), Valery Larbaud (Le Patron des traducteurs), Léon-Paul Fargue (Mimes), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Littérature), Ribemont-Dessaignes (Première épître aux directeurs), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Essai sur Stendhal), Léon-Paul Fargue (Trouvé dans des papiers de famille), Valery Larbaud (Sur le rebut), etc.
Commerce, literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly notebooks published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication follows in the competitive tradition of French reviews of the 1920s and does not merely promote the most prominent authors of French literature: it plays a role as "discoverer" of young talents and unearths forgotten seminal texts.
Light foxing at beginning of volume.

First edition published in 2900 copies, ours being a Service de Presse (advance) copy.
Literary contributions by Paul Valéry (Au sujet des lettres persanes), Valery Larbaud (Rues et visages de Paris), Max Jacob (Poèmes), etc.
Commerce, literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly notebooks published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication follows in the competitive tradition of French reviews of the 1920s and does not merely promote the most prominent authors of French literature: it plays a role as "discoverer" of young talents and unearths forgotten seminal texts.
Light foxing at beginning of volume.

First edition published in 2900 copies, ours, one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Allocution), Léon-Paul Fargue (D'un porte-plume à un aimant), Ribemont-Dessaignes (Deuxième épître aux serins et même aux rossignols), Franz Kafka (Récits), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, our copy, one of the copies on Alfa paper.
Literary contributions by Paul Claudel (Le Vieillard sur le Mont Omi), Francis Jammes (Trois extraits de "Ma France poétique"), Paul Valéry (Préface pour une nouvelle traduction de la Soirée avec M. Teste), Léon-Paul Fargue (Poème), Valery Larbaud (Sir Thomas Wyat), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication formed part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Réponse), Valery Larbaud (Le Vaisseau de Thésée), T.S. Eliot (Difficultés d'un homme d'Etat), Henri Michaux (Nous autres), William Faulkner (Une rose pour Emily), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talent and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Moralités), Valery Larbaud (Du sel ou du sable), etc.
Commerce, a literary review founded by Marguerite Caetani, appeared in the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication forms part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talent and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Valery Larbaud (Trois belles mendiantes), Ribemont-Dessaignes (Au delà du pouvoir), Jean Paulhan (Sur une poésie obscure), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, our copy being one of the copies on Alfa paper.
Literary contributions by Léon-Paul Fargue (Banalité), Valery Larbaud (Le Vain travail de voir divers pays), André Suarès (Saint-Juin de la Primevère), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly notebooks published under the supervision of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and was not content merely to promote the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (Amphion), Joé Bousquet (L'Ombre d'une ombre).
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition published in 2900 copies, ours being one of the copies on Alfa paper.
Literary contributions by Paul Valéry (A B C), Léon-Paul Fargue (Tumulte), Jean Paulhan (L'Expérience du proverbe), Francis Ponge (Poèmes), etc.
Commerce, a literary review founded by Marguerite Caetani, took the form of twenty-nine "quarterly issues published under the care of Valéry, Fargue and Larbaud" between 1924 and 1932. Its publication was part of the competitive tradition of French reviews of the 1920s and did not merely showcase the most prominent authors of French literature: it played the role of "discoverer" of young talents and unearthed forgotten seminal texts.

First edition, one of 40 numbered copies on pur fil, tirage de tête.
A very good copy.

First edition, one of 200 numbered copies on pure Rives laid paper, the only deluxe copies after 50 Lana and 100 hors commerce.
Half burgundy morocco binding with bands, smooth spine, gilt date at foot, light superficial scuffs to joints without significance, boards, endpapers and pastedowns of moiré-effect paper, covers and spine preserved, top edge gilt, elegant binding signed by Bellevallée.
Handsome copy expertly bound.

Edition limited to 250 copies, ours being one of the numbered copies on Holland paper (no. 6, printed for the library of M. Cros-Bonnel).
Slipcase rubbed in full brown percaline, gilt title and author's name stamped in blind on spine, decoration in the same style on front cover.
Our edition features 23 plates hors-texte sometimes in colors including several proofs before letters of the headpieces.
Some foxing and binding slightly detached.

Illustrated with original etchings by Eugène Corneau, and printed in 210 copies on pure Lana laid paper, ours being one of 20 numbered copies including a suite in black, deluxe copies after 10 other Lana copies.
Our copy is complete with its suite in black at rear.
Worming to the chemise as well as to the very first pages of the work, otherwise handsome interior condition.

Second edition of the author's first work printed after the very rare first edition of London 1797.
Half tawny sheep binding, spine with five raised bands set with gilt friezes decorated with black fillets and blind typographical motifs, marbled paper boards, marbled endpapers and pastedowns, pastiche romantic binding.
Occasional foxing, a small hole with slight damage to text pages 387-388.
Rare.

First edition, one of 23 numbered copies on alfa, the only large paper copies after 10 copies on pur fil paper. Nice copy.

First edition printed on laid paper.
Full vellum binding, smooth spine decorated at head and foot with a broken lace accentuating the antique character of the pastiche binding, chocolate morocco title-label, white paper endpapers and pastedowns, original wrappers preserved, elegant pastiche binding.
Rare worming.
A handsome copy.

Both rare first editions.
Contemporary full mottled calf binding. Smooth spine with 4 tools. Red morocco title and volume labels. Triple fillet frame on covers. Small lack at head. Lack to upper joint at head. Upper joint cracked at foot. Light lack at foot. Rubbing.
Gin's work is first a defense of monarchical power (as the natural form of government) against the theories of Montesquieu and those of Mably, but beyond this starting postulate, the whole is remarkable for its economic reflections, Gin making agriculture and industry the pillars of economic health. The author strives through history and examples borrowed from various nations like China to prove his theories irrefutably.
Voltaire's work is a skillful reflection on the relativity of laws, and notably on their injustice. Voltaire examines each category of criminality (theft, crime, heresy, sorcerers...) and the laws that have been established. One of Voltaire's last works animated by the ardor to convince his contemporaries of the urgency of reforming the laws.

First edition, quite rare.
Full light calf binding from early 20th century, handsome pastiche of a contemporary binding. Decorated raised spine. Triple fillet frame on boards. Red morocco title-label. Decorative gilt board-edges and roll on leading edges. 18th-century endpapers preserved. The lower margin of the title page, missing (the owner's name was removed), has been filled with modern paper. A hole in the lower right margin on pp. 301 and 302. An amusing old annotation (probably from the 18th century) in ink in the lower margin of the publisher's warning: "foutu sot".
Collection of satirical and erotic poetry attributed to a certain Busca (some pieces are by him), who, according to Barbier (Dict. des ouvrages anonymes) is the future general Pommereul, in Bonaparte's service. Many of the poems are signed Boufflers, Voltaire. The work is divided into three parts, as announced in the title. It includes several songs. Note that the theological tales are so called only because they feature monks and other church characters. The Catholic litanies are more than irreverent songs (litanies of saint geneviève...) that treat the church saints with extreme levity. Lovers of curiosa will appreciate the truly outrageous and rather incredible liberties of this collection which presents numerous unpublished pieces.

Edition illustrated with original tailpieces and vignettes by Jean-Gabriel Daragnès engraved on wood, one of 250 numbered copies on Arches vellum, the only edition with 30 various Japan.
Publisher's binding in full flexible boards covered with watered paper, title vignette pasted on the front cover.

Precious and fine autograph inscription from J.-G. Daragnès to André Gide who signed twice (in black ink then in blue ballpoint pen).

A tiny lack at the foot of one joint, handsome copy.

Edition with some parts in first edition, first published in 1769 in one 8vo volume. Two volumes were added for this edition.
Contemporary full blonde sheep binding. Spine with raised bands, decorated. Red morocco title-label. Small lacks at head. Tailcap of volume III worn. 7 corners slightly bumped. Rubbing.
The work is an attack and critical commentary on Voltaire's Treatise on Tolerance. The work was well received both by its detractors (Voltaire, D'Alembert) and the public. The author demonstrates not only nourished and erudite argumentation, but without pedantry and always with impartiality, which Voltaire himself applauded. The Letters are not a defense of the church, but of religion. As for the style, Abbé Guenée establishes a dialogue with Voltaire, and his purpose is clear, demonstrative, and in no way sententious.

First edition, one of 50 numbered hors commerce copies on Japan paper, deluxe issue with 25 Normandy and 25 China.
Spine and boards slightly and marginally faded as usual, otherwise handsome copy.

First edition, one of 30 numbered copies on vélin moulin du Pombié, tirage de tête.
A rare and very attractive copy.

First edition, one of 1092 numbered copies on pur fil paper, the only large paper copies with 108 reimposed.
A good copy.

First edition.

Contemporary marbled sheep binding. Decorated spine with raised bands. Red morocco title label. Joint cracked at foot on upper board. 3 corners bumped. Rubbing.

Poetic anthology gathering very diverse pieces (epistles, madrigals, fables, satires...) not only by the author, but also by Voltaire, Marmontel, and other contemporary authors. It contains certain curiosities: Lines on The Spirit of Laws. The whole presents itself with a distinctly light and humorous tone.

First edition.
Contemporary full pasteboard binding, paper covered, smooth spine, red morocco title-label, blue pencil inscription on a blank page.
Historical satire presented in the form of long poems in the manner of Lamartine. Very rare.

First edition, one of 220 numbered copies on "uso mano", the only printing with 35 Japon.
A rare and good copy.

New edition of Raynouard's Templier, illustrated with a frontispiece representing the Grand Master of the Templars. The Cornelian grandeur of the play, which exalts liberty and virtue, earned it Napoleon's support, a triumph in theater and bookshop, and his entry into the French Academy in 1807
First edition of Dorat's Regulus, illustrated with a figure, a vignette and a tailpiece by Eisen, engraved by Longueil.
New edition of Voltaire's Irene, same year as the original but the title ornament is different, and the author's last play, at 84 years old.
New edition of Picard's Un jeu de la fortune.
First edition of Collin d'Harleville's Artistes, containing a signed inscription as well as the author's autograph signature.
First edition of Précis historique des Templiers.
Contemporary full marbled sheep binding. Smooth spine decorated with 3 tools and roulettes. Red morocco title and volume labels. Rubbing.

New edition from La collection des classiques français, illustrated with a portrait and a folding map of Spain. Fine edition with classical typography and wide margins.

Full glazed wine-red calf bindings, sky blue title and volume labels, smooth spines richly decorated with cathedral tools and rolls, boards stamped in blind with a large central monastic medallion, a blind border frieze and a second in gilt, boards with slight worm damage, marbled edges.

Magnificent romantic binding by a great binder of the period.

It should be noted that the preface by the Comte de Neufchâteau, academician, is actually by Victor Hugo (then aged 16); the count found it so remarkably written that he published it as is. Furthermore, all the footnotes are also by Victor Hugo.

Fine copy in a magnificent contemporary romantic binding signed by Vogel.

First edition.
Full wine-colored sheep binding, spine with four raised bands decorated with quadruple compartments and triple gilt fillets, double gilt fillets on covers, contemporary binding.
Work illustrated with 2 illustrations on the title pages.
Some minor foxing of no consequence.
Rare.

First edition of the Portuguese translation and first Brazilian edition.
Full red cloth binding, spine with four raised bands decorated with fleurons, dotwork and gilt fillets, gilt dentelle at head and foot, covers richly decorated with triple gilt compartments, with a central lozenge with hatched borders surrounded by a garland, black morocco inlays, gilt rolls framing the pastedowns and on the leading edges, edges gilt, endpapers and pastedowns of moiré paper, publisher's binding, binder's label pasted.
Minimal traces of rubbing, occasional light foxing, otherwise a handsome and well-established copy.

First edition.
Half chocolate shagreen binding, spine in four compartments with gilt panel, blind panels and gilt stippling, minor scuffs at head and foot of spine.
Handsome copy.

First edition published in a small number of copies of this offprint.
Two manuscript corrections in the text, work illustrated with a plan of the Marais in the 17th century.
Small lacks to spine and boards.

Second edition.
Half black sheep binding, smooth spine with minor wear marks decorated with gilt fillets, library labels at head and foot, some corners slightly bumped, library stamps.
Poems by E. Boulay-Paty, A. Pommier, L. Colet, C. Millevoye among others.
Fresh interior.

Edition of 800 numbered copies including 100 on Japan paper. No. 657 on white Marais vellum.
Half old red morocco with corners. Spine with raised bands richly decorated in the spirit of great 17th-century bindings. Gilt fillets to covers. A tear with loss to tail headcap and covers and edges and joints rubbed. Very handsome binding despite the defects. Superb interior condition.
5 large symbolist compositions by Albert Maignan engraved as etchings and printed on China paper. A frontispiece portrait. Ornaments and typographical execution very refined in the taste of the 17th century. Handsome work executed for the 1889 Universal Exhibition.
A bibliophilic gem.

New edition printed in 300 copies, ours one of 100 numbered copies on Rives paper.
Work illustrated with woodcuts by Thollière.
Handsome copy.

Pléiade library edition printed on Bible paper.
Publisher's full brown grained sheep binding, orange top edge, smooth spine decorated with gilt fillets, complete with its cellophane wrapper, dust jacket and soft slipcase.
Handsome copy despite a very small marginal tear on the slipcase.

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

Pléiade library 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 cellophane wrapper, dust jacket and slipcase.

First edition.
Signed autograph inscription by Désiré Nisard.
Spine slightly faded, boards marginally soiled with small corner losses, handsome interior condition.

First edition.
Full black cloth binding, smooth spine decorated with gilt arabesque tooling, sextuple blind-stamped fillets framing the boards, title and vignette depicting an allegory of victory accompanied by a cherub stamped in gilt at center of front board, corners very slightly worn, headcaps torn, yellow paper pastedowns and endpapers, publisher's binding.
With contributions by Victorien Sardou, Méry among others.
Contrary to what the volume's title page announces, this volume contains the issues from late December 1861 to late May 1862.
8-page journal extensively illustrated with wood engravings by the greatest artists of the time.
Very handsome copy in its rare publisher's binding.

First edition.
Half emerald sheep binding, smooth spine decorated with gilt arabesque tooling, corners very worn, headcaps torn, and edges scuffed, yellow paper pastedowns and endpapers, publisher's binding.
With contributions by Léouzon le Duc and Gérôme among others.
Contrary to what the volume's title page announces, this volume contains the complete year 1859, as well as the December 1858 issues.
8-page journal extensively illustrated with wood engravings by the greatest artists of the time.
Very handsome copy in its rare publisher's binding.

First edition.
Full black cloth binding, smooth spine ornately tooled in gilt arabesques, one joint cracked at foot, sextuple fillet stamped in blind framing the boards, title and vignette representing an allegory of victory accompanied by a cherub stamped in gilt at center of front board, corners very lightly bumped, headcaps damaged, small lacks to spine, yellow paper pastedowns and endpapers, publisher's binding.
Contributions by Henri Muller and Gérôme among others.
8-page journal extensively illustrated with woodcuts by the greatest artists of the time.
A very handsome copy in its rare publisher's binding.

First edition.
Full black cloth binding, smooth spine decorated with gilt arabesque tools, six-fold blind-ruled frame to boards, title and vignette depicting an allegory of victory accompanied by a cherub stamped in gilt to center of front board, corners very slightly bumped and small stain to front board, yellow paper pastedowns and endpapers, publisher's binding.
Contributions by Jules Noriac, Claude Bonin and Victorien Sardou among others.
8-page journal extensively illustrated with woodcuts by the greatest artists of the time.
Contrary to what the title page indicates, this volume contains all issues from December 1859 to November 1860.
Very handsome copy in its rare publisher's binding.

First edition.
Full black cloth binding, smooth spine decorated with gilt arabesque tools, sextuple fillet stamped in blind framing the boards, title and vignette representing an allegory of victory accompanied by a cherub stamped in gilt at the center of the front board, yellow paper pastedowns and endpapers, publisher's binding.
Contributions by Justin Améro, Jules Sandeau and Emmanuel des Essarts among others.
8-page journal extensively illustrated with woodcuts by the greatest artists of the time.
Contrary to what the volume page indicates, this volume groups together all issues from December 1862 to May 1863.
Very fine copy in its rare publisher's binding.

First edition.
Full black cloth binding, smooth spine decorated with gilt arabesque tools, one joint cracked at foot, cold-stamped sextuple fillet framing the boards, title and vignette depicting an allegory of victory accompanied by a cherub stamped in gilt at center of front board, corners very slightly bumped, yellow paper pastedowns and endpapers, publisher's binding.
Contributions by Victorien Sardou, Méry among others.
8-page journal extensively illustrated with woodcuts by the greatest artists of the time.
Very handsome copy in its rare publisher's binding.

First edition.
Full black cloth binding, smooth spine decorated with gilt arabesques, sextuple blind-stamped fillets framing the boards, title and vignette depicting an allegory of victory accompanied by a cherub stamped in gilt at center of front board, corners very slightly bumped, yellow paper pastedowns and endpapers, publisher's binding.
Contributions by Victorien Sardou, Méry among others.
8-page journal extensively illustrated with woodcuts by the greatest artists of the time.
Contrary to what the title page indicates, this volume contains all issues from December 1859 to November 1860.
Very handsome copy in its rare publisher's binding.

First edition.
Full black cloth binding, smooth spine decorated with gilt arabesque tools, sextuple blind-stamped fillets framing the boards, title and vignette depicting an allegory of victory accompanied by a cherub stamped in gilt at the center of the front board, corners very slightly bumped, yellow paper pastedowns and endpapers, publisher's binding.
Contributions by Victorien Sardou, Méry among others.
8-page journal extensively illustrated with woodcuts by the greatest artists of the time.
Very handsome copy in its rare publisher's binding.

First edition.
Full black cloth binding, smooth spine decorated with gilt arabesques, sextuple blind-ruled frame to boards, title and vignette depicting an allegory of victory accompanied by a cherub stamped in gilt to center of front board, corners very slightly bumped, yellow paper pastedowns and endpapers, publisher's binding.
Contributions by Victorien Sardou, Méry among others.
8-page journal extensively illustrated with woodcuts by the greatest artists of the time.
Very handsome copy in its rare publisher's binding.

First edition.
Full black cloth binding, smooth spine decorated with gilt arabesques, sextuple blind-stamped fillets framing the boards, title and vignette depicting an allegory of victory accompanied by a cherub stamped in gilt at the center of the front board, corners very slightly bumped, yellow paper pastedowns and endpapers, publisher's binding.
Contributions by Paul Féval, Alexandre Dumas and George Sand among others.
8-page journal extensively illustrated with woodcuts by the greatest artists of the time.
The leaf containing pages 781-782 is missing.
Very handsome copy in its rare publisher's binding.

First edition.
Full black cloth binding, smooth spine decorated with gilt arabesque ornaments, sextuple blind-stamped fillet framing the boards, title and vignette representing an allegory of victory accompanied by a cherub stamped in gilt at the center of the front board, corners very slightly bumped, yellow paper endpapers and pastedowns, publisher's binding.
Contributions by Paul Féval, Alexandre Dumas and Stendhal among others.
8-page journal extensively illustrated with woodcuts by the greatest artists of the time.
Copy complete with the large double-page folding engraving.
Very handsome copy in its rare publisher's binding.