Animals

Autograph manuscript by Louis Pasteur. One page in black ink on a single leaf, with numerous erased words and crossed-out passages.

Unpublished note by Pasteur on his rabies vaccine.

Pasteur was under the scrutiny of countless of opponents, scientific as well as political, and bemoans the "attacks as violent as they were incomprehensible" he endured. The manuscript also announces the popular success of his vaccine, as subscriptions for his future Institute were in full swing.

First edition, one of 60 copies on large paper signed on the justification by Leonor Fini and Jean Paul Guibbert, the only copies to include four etchings by the Surrealist artist. This copy numbered on grand vélin de Rives.

Minute tear at head of joint.

Enriched with a precious presentation inscription from Leonor Fini to the Surrealist Lise Deharme: "Pour Lise à qui je plais(t) et qui me plais(t) \ Leonor" [To Lise who delights in me and in whom I delight], accompanied by an original drawing of a mischievous cat beside the artist's signature.

First trade edition, one of only 50 numbered copies printed on alfa paper, the only deluxe issue.
Rare and very attractive copy in original condition.

Second edition, largely original, as it is considerably expanded (cf. Caillet 2273).

This edition is not cited by Quérard. Not in Blake. NUC: 3 copies.

Rare copy preserved in its original pink wrappers with printed spine label, untrimmed; covers slightly worn with a few corner losses, spine splitting at foot.

The first edition, published anonymously and without publisher’s address, appeared in 1784 [i.e. 1785].

"C'est dans cet ouvrage que le marquis de Puységur fit connaître la découverte qu'il venait de faire (mai 1784) des phénomènes qu'il désigna sous le nom de somnambulisme artificiel. Plusieurs cures importantes minutieusement observées et dûment certifiées, sont relatées dans ces Mémoires indispensables à consulter. L'arbre magnétisé qui fit tant de bruit a sa page historique. L'auteur, l'un des hommes les plus honorables et les plus bienfaisants de son temps, a sans doute émis sur certaines parties de la science en général des idées que celle-ci ne peut accepter aujourd'hui ; mais on ne peut lui refuser une connaissance réelle de ce que l'on savait alors de l'électricité, et personne n'a su mieux tirer parti des ressources offertes par le somnambulisme artificiel" [Caillet].

A good, uncut copy in its original wrappers.

First edition, illustrated with four plates, including a folding world map (cf. Sinkankas 3466; Agassiz III, 370).

Full fawn calf, spine with five slender raised bands, gilt-tooled compartments with occasionally softened floral tools, rubbed gilt headcaps, brown morocco lettering-piece, marbled endpapers and pastedowns, gilt dentelle framing the pastedowns, gilt fillets to board edges, marbled edges, contemporary binding.

Repairs to the spine, one joint split at head and foot, browning along the board margins with surface scratches, scattered foxing, a waterstain at the head of all leaves.

A noteworthy treatise devoted to yellow amber and above all to ambergris, the fragrant substance derived from the intestinal concretions of sperm whales which, once expelled, float on the surface of the sea and yield a highly prized perfume.

The plates depict a frog and a lizard embedded in amber, a world map (Africa, Europe, Asia and part of the Southern Lands), figures collecting bird droppings, and various animals.

"This book commonly appears in bibliographies on amber when in fact it is about ambergris, but Klobius examines both substances and notes their differences on p. 26-9. One of the plates shows a frog and a lizard imbedded in amber, both of which are fakes" [Sinkankas].

On the title-page, a distinguished manuscript ex-libris in black ink

First edition, illustrated with woodcut armorial bearings at the head of the first page of text.

Description of the equestrian procession that accompanied through Rome the new Roman senator, Count Nils Bielke (1706–1765), a Swedish knight, chamberlain to the King of Sweden and papal chamberlain following his recent conversion to Catholicism.

The text gives a detailed account of the sumptuous costumes worn by the participants and of the various decorative settings. It concludes with the names and titles of all those who took part in the procession.

Ink annotations at the head of the final page.

Our copy is preserved in its original wrappers, now protected by modern plain paper covers.

A rare and attractive copy.

First edition of the first of Étienne Geoffroy Saint-Hilaire’s essays on “Philosophie anatomique.”

Illustrated with 10 folding plates drawn by Huet and engraved by Plée père, containing 116 figures (cf. Agassiz III, p. 29, no. 51; British Museum (Natural History) II, p. 656; Engelmann I, p. 263; Quérard III, 320; DSB V, 355-358; Cahn (Th.), La vie et l’œuvre d’Étienne Geoffroy Saint-Hilaire, pp. 81-112).

Bradel binding in full marbled paper boards, smooth spine with black morocco title label, modern binding signed by Thomas Boichot.

Some foxing to the plates.

Based on a meticulous examination of the various anatomical structures of the respiratory organs in vertebrate animals, the author formulates several principles concerning their organization, the most important being that of the Unity of Composition. According to this principle, all vertebrate species share the same structural elements in equal number. Despite Cuvier’s criticisms, this theory gained traction and was later refined through embryology and paleontology. The work is divided as follows: 1. On the gill cover in fish, hitherto known as the operculum […] and on the four corresponding bones of the auditory canal in air-breathing animals, called the stapes, incus, lenticular and malleus. – 2. On the bones forming the external framework employed in the mechanics of respiration, or the bones of the sternum. – 3. On the anterior bones of the chest, or the hyoid. – 4. On the inner bones of the chest […] including, in air-breathing animals, the elements of the larynx, trachea and bronchi, and in fish, those of the branchial arches, gill teeth and cartilaginous lamellae of the gills. – 5. On the bones of the shoulder, with respect to their determination and their role in the phenomena of respiration. “Geoffroy revitalized comparative anatomy in France and created scientific teratology, experimental embryology, and the concept of paleontological evolution […]. He and his friend Lamarck lived too early to be completely understood” (DSB, V, p. 358).

Two further essays were later published: “Des monstruosités humaines” (1822) and “Fragmens sur la structure et les usages des glandes mammaires des cétacés” (1834).

A precious copy printed on deluxe paper (the two other essays were issued only on regular paper). The text is identical to the octavo edition published the same year, except for the errata, which here contains 12 lines (versus 20 in the regular edition).

First edition of the French translation, illustrated with 34 plates, including one in colour.

See Garrison & Morton, 2465 (for the original German edition).

Contemporary full marbled cream paper boards, smooth spine with some rubbing and small losses, decorative motif of three acorns stamped in the centre of the covers, modern bookplate pasted on the verso of the front board.

Some light foxing.

First French translation of Abhandlung über die Saamen- und Infusionsthierchen, und über die Erzeugung, nebst mikroskopischen Beobachtungen des Saamens der Thiere in verschiedenen Infusionen (1778).

The biologist Wilhelm Friedich von Gleichen-Russwurm (1717–1783) was the first to develop the staining of bacteria (with carmine and indigo) to facilitate their microscopic observation.

First edition of the thesis presented by Paul Bert to the Faculty of Sciences in Paris in fulfilment of the requirements for the degree of Doctor of Natural Sciences.

Illustrated with two lithographed plates at the end of the volume.

Some occasional foxing.

Contemporary half red morocco-grained shagreen binding, smooth spine decorated with gilt floral tools, marbled paper boards, marbled endpapers and pastedowns, original wrappers preserved (rear cover restored with an adhesive patch), modern binding.

Rare biological thesis by Paul Bert (1833–1886), who was a physician, physiologist, educator, and above all a committed republican politician.

Inscribed and signed by Paul Bert at the head of the title page, addressed to Dr. Comol.

First edition illustrated with in-text figures.

Spine split, small losses to the spine and boards, otherwise a clean and pleasant copy internally.

One of Pasteur’s principal collaborators, Charles Chamberland (1851–1908) served as deputy director of Pasteur’s laboratory on rue d’Ulm from 1879 to 1888.

First edition, illustrated on the title page with a small woodcut showing a bull and a mounted horseman charging, and at the end of the volume with a curious wood-engraved vignette depicting the poet (wearing spectacles) and his muse.

Rare and engaging bullfighting pamphlet containing a verse account of a mounted bullfight held in Lisbon on 26 September 1752.

Pleasing copy preserved in its original sewing with later plain marbled paper wrappers.

First edition, illustrated with two plates, one of which in colour, comprising thirteen figures (cf. Quérard IV, 49).

Half green shagreen binding, spine with four raised bands decorated with gilt tools, light rubbing to the spine, marbled paper boards, marbled endpapers, mid-19th-century binding.

Occasional foxing, three small holes to the lower right corner of the title page, manuscript ex-libris: Antoine Delarue – June 1810.

“One of the most remarkable works on natural history of this century. The author devotes an entire chapter to the history of the females; he describes their loves, the way in which new colonies are established and old ones preserved. Passing from the relations between the workers and the winged individuals to those between the workers themselves, he follows them in their migrations, their travels, their particular conduct; he observes the battles fought between ants of different species, etc.”

First edition, richly illustrated with reproductions of works by Edouard-Marcel Sandoz.

Publisher’s full cream cloth binding, smooth spine, complete with its illustrated dust jacket.

A very handsome copy.

First edition of this first part illustrated with three copperplate engravings.

Contemporary flexible boards covered with marbled paper, smooth brown percaline spine with a small snag at foot, red morocco title label on the front cover, rubbed corners.

Rare.

Rare first edition of three scientific reports from the zoological exploration mission of Guy-René Babault (1883-1963), corresponding member of the Muséum d’Histoire Naturelle, carried out in present-day Kenya and Uganda in 1913. 

The set comprises: Volume 1: Insectes coléoptères. Cicindelidae, by Guy Babault. – Volume 2: Insectes coléoptères. Fam. Carabidae. Subf. Anthiinae, by G. Bénard. – Volume 3: Étude d'une collection d'oiseaux de l'Afrique orientale anglaise et de l'Ouganda, by A. Menegaux, with field notes by Guy Babault. 

The first volume includes illustrations in the text and one hand-colored entomological plate with tissue guard and facing leaf of legends; the second volume contains one hand-colored entomological plate with tissue guard and facing legends; the third and final volume features six hand-colored ornithological plates with tissue guards, together with a large folding colored map bound at the end. 

Spine and boards marginally faded or sunned, internally well preserved. 

First edition, one of 10 numbered copies on Holland paper, deluxe issue.

Some minor foxing mostly at the beginning and end of the volume.

Inscribed and signed by Maurice Genevoix to Jacques Gommy: "... en pensant aux forêts qu'il aime, avec les hommages et les amitiés de Maurice Genevoix."

Head of collection of this important medical periodical, whose significance needs no further demonstration. It was published until 1914 (volume XLII) and included most of the essential contributions to the advancement of medical science in the 19th century.

The set is illustrated with 61 plates hors-texte, some lithographed and/or folding.

Half cherry calf bindings, smooth spines decorated with gilt fillets, romantic arabesques and blind-stamped fleurons, a few small rubs to some headcaps or joints, marbled paper boards, marbled endpapers and pastedowns, some corners slightly bumped, marbled edges, period bindings.

Beautiful set in a contemporary romantic binding signed by Bunetier.

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

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

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

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

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

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

Second complete edition of Krylov's Fables with a preface by the poet and highly regarded literary critic Piotr Pletnev (1792-1866).

Half tan goatskin binding with corners, smooth spine decorated lengthwise in rocaille style in blind with tears and losses, joints fragile, gilt fillet framing the red pebbled paper boards, gilt Cyrillic inscription at the center of the upper cover, grey edges, rubbed corners, chips and losses along the edges, contemporary binding.

Foxing, library stamps and markings.

Prize book "Pour Succès et Bonne Conduite".

Manuscript ex-libris in ink, in Russian, on the front endpaper, dated Vilnius, 6 August 1857, and on the verso in Latin characters: Ch. Josephson Vilna. Bold stamp indicating the same provenance within the volume and blind stamp CRJJ.

Original colour print, printed on laid paper and signed in the plate lower right.

Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.

Original colour print, printed on laid paper and signed in the plate lower right.

Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.

Original colour print, printed on laid paper and signed in the plate lower right.

Original engraving produced for the illustration of La Gazette du Bon Ton, one of the most beautiful and influential fashion journals of the 20th century, celebrating the talent of French designers and artists at the height of the Art Deco era.

First edition of the French translation by Jean Dutourd, one of 86 numbered copies on pur fil, only grand papier (deluxe) copies. 

Very rare first edition of the author's very first work, in which he clearly sought to draw attention during this period of revival of the national stud farms, abolished during the Revolution and officially reinstated in 1806 (see Mennessier de La Lance II, 138).

Contemporary full marbled fawn calf, flat spine richly gilt with garlands, Greek keys, floral tools and geometric motifs, green morocco title labels, gilt rolls on the almost faded caps, gilt ornamental borders on covers, marbled endpapers and pastedowns, gilt fillet on edges, worn corners, sprinkled edges.

Facing the title page, signed autograph inscription by Louis de Maleden to "Messieurs Talendier et Laforest," in which he mentions the publication of his Plan organique, which appeared in 1805 followed this first work.

Ex-libris label of Waldemar Schwalbe, dated 1937, pasted on the front pastedown.

New edition of the Fables, more complete than previous ones, illustrated with a hand-coloured vignette on the title page and 110 hand-coloured half-page illustrations in the text, for a total of 111 engraved and coloured plates (cf. Rochambeau 305. Després, p. 142, no. 63).

Full olive calf binding, spine with gilt fillets, numerously tooled in gilt, gilt tooling to spine-ends, boards framed in gilt, marbled endpapers and pastedowns, inner gilt dentelle on pastedowns, all edges gilt, 20th-century binding.

Spine and covers faded, some foxing, a snag at head of rear cover. Lower right corners of pp. ix-xi restored.

An exceptional and finely watercoloured copy of this abundantly illustrated edition of the "Fables." The famous illustrations by Jean-Baptiste Oudry were recut and modified for this publication and are accompanied by explanatory notes intended for young readers.

The title vignette was also created from a fragment of the frontispiece of the first edition illustrated by Oudry.

First edition, published by order of the Imperial Government of Brazil and illustrated with a folding color map at the end of the volume (cf. Garraux 169. Borba de Moraes I, 478).

Some light foxing, minor rubbing to the spine, a pleasing and scarce copy.

Contemporary binding in red half morocco-grained shagreen, smooth spine ruled in gilt with quadruple fillets, gilt coat of arms at foot of spine, small losses to head and tailcaps, marbled paper boards, marbled endpapers and pastedowns, period binding.

Emmanuel Liais, then Director of the Imperial Observatory of Rio de Janeiro, had been entrusted by Emperor Pedro II with various expeditions throughout the Brazilian territory.

First edition printed by "Cercle nouveau du livre" before the deluxe edition by Julliard a few months later, one of the numbered copies, the only printing.

Very handsome copy complete with its rhodoid.

Publisher's binding in full green cloth, smooth spine, title and author's name stamped in gilt on the front cover.

 

« J'ai, de plus, ici, une histoire de tous les diables. Figure-toi que, jeudi dernier, nous nous rendons avec les Dax à Cabrerets dans l'intention de visiter la grotte qui présente de nombreux dessins préhistoriques. Tu sais que j'ai toujours eu des doutes sur l'authenticité d'une partie de ces dessins qui remonteraient à 30 000 ans et sont d'une fraîcheur et d'une fragilité bien singulières. Le guide commençait à peine ses explications devant ce qu'il nommait « la chapelle des mammouths » et j'étais déjà agacé par ce mot de chapelle introduit là de manière absolument tendancieuse quand je portai le doigt sur une des lignes tracées sur la paroi, pour voir si un enduit calcaire la recouvrait. C'est à ce moment que le guide, furibond, m'asséna sur la main un violent coup de bâton. Comme de juste, une très violente dispute s'ensuivit, au cours de laquelle je remis le pouce au même endroit et frottai légèrement, assez toutefois pour constater que la ligne s'effaçait comme un simple trait de fusain, me laissant toute sa poussière au doigt. Le guide, qui se donna alors pour le concessionnaire de la grotte et dont je devais apprendre peu après qu'il n'était autre qu'un député M.R.P. (c'est-à-dire catholique) du Lot, fit immédiatement appeler la police mais les gendarmes arrivèrent trop tard : nous étions déjà partis, non sans que j'aie corrigé à coups de poing le personnage en question, qui me traitait de « lâche » entre autres choses. Hier j'ai reçu ici la visite d'un gendarme qui m'a donné lecture de la plainte déposée contre moi par cet individu, qui me poursuit en dommages et intérêts pour dégradation de dessin figurant une trompe de mammouth : tu imagines ! Comme cette grotte de Cabrerets est une des grandes attractions touristiques du département et que le plaignant est député et intéressé à l'exploitation (200 F l'entrée) de ce prétendu sanctuaire, je ne suis pas sans inquiétudes sur les suites de l'affaire : ma consolation est de l'avoir littéralement roué de coups (mon poing en est encore tout meurtri). »

« La tentation de la désobéissance et de la révolte ne semble pas avoir abandonné le « Pape du Surréalisme », André Breton, qui se repose actuellement dans sa retraite de Saint-Cirq-Lapopie, dans le Lot. Mêlé à un groupe de touristes conduits par M. Bessac, député du département, il visitait dernièrement la grotte préhistorique de Cabrerets. Passant devant l'un des nombreux dessins rupestres qui couvrent les parois, l'écrivain mit le doigt sur la trompe d'un mammouth, défiant ainsi les barrières et les interdictions. Ce que voyant, M. Bessac, s'empressa de lui rappeler l'existence de règlements draconiens, interdisant expressément toute atteinte contre les précieux et fragiles dessins. Mais André Breton, se souvenant sans doute du beau temps de son premier manifeste, continua son manège. Sur une nouvelle et pressante intervention de M. Bessac, il aurait même, selon certains témoins, prononcé des paroles désobligeantes à l'égard du député. M. Bessac lui intima l'ordre de sortir, mais sans succès et la gendarmerie réussit à faire ce que la persuasion n'avait pu réussir. Parions qu'André Breton doit sourire de son aventure malgré la plainte pour dégradation de monument historique qui a été déposée contre lui. »