Artists Books & Illustrated Books

Edition illustrated by Gaston Barret.

Publisher's full beige paper boards, smooth spine, a complete copy retaining its illustrated dust jacket, the latter with a few small marginal tears.

Precious signed autograph inscription from René Maran: "A M. Maurice Genevoix, qui honore l'Académie Française de son caractère et de son talent. René Maran."

Second edition, the most sought-after as it is the most complete, containing a map of Dauphiné, an engraving by Berey fils, and six plates depicting seals.

Full marbled brown sheep bindings, spines with six raised bands framed by gilt fillets and compartments richly decorated with gilt floral motifs, red morocco title labels, green morocco volume labels, blind fillets on the board edges, red edges; contemporary bindings.

Tiny wo

First edition, illustrated with a large folding map (hors texte) at the end of the volume.

Half black morocco binding, spine with four raised bands decorated with gilt fillets and dotted tooling; light rubbing to the spine. Marbled paper boards, speckled edges, contemporary binding.

Scattered foxing.

Unique edition of this scarce monograph, among the earliest works in French on Albania, at the time still part of the European territories of the Ottoman Empire.

Hecquard (1814–1866) is better known for his travels in Africa, but he served as French consul in Albania from 1862 onward, which explains the writing of this work.

Signed presentation inscr

Rare first edition of the French translation of the Journal of the Resolution (London, 1775), illustrated with a large folding copper-engraved map by E. Dussy, issued without legend.

Cf. O'Reilly & Reitman, 380: "Traduction de la relation apocryphe de Marra". See Hill, 60.

Scattered occasional foxing, a few abrasions to the boards.

Contemporary full marbled tan sheep, spine in five raised bands richly decorated with double gilt compartments, gilt fillets to bands partly rubbed, red morocco lettering-piece, gilt decorative tool at foot of spine, gilt rolls to board edges largely rubbed, marbled endpapers, single gilt fillet to edges, corners worn, marbled edges.<

First edition of these curious memoirs by a young officer, illustrated with 2 folding maps (cf. Sabin 27391).

Contemporary half Havana calf over corners, spine with five raised bands richly gilt with floral tools and double fillets, green morocco lettering-piece, rubbing to spine and joints, covers framed in gilt fillets on brick-red percaline boards, marbled endpapers, top edge gilt.

Occasional foxing.

In this work, the author recounts, among various observations, the resistance of women at the beginning of the British occupation of 1806; a list, now lost, of the Anglophiles who had sworn allegiance to King George, etc...

First edition illustrated with 105 engravings, a heliogravure portrait frontispiece with tissue guard, as well as 2 folding maps at the end of the volume.

Publisher's bottle-green full cloth Bradel binding, smooth spine, upper cover decoratively blocked, bevelled boards, top edge gilt, marbled endpapers and pastedowns, corners lightly rubbed.

A Geneva-born geographer, Alfred Bertrand (1856-1924) undertook numerous journeys for ethnographic purposes as well as missionary work; a fervent Calvinist, he sought not only the conversion of indigenous peoples but also a deeper understanding of their customs, and the destinations of his expeditions were largely determined by the presen

First and only edition published of this remarkable set of 15 original lithographs from the post-impressionist painter George William Thornley, only 100 copies printed.
Publisher's portfolio bound in boards very skilfully restored.
14 of the 15 lithographs are printed in colour (black, blue, green, mauve and different browns) on broadside China paper laid on pale blue thick paper, one is directly printed on thick paper.
All except the last, bear the stamp of Thornley's signature with the words “Chez Mrs Boussod & Valadon – 19 Bd Montmartre” and “Imp. Becquet frères à Paris”.
“In 1888, George William Thornley was commissioned to produce a series of lithographs based on the work

De luxe edition illustrated with a hundred drawings by Pierre Bonnard scattered in the margins of the leaves, one of 200 numbered copies on Arches vellum, one print after 25 Japan.
A beautiful copy.
Binding in half brown calf, spine decorated with double black fillets, gilt date at the foot, marbled paper boards, marbled endpapers, covers and spine preserved, top edge gilt on the rough.
Handwritten presentation signed by Pierre Bonnard to Xavier Roux: “... à son compatriote dauphinois et ami...” “...to his Dauphiné compatriot and friend...” enriched with a handwritten presentation signed by Octave Mirbeau to the same.

First edition, one of 50 numbered copies on pur fil paper, the tirage de tête (firsts deluxe) copies after 10 Chine paper.
Illustrated with drawings by Georges Ribemont-Dessaignes.
Spine slightly faded, a few pale spots, not serious, to upper wrapper, internally good.
A rare copy.

First edition, one of 300 copies, this one of 20 numbered and justified by François-Louis Schmied, the tirage de tête.
With 42 full page plates hors texte.
Spine and covers sunned at edges, scratch to head of lower cover, occasional wormholes, internally good. 

First edition, one of 50 numbered copies on japon paper, the only deluxe issue.
Tawny half sheep binding  with corners, spine in three compartments with gilt fillets, typographical motif stamped in blind at the centre of the spine (faded), author’s label and title label in red Russian morocco, minor repair at head of spine along one joint, marble-covered paper boards, combed-paper endpapers, original wrappers and spine preserved, one upper corner slightly rubbed, contemporary binding.
Illustrated with 18 plates, here in double state as in the other japon paper copies; text illustrations also present.

First edition, illustrated, featuring at the end of the volume a folding plate bringing together two figures (cf. Quérard II, 130. Poggendorff I, 420. Not in Duveen.)

Bradel binding in full brick-coloured boards, smooth spine, green morocco title label, modern binding.

Chaptal develops ideas he had already set out some ten years earlier in volume VI of the "Mémoires de l'institut, sciences physiques et mathématiques" : he examines the art of restoring faded colours.

Some light, harmless foxing.

First French edition, illustrated with a lithographed frontispiece and 11 lithographed plates (bound between pp. 360–361), cf. Brunet, I, 787; Chadenat, 5323.

Full calf binding, smooth spine with gilt decorative motifs, gilt roll on the headbands, red morocco title label, gilt roll borders on the boards, handmade paper endpapers and pastedowns, gilt edges on the board edges, red page edges, contemporary binding.

Restorations to the spine, one restoration at the foot of the title page.

An epistolary account of a journey undertaken in 1802 among the Kalmyks, a nomadic people of the Astrakhan province (North Caucasus).

First edition illustrated with 8 engraved plates outside the text by Le Bas after Oudry, including a frontispiece and 6 hunting plates depicting stag hunting scenes (cf. Cioranescu, 60 125. Thiébaud 836-39. Cohen 952, with the often fanciful collation characteristic of this bibliography).

A fine copy complete in all its parts, notably retaining leaf Diij, which is sometimes found supplied in facsimile or replaced by a cancel leaf.

Contemporary full mottled tan calf, spine with five raised bands gilt-ruled and richly gilt in compartments with floral tools, gilt rolls to the spine ends, marbled endpapers, two engraved bookplates pasted to the endpapers and pastedowns, gilt fille

Original edition of this auction catalogue from the sale held on Friday 10 and Saturday 11 May 1872, describing 294 lots.

A tear at the foot of the final leaf.

The catalogue is illustrated with 2 hors-texte engraved plates (line engravings).

Of Baden origin, the numismatist Ludwig Wilhelm Fröhner (1834–1925) settled in Paris in 1859: he became one of the close friends of Napoleon III and assisted him in the preparation of his History of Julius Caesar (1865–1866), which helped him obtain both French naturalisation (1866) and a desirable post at the Louvre.

The Franco-Prussian War of 1870 proved disastrous for him: he lost all his positions and even any prospect

First edition from the Imprimerie Royale, complete in nine quarto volumes with all 262 black-and-white engraved plates.

Contemporary full mottled calf, spines with raised bands decorated with guilloche tooling and gilt ornaments in the compartments, red morocco lettering-pieces and numbering-pieces, triple gilt fillet border on boards, double gilt fillet on board edges, marbled endpapers and pastedowns, marbled edges. Minor variations in the tooling on volume 3.

In t

First edition, totalling 240 numbered copies, ours one of 10 copies on japon à la forme, the deluxe issue, complete at the end of the volume with its additional complete suite of illustrations in black as stated in the limitation.

Illustrated with 17 splendid pochoir plates in black, white, and gold by George Barbier.

A rare and handso

First French edition, illustrated by Arthur Rackham with 40 mounted colour plates on thick brown paper, each protected by a captioned tissue guard, along with 30 black-and-white line drawings within the text, one of the extremely rare 30 copies printed on japon, signed by Arthur Rackham on the limitation page; the deluxe issue.

Publisher’s Bradel binding in full vellum-style boards, smooth gilt-titled spine, upper board gilt-stamped with title and a tree design, top edge gilt; the silk tie on the lower board is lacking.

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Illustrated edition with 13 colour plates on brown paper by Arthur Rackham tipped in with captioned tissue guards, together with 14 black-and-white illustrations in the text by Rackham, including a frontispiece portrait of Alice, one of the very rare 20 copies on japon, signed by Arthur Rackham on the limitation page, copy from the deluxe issue. A few name copies on the same paper were also issued.

Publisher’s full vellum binding, flat spine lettered in gilt with a gilt illustration of the Cheshire Cat, upper cover stamped in gilt with the title and an illustration of two fantastic c

Illustrated edition with 24 colour plates by Arthur Rackham tipped in with captioned tissue guards, 8 full-page black-and-white illustrations, together with numerous ornaments and vignettes in the text by Arthur Rackham, one of 300 copies printed on vélin à la forme, signed by Arthur Rackham on the limitation page.
Publisher’s Bradel binding in full bright white vellum, smooth spine lettered in gilt, upper cover gilt-stamped with the title and a design of fantastic animals within a vertical gilt rule, illustrated endpapers and pastedowns, top edge gilt, untrimmed edges preserved. 
A very well-preserved copy of Milton's baroque and Dionysian spectacl

First French edition of the 50 colour plates by Arthur Rackham, tipped in with captioned tissue guards, a black vignette on the title page, and a further black vignette hors texte by Arthur Rackham, one of 200 copies on Whatman paper.
Publisher’s full vellum, smooth spine gilt-lettered, upper cover gilt-stamped with the title and a gilt illustration of Rip Van Winkle, illustrated endpapers, top edge gilt, uncut, original silk ties preserved. Occasional light foxing.

A splendid copy, remarkably fresh, of Washington Irving’s fantastical tale profusely illustrated by Arthur Rackham.

First edition, one of 1,000 numbered copies on offset.

A fine copy.

Illustrated with 10 drawings by René Magritte.

Illustrated edition with 57 wood engravings drawn and engraved by Frans Masereel, one of the numbered copies on English paper.

Minor tears without consequence at the head and foot of the spine, a pleasing copy exceptionally enriched with a second state (on Japan or China paper) of 9 of the engravings.

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

For the first three volumes, first edition, complete with all 84 parts published between February 1842 and October 1843 of this "admirable publication printed on thick vellum paper [...] one of the finest of the 19th century, justly esteemed and comparable to the beautifully illustrated books of the 18th century" (Carteret), (see Carteret III, 143–153; Vicaire II, 234–248).

The first three volumes are bound in full violet morocco, spines with five raised bands bordered with gilt pointillé tooling, compartments richly gilt with double gilt frames, gilt rolls on caps, covers framed with quintuple gilt fillets, gilt monogram MG at the corners, comb-marbled endpapers and pasted

Illustrated edition featuring 4 original lithographs by Picasso, printed by Mourlot, one of 430 numbered copies on wove paper, the only issue after 5 copies on japon and 95 on Arches wove paper.

A pleasing copy.

First edition of this issue of the review edited by Nicolas Beauduin and William Speth.
Contributions by Max Jacob "Réponse de l'abbé X à un jeune homme découragé", Nicolas Beauduin "Poèmes synoptiques sur 3 plans", Renée Dunan "La culotte en jersey de soie"...
Review illustrated with wood engravings and drawings by Medgyes, A.P. Gallien, Colette Nel-Demouchel, P.L. Menon, Irène Lagut, C. Dalbanne. 
Light tears with occasional small marginal losses affecting both wrappers, internally well preserved.

First edition.

Contributions by Paul Léautaud “Lettres 1902-1919 (1ère partie)”, Edmond Gréville “Porte donnant sur la voie”, Jean Lurçat “U.S.A.”, P.G. van Hecke “Spectacles américains à Paris”, Pierre Courthion “Bar du Dôme”, Jean Perros “A bas le pittoresque”...

Issue illustrated with photographs by Man Ray, Germaine Krull, Bérénice Abbott, Florence Henry, Eli Lotar and drawings by Paul Klee, Marc-Eemans, Gustave de Smet, Frits van der Berghe...

Reproductions of paintings by Pablo Picasso, René Magritte, Paul Klee, André Derain, Raoul Dufy, Marc Chagall, Max Ernst, Georges Braque, André Masson, Juan Gris...

A stain to the upper cover, spine and covers lightly an

First edition.

Contributions by Albert Valentin "Eugène Atget", Morely Callaghan "Une passion de rustre", E.L.T. Mesens "Hans Arp", Pierre Mac Orlan "L'aube", Denis Marion "La découverte de l'Amérique", Paul Fierens "Vénus et les mannequins", Franz Hellens...

Issue illustrated with photographs by Eugène Atget, Man Ray, Germaine Krull, Mylander and drawings by Marc-Eemans, Ramah, Frits van der Berghe, Hans Arp, Fernand Léger, Léopold Survage...

Spine and covers slightly and marginally sunned, not affecting the soundness of the copy, internally well preserved.

First edition.

Contributions by Pierre Mac Orlan "Accordéons", P.G. Van Ecke "L'envoûte ou la destinée des peintres", Denis Marion "A double tour", Gille Anthelme "Un aspect décisif des Ballets Diaghilew : Léonide Masside", Frans Vervoot "Nine, ou l'avant-propos", Albert Valentin "Aux soleils de minuit (IV)", Paul Fierens "Des rues et des carrefours", Franz Hellens...

Issue illustrated with photographs and drawings by Hans Arp, Jean de Bosschère, Marc Chagall, Gustave de Smet, Edgar Tytgat, Frits van der Berghe...

Spine and covers slightly and marginally sunned, small losses and tears to the spine, a pleasing copy internally.

First edition, one of 60 numbered copies on mustard popset paper, the deluxe issue.
Illustrated with drawings by René Magritte.
A very good copy.
Our copy is complete with the additional suite of letters and drawings by René Magritte issued with the deluxe copies.

First edition, one of 250 numbered copies, this being one of 10 numbered in Roman numerals, the deluxe issue.

Illustrated with original black engravings by Ania Staritsky.

A rare and very handsome copy, complete with its original school-style green flexible card chemise, marginally faded.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

As stated in the limitation notice, our copy does indeed contain a manuscript page by Michel Butor and an original signed collage by Ania Staritsky.

First edition, one of 70 numbered copies on Rives BFK wove paper, the only issue after 10 hand-made Angoumois copies.

Illustrated with original colour engravings by Ania Staritsky.

A rare and handsome copy despite a small tear at the head of the spine.

Manuscript pencil signatures of Gaston Puel, Pierre-Albert Birot and Ania Staritsky at the colophon.

First edition, one of 30 numbered copies on featherweight wove paper, the only issue after 15 copies on Lana wove paper.

Illustrated with 2 original engravings by Ania Staritsky, signed by her, together with drawings by Elsabeth Hellens and Léopold Survage.

A handsome copy.

First edition printed in 35 numbered copies on "vieux grès" rag paper from the Moulin de Larroque, this copy one of 10 hors commerce copies.

Illustrated with original color engravings by Ania Staritsky, who also devised the book’s original design with the collaboration of Claude Nardin.

A rare and very handsome copy preserved in its original full grey cloth slipcase.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

Our copy is enriched with a two-page autograph letter, dated and signed, from Ania Staritsky to Claude Nardin concerning the making of this work.

First edition printed in 25 numbered copies on pure rag paper, pulled on Ania Staritsky’s press on the occasion of an exhibition of her works at Larroque.

Illustrated with 7 original engravings numbered and signed in justification by Ania Staritsky who also designed the original layout of the work with the collaboration of Claude Nardin.

A rare and handsome copy complete with the following 7 engravings : 

- Magical cockerel

- Fishing of flies

- Fire hamste

- Though

First edition, one of 30 numbered copies on Larroque pure rag paper, this copy one of 10 hors commerce copies, from the deluxe issue.

Illustrated with original engravings by Ania Staritsky, who also designed the book’s original maquette with the collaboration of Claude Nardin.

A rare and very handsome copy, complete with its slipcase and chemise in full saffron cloth.

Our copy is enriched with a signed 10-line manuscript poem by Janine Mitaud, an original etching, and a second state of one of Ania Staritsky’s engravings.

Manuscript pencil signatures of Ania Staritsky and Janine Mitaud at the colophon.

A unique copy entirely transcribed by hand by Michel Butor for Claude Nardin; the paper, handmade by Georges Duchêne at the Moulin de Larroque, is on antique 15; the wrapper, made of "grès de larroque" rag paper, is adorned with an impression by Ania Staritsky.

The work is illustrated with original colour engravings by Ania Staritsky, who also devised the original layout of the book with the collaboration of Claude Nardin.

A rare and very fine copy, complete with its brown full moiré cloth slipcase, slightly and marginally faded.

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

Our copy is enrich

First edition of this work devoted to the oeuvre of Ania Staritsky.

Illustrated with an original work by Ania Staritsky on the cover.

A rare and very attractive copy, spine plain and unlettered, boards slightly and marginally sunned, without seriousness.

Copy enriched with an artist’s proof engraving, justified and signed by Ania Staritsky in pencil

First edition, one of 56 numbered copies on B.F.K. de Rives laid paper.

Illustrated with original engravings by Ania Staritsky.

A rare and very fine copy, complete with its slipcase and grey full-cloth chemise.

Pencil signatures of Ania Staritsky and Albert Dasnoy on the colophon.

Autograph inscription signed by Albert Dasnoy to Claude Nardin, enriched with the handwritten signature of Ania Staritsky.

First edition, one of 50 numbered copies on Rives mould-made wove paper, the only printing after 20 hors commerce copies on Sirène offset paper.

Illustrated with colour linocuts and woodcuts after collages by Ania Staritsky.

Minor offsetting from glassine onto the inner flaps, tears to the spine.

Pencil signatures of Jacques Lemaire and Ania Staritsky at the colophon.

First edition, one of 42 numbered copies on tabac du moulin paper, issued under limon de rocaille wrappers, our copy one of 12 hors commerce copies, the only issue after 15 copies on papier saumon des eaux claires.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work, with the collaboration of Claude Nardin, here in his first contribution.

Rare and very fine copy preserved in its full burlap chemise and slipcase (spine of the chemise and boards of the slipcase slightly sunned at the margins).

Pencil signatures of Jacques Lemaire and Ania Staritsky on the colophon.

First edition, one of 37 numbered copies on Nivôse rag paper.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.

Rare and very attractive copy, preserved in its original old-rose full cloth slipcase (spine slightly faded and two faint stains at the foot of the boards, not serious).

Manuscript pencil signatures of Michel Butor and Ania Staritsky at the colophon.

A unique copy, exceptionally enriched with two original gouaches by Ania Staritsky, both signed, a manuscript text by Michel Butor, an original collage by Ania Staritsky, as well as a c

First edition, printed in 40 numbered copies on hand-made pure rag paper from the Moulin de Larroque, this being one of the 10 hors commerce copies.

The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the volume with the assistance of Claude Nardin.

A rare and very fine copy, complete with its full grey cloth slipcase, slightly discoloured at the edges, and its double chemise.

Manuscript pencil signature by Ania Staritsky at the colophon.

Our copy is further enriched with two original collages by Ania Staritsky, both signed.

First edition, one of 30 numbered copies printed on handmade pure rag paper.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the collaboration of Claude Nardin.

A rare and very fine copy, complete with its chemise and brown cloth slipcase.

Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.

Inscribed by Philippe Jones to Claude Nardin at the colophon.

Our copy is enriched with a five-line autograph manuscript text by Philippe Jones, as well as an original collage by Ania Staritsky, signed by her.

First edition, one of 35 numbered copies printed on "mousse d'épave" paper, ours one of 10 copies hors commerce.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work in collaboration with Claude Nardin.

Rare and very fine copy, complete with its chemise and slipcase in full grey cloth (spine of the chemise slightly faded).

Manuscript pencil signatures of Jean-Claude Renard and Ania Staritsky at the colophon.

Our copy contains a manuscript text by the poet Jean-Claude Renard as well as an original collage by Ania Staritsky, signed by her.

Fine signed auto

First edition, printed in 40 numbered copies on "citronnelle de lin troué" paper, this being one of the copies numbered from 11 to 30 (No. 30).

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work with the assistance of Claude Nardin.

A rare and very fine copy, complete with its chemise and slipcase in full olive green cloth.

Pencil signatures of Jacques Izoard and Ania Staritsky at the colophon.

A unique copy, exceptionally enriched with a manuscript text by the poet Jacques Izoard, an original engraving by Ania Staritsky signed by her, as well as three engravings not retained for

First edition printed in 150 numbered copies on Licorne du Marais paper, our copy being one of a few hors commerce copies, justified and signed by Ania Staritsky at the colophon.

The work is illustrated with 16 colour illustrations, either in the text or full-page, by Ania Staritsky, who also designed the original layout of the volume.

A rare and fine copy, complete with its chemise and slipcase in full raspberry red cloth.

Manuscript pencil signature of Robert Droguet on the half-title.

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

A rare and very fine copy.

We include two invitation cards to the private view of the exhibition of works by Ania Staritsky held at Galerie Les Mains libres on 6 November 1975 between 6pm and 8pm.

Pencil signature of Michel Butor at the colophon.

As stated in the limitation page, our copy does indeed contain an original collage by Ania Staritsky, signed by her, as well as a manuscript text by Michel Butor.

Inscribed, dated and signed by Michel Butor to Claude Nardin, who was a collaborator of Ania Staritsky.

First edition, one of 35 numbered copies on "mousse d'épave" paper, this being one of the 10 hors commerce copies.

Illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the work.

A rare and very fine copy, complete with its chemise and slipcase in old-rose full cloth.

Pencil signatures of Philippe Jones and Ania Staritsky on the colophon.

Our copy includes a manuscript text by the poet Jean-Claude Renard, as well as an original collage by Ania Staritsky, signed by her.

Framing his manuscript, an autograph inscription signed by Jean-Claude Renard to Claude Nardin, who w

First edition printed in 30 numbered copies on handmade rag paper, this copy unnumbered.

Illustrated with original colour engravings by Ania Staritsky, who also designed the book’s original layout.

A rare and very fine copy, complete with its chemise and brown cloth slipcase.

Pencil signatures of Philippe Jones and Ania Staritsky at the colophon.

As stated in the limitation page, this copy includes a manuscript text by the poet Philippe Jones as well as an original signed collage by Ania Staritsky.

First edition printed in 35 numbered copies on Antique 15 paper, our copy being one of the 10 hors commerce copies.

The work is illustrated with original colour engravings by Ania Staritsky, who also designed the original layout of the book.

A rare and very fine copy, complete with its chemise with flaps, the spine slightly discoloured, and its grey cloth slipcase.

Pencil signatures of Michel Butor and Ania Staritsky on the colophon.

As stated in the limitation, our copy is enriched with a 19-line autograph manuscript by Michel Butor, together with an original drawing and a collage by Ania Staritsky.

The upper cover of t

First edition, one of 45 numbered copies, this being one of the rare hors commerce copies corresponding to the 8 deluxe paper copies on "Tabac du Moulin" vat paper, issued in "Tourbe de Varennes" wrappers.

The work is illustrated with 9 original colour engravings by Ania Staritsky, who also designed the original layout of the book.

A rare and very fine copy, complete with its chemise and slipcase in full saffron cloth.

Pencil signatures of Jean Follain and Ania Staritsky at the colophon.

As stated in the limitation page, our copy indeed includes a manuscript text by the poet Jean Follain as well as an original collage by Ania Staritsky,

First edition, one of the numbered copies on wove paper from the Papeteries de Savoie.
Illustrated with original artwork by Pierre-Marie Renet, also known as Frédéric Monnier.
Spine and boards marginally sunned, as often.

First edition.
Literary contributions by Antonin Artaud, Paul Eluard, André Breton, Pierre Brasseur, Louis Aragon, Michel Leiris, Benjamin Péret, Ernest Gegenbach...
Pictorial or photographic contributions by Joan Miro, Yves Tanguy, Max Ernst, Man Ray...
Upper cover with a few marginal stains to the left margin, a small tear at the foot of the spine, otherwise a pleasing copy considering the fragility of this periodical.

First edition printed in 20 numbered copies on hand-made "papier rose jouvencelle" produced by Georges Duchêne.

Illustrated with original engravings by Ania Staritsky, who also designed the original layout of the work.

This copy is exceptionally enhanced with an original collage by Ania Staritsky, signed by her, and with an 8-line autograph manuscript text by Gaston Puel, together with an additional suite of the engravings by Ania Staritsky (one of which bears two small holes).

The spine of the chemise and the boards of the slipcase are slightly and marginally faded, without seriousness.

A rare and very fine copy, complete with its

First edition, one of the scarce copies on Japon paper.
Work illustrated with 17 colour plates.
A fine copy with wide margins.

First edition, one of 37 numbered copies on handmade paper "Ecume de cépage" under "Chaume de Juillet" wrappers, the only issue after 8 copies on handmade paper "Tabac du moulin".

The work is illustrated with 9 original colour engravings by Ania Staritsky, who also designed the original layout of the book.

A rare and very fine copy, complete with its chemise and slipcase in full orange cloth.

Pencil signatures of Jean Follain and Ania Staritsky on the colophon.

First edition printed in 112 copies, ours one of the 90 numbered copies on Arches laid paper.

A pleasant and scarce copy.

Illustrated with 5 original lithographs by Juan Gris.

Manuscript signatures of Armand Salacrou and Juan Gris at the colophon.

First edition of the French translation, one of 75 numbered copies on ivory offset paper, our copy one of the few hors commerce copies numbered in pencil by Antoni Tapies, the only deluxe paper issue.

A very small stain to the upper edge, otherwise a fine copy complete with its illustrated dust jacket.

Illustrated.

Handwritten signature of Antoni Tapies at the colophon.

First edition, one of 60 numbered copies on Rives wove paper, the only issue after 10 copies on Arches.

A tear to the inner flap on the verso of the upper cover, a pleasant copy.

Illustrated with two original etchings by Jean-Gabriel Daragnès, including the frontispiece.

First edition of the French translation, one of 1,000 numbered copies on pur fil paper, the only issue with 10 copies on Auvergne paper.
Frontispiece with an original portrait of Blaise Cendrars by Riera, covers illustrated with an original lithograph by Orfeo Tamburi.
Spine and boards slightly and marginally sunned, as usually.

First edition richly illustrated with reproductions of works by Francis Bacon in the second volume.

Text by Gilles Deleuze for the first volume.

The slipcase is lacking in our copy.

Spine and boards slightly and marginally sunned, as usual.

Inscribed copy signed by Gilles Deleuze to the art critic Gilbert Lascault in the first volume.

First edition, one of 85 numbered copies and 3 hors commerce copies, ours one of the 70 on B.F.K. de Rives paper.

A fine copy complete with its chemise and slipcase in full black cloth, spine of the chemise slightly faded, a small tear at the foot of the lower panel of the slipcase.

Illustrated with 19 original photographs signed in pencil by Henri Maccheroni.

This illustrated volume with 58 engraved plates numbered 1-57 (including a plate 15bis) serves as the atlas to the two text volumes of the Manual of Navigation to the West Coast of Africa, issued in 1851.

Not in Polak, although that bibliography carefully records all the author’s other works, as well as the extracts derived from the Manual.

Some foxing, a light marginal waterstain to the right margin of all leaves.

Contemporary half navy blue cloth, smooth spine ruled in blind, paper losses and abrasions to the marbled paper boards, a small label pasted at the head of the upper cover, a few nicks to the edges, corners rubbed.

A lieutenant in the French Navy, Charle

First edition of the French translation, illustrated with 14 hand-coloured engravings depicting costumes (cf. Colas 961.)

Bindings in blue half morocco, spines slightly faded, with five raised bands and minor rubbing, dates gilt at the foot, illustrated wrappers preserved, marbled paper boards, comb-marbled endpapers and pastedowns, marbled top edges, corners slightly bumped.

Foxing, small paper flaw to the corner of page 37 and misbound leaves in volume 1.

First edition of this important and very rare work, issued in a small number of copies (cf. Catalogue Petit 656. Bibliotheca piscatoria p. 75. Nissen Zool. 1018.)

Our copy is complete with its 51 plates (numbered I-L, including one bis plate), notably depicting the principal instruments of fish culture and fishing implements used by the Chinese.

Contemporary-style black half shagreen over corners, smooth spine decorated with double gilt fillets, gilt ornaments at head and foot, marbled paper sides, green endpapers and pastedowns, original wrappers preserved, lined and restored, modern binding.

Some foxing and marginal waterstaining to certain leaves (particularly at the

First edition, illustrated with 72 hand-coloured plates hors texte (cf. Blackmer 300. Colas I, 545. Quérard II, 75. Brunet I, 1226.)

Uniformly bound in full mottled fawn calf, smooth spines slightly faded, decorated with gilt fillets, garlands and figures, red morocco lettering and volume labels, small wormholes at the foot of the spines of volumes 2 & 3, gilt rolls to the spine ends, covers framed with dog-tooth rolls, gilt fillets and garlands, marbled endpapers, gilt roll borders to the pastedowns, gilt dotted edges, all edges gilt, contemporary bindings.

Some rubbing to certain spines and spine ends, some corners bumped, our copy lacks the 5 leaves of binder's directions a

First edition, illustrated with in-text and full-page black-and-white and colour drawings by Albert Robida.
Publisher’s original illustrated cloth binding in full green percaline, signed Engel, smooth spine, featuring a large polychrome illustration heightened with gold and palladium by Souze extending across the spine and boards; the original front cover in colour preserved; all edges gilt.
"Ceci qui va suivre sous un titre ambitieux pris simplement comme une étiquette en chiffres, n'est, bien entendu, pas une histoire, ni un tableau, ni un résumé, c'est une série d'esquisses, de croquis à la plume et à la mine de plomb, de portraits familiers de notre Siècle à différentes époques

First edition, deluxe issue, one of 58 numbered copies on Montval paper signed by the artist on the colophon, with two original colour lithographs signed by Max Ernst.

Additionally illustrated with 11 full-page drawings reproduced in black and reproductions of paintings by the artist, including one folding plate.

Copy as issued, green wrappers illustrated with an original artwork by Ernst in perfect condition without any trace of discolouration as is commonly the case.

A fine and substantial group relating to the Vaudreuil family, of considerable importance in the history of the French colonies, both in Canada and in Saint-Domingue.

The work is illustrated, at the beginning of the volume, with a folding genealogical table printed hors-texte.

Contemporary full marbled sheep binding, spine in six compartments gilt and tooled with floral motifs, red morocco title-piece, rubbing to the joints and restorations to the spine, gilt arms stamped at the centres of the boards, minor losses and abrasions to the boards, marbled endpapers, gilt fillets to the edges partially faded, marbled edges, an early binding.

The folding plate at the beginning

First edition, exceedingly rare, illustrated with 3 folding tables, 6 charming vignettes drawn and engraved by J. Duplessi-Bertaux, and 5 plates by Tardieu: 1 folding plan of Sebastopol, 1 large folding map, and 3 plates depicting medals, coins, and bas-reliefs (cf. Atabey 1034. Absent from Blackmer. No copy recorded in the NUC.)

Contemporary Bradel binding in full green paper-covered boards, smooth spine decorated with gilt rules, minor scuffing to spine and covers, a small snag at the foot of the upper cover, contemporary binding.

Wear to spine ends, one bumped lower corner, occasional foxing, a few dampstains at the foot of certain leaves.

In February 1803, Baron de R

First edition illustrated with 4 hors-texte plates of line-engraved Greek coins.

Our copy is preserved in its original wrappers.

Appointed professor of archaeology at the Sorbonne in 1820, succeeding Quatremère de Quincy,

Désiré Raoul-Rochette (1789-1854) specialized principally in Greek antiquity. He also served as curator of the Cabinet des médailles.

First edition, illustrated with a frontispiece depicting the site of the ancient city of Panticapaeum (now Kerch, in Crimea), a title-page vignette showing a view of the modern town, two maps (Greek colonies of the Bosphorus and the Black Sea; the Strait of Kerch, with Macpherson’s route), as well as 12 plates, 9 of them in colour (tumuli, vases, bronzes, oil lamps, statuettes, symbols, inscriptions and various objects recovered during excavations), and numerous wood-engravings in the text.

Cf. Abbey, Travel in aquatint and lithography, 243. Blackmer, 1055.

Publisher’s grey blind-stamped cloth, gilt title lettered lengthwise to the smooth spine, large gilt device blocked at th

First edition illustrated with 19 lithographed plates in colour or printed on tinted grounds (including a plan), with captioned tissue guards.

Only two copies recorded in the CCF (BnF and Musée de l'Homme).

The sole edition of this report, in fact written by the duke’s secretary, A. Gory.

La Butte-Ronde lies near the Luynes family estate at Dampierre (though in fact within the commune of Saint-Forget): the learned archaeologist who was the eighth duke (1802-1867) could hardly fail to take an interest in excavations carried out on the site, which brought to light a Gallo-Roman fanum. The pamphlet enjoyed only confidential circulation, and the duke’s death, in that same ye

Atlas volume only from this important 8-volume work, produced within the broader movement to generalize the use of statistics initiated by ministers François de Neufchâteau and subsequently Chaptal. 

Contemporary half flexible paper boards, smooth spine without lettering in blue cloth, marbled paper-covered boards with a printed title label of the period to the centre of the upper cover, spine restored.

Marginal dampstaining to the boards, occasional spotting or soiling to the margins of some leaves.

Herbin, who coordinated the work, draws upon official data that prefects were required to supply for this purpose. 

This volume, in accordance with the table of conten

Rare collection of 16 hand-coloured engravings, comprising a frontispiece and 15 plates, illustrating the virtues of soldiers and young men during the Consulate period.

Contemporary half bronze calf binding, smooth spine decorated with gilt fillets, dotted tools and floral ornaments, minor rubbing to the spine, brown morocco title label, boards, endpapers and pastedowns of marbled paper, ex-libris pasted on the front pastedown.

An attractive copy.