Barnebys

First edition.
Spine less than skillfully repaired, internally good.

First edition printed on vergé.
A good copy

First edition.
Small marginal tears, not serious, to covers, internally good.

First edition.
Three small angular lacks and a black ink stain to head of lower cover.

DORé Gustave & RABELAIS François. œuvres de Rabelais [Rabelais' Works]
Garnier Frères, Paris 1873, 31 x 43 cm, 2 volumes, contemporary morocco

Contemporary red morocco by J. B. Pingot, Jansenist spines in five compartments, double gilt fillet on the edges of the covers and headpieces, large gilt dentelle frame to inside covers, double marbled endpapers, all edges gilt.
A superb copy of one of the most beautiful books illustrated by Gustave Doré on grand papier (deluxe copies), luxuriously bound in red morocco.

The first collected edition of his poetic works, first in parts (for the third part), with four hors-texte illustrations copper engraved by Frilley, Cousin and Durand after Tony Johannot, Pujol, Devéria and Henri Monnier.
This copy is enriched with five autograph letters from the author's son Hippolyte from between 1888 and 1891 to Félix Delhasse (1809-1898), a Belgian journalist who was a close friend of the Desbordes-Valmore family.
Contemporary half purple morocco over marbled paper boards, spine in five compartments richly gilt with compartments and fleurons as well as blindstamped typographic motifs, gilt fillet to covers.
Spotting and staining to several leaves, the result of an excessively strong wash. Two gatherings browned as usual.
Ex libris of the collection of Georges Degryse.

Superb illustrations etched by Bernard Picart, comprising a frontispiece, 3 title fleurons, 5 figures and more than 170 vignettes and endpieces. One of the rare folio format large paper copies with the text in a frame.
Later (19th century) red morocco by Chatelin. Jansenist spine in six compartments. Double gilt fillet to edges of covers and head- and tail-pieces. Large gilt dentelle frame to pastedowns. All edges gilt.
Binding slightly rubbed, spine of third volume lightly faded.
From the library of H. Houyvet, with his ex libris.

An attractive edition with a frontispiece illustration of a sculpted bust of Corneille engraved by Watelet after Pierre, and 34 figures hors texte etched after Gravelot within Louis XVth-style ornamental frames, also by the same artist.
Contemporary marbled brown calf, spine in six compartments with gilt compartments and fleurons as well as red and green morocco title and volume labels. Double gilt fillet to edges of covers. All edges marbled.
Small, skillful restorations to binding.
A fine copy.

A charming edition with a portrait of the playwright engraved by Gaucher after Santerre, and 12 figures by Gravelot intaglio engraved by Le Mire, Flipart, Rousseau, Lempereur, Duclos, Vasseur, Prévost, Simonet and Née.
Contemporary marbled calf, spines richly gilt (their decoration being attributed to Gravelot) with gilt anthropomorphic suns at head, lyres and honeybees to foot, as well as gilt trophies to centre; title in gilt surrounded by gilt laurels, triple gilt fillet frame to covers. Gilt fillet and striae to headpieces and edges of covers, all edges gilt.
A little light spotting, spine and hinges repaired, some parts of the spine re-gilded.

First edition.
Contemporary light brown armorial calf. Spine richly gilt with grotesque motifs and hydra figures at foot. Covers with triple gilt fillets and arms to centre. Gilt roulette frame to pastedowns. Marbled edges.
The major work by the abbé de Condillac and one of the key works of French sensualism.
From the library of Emmanuel-Pierre Rodocanachi with his engraved ex libris.

The first edition, finely printed by Pierres. The work is illustrated with three portraits, including one of Raoul de Coucy, one hors-texte figure showing the town of Coucy-le-Château, and twelve pages of music engraved with the greatest care after manuscripts belonging to the king and the Marquis de Paulmy.
Contemporary light brown calf, spine with compartments and gilt fleurons, red and green morocco title- and volume- labels. Triple gilt fillet frame to covers, gilt fillets to edges of covers, gilt roulette frame to pastedowns. All edges gilt.
A very handsome, large paper, copy.

Published the same year as the first edition.
Autograph inscription signed by Julien Gracq to the journalist Jean-Claude Lamy and his wife Fabienne Deval.
Two small tears glued down to head and foot of spine.

First edition of which there were no large paper copies.
With an autograph inscription from Louis Althusser o the psychiatrist and psychoanalyst André Green : "... ce "cours" qui je l'espère n'a pas trop vieilli..."
A good copy.

First edition, one of 60 numbered copies on Ingres guarro, head print.
Nice copy.

First edition, one of 90 numbered copies on Hollande, tirage de tête.
Onee slight tear, not serious, to foot of lower cover, a good copy.

First edition, one of 55 numbered copies on pur d'Arches, tirage de tête after 30 Hollande.
A good copy.

First collected edition.
Contemporary light brown mottled calf. Spine with compartments and gilt fleurons, as well as green title and volume labels. Gilt roulette frame of leaves to covers. All edges yellow.
Some head- and tail-pieces rubbed and damaged.
A nice copy in its contemporary binding, to which has been added an engraved portrait of the author.

First illustrated edition, with title page by Moreau le Jeune, frontispiece by Simonet after Boucher, and 5 illustrations by Moreau le Jeune engraved by Massard, De Longueil, De Launay and Simonet.
Contemporary green morocco, spine richly gilt with compartments, fleurons and fillets, as well as a red morocco title piece. Boards with triple gilt fillets and gilt fleurons at corners. Pink guards and endpapers, geometric gilt roulette frame to pastedowns. All edges gilt. Modern slipcase.
Ink ex libris to one endpaper: Du Comte Charles Caissotti de Chiusan
A superb copy.

First edition on ordinary paper.
Autograph inscription from Albert Cohen to Madame Pierre Wolf.
Spine slightly sunned with a tiny glued tear to head.

First edition.
Spine very slightly sunned, not serious.

First edition.
Small marginal tears, not serious, and without lack, to covers.

With a frontispiece illustration showing Jesus carrying the cross as well as four plates signed N. Pilau.
Contemporary dark blue morocco, high quality and attributable to Luc-Antoine Boyet. Spine in six compartments richly gilt with compartments and fleurons, as well as purple title label. Covers with large dentelle frame and gilt fillets. Large gilt dentelle frame to red morocco endpapers. Gilt points and dashes to head- and tail-pieces and edges of covers. All edges gilt. One tear without lack to lower margin of page 61. Less than skillful repairs to joints.
A superb copy in contemporary lined morocco of a rare color.

New edition.
Spine very slightly browned, not serious.

First edition of which there were no large paper copies.
A good copy.

First edition, review copy.
Very nice autograph signed by Marguerite Yourcenar Mary Storer: "... in a friendly tribute / No Fatae sed fata / Marguerite Yourcenar." Whom she apologizes, saying: "... (excuse the that lacks. one of its false title, but I have not received a lot of copies of the second edition, and the first, there is only one. 12 Sept. 1968. I wish it reaches you Beloit, and decides to send it to you) "
Pleasant copy.

First edition of both volumes
Red half shagreen over marbled paper boards, spine in five compartments with double gilt fillets and double blindruled compartments as well as gilt spots, double gilt fillets at head and foot, marbled endpapers and pastedowns, speckled edges
Autograph inscription signed by Victor Hugo to head of half title of first volume: “..
à mon excellent ami Léon Masson...[to my excellent friend Léon Masson]." "Le Roi s'amuse" retains its frontispiece by Tony Johannot on China paper
A little light spotting, a good copy.

First edition. Half black morocco over marbled paper boards by P. Goy & C. Vilaine, spine in six compartments, marbled endpapers and pastedowns, covers preserved, top edge gilt.
Autograph inscription from Guy de Maupassant to Monsieur Regnoul.
With illustrations by Gaston Riou.

First edition, one of 50 numbered copies on vélin d'Arches paper, the only ones with an original drawing by Micaëla Henich as a frontispiece, the tirage de tête.
Autograph signatures of Jacques Derrida and Micaëla Henich underneath the justification.
With 200 drawings by Micaëla Henich.
Library stamp to title, a very good copy.
Rare.

The first edition of each of the volumes, each one of 50 numbered copies on Hollande, the only large paper copies.
Half green morocco over marbled paper boards by David, spine in six compartments, wrappers preserved, top edge gilt.
A rare and very handsome large paper set on Hollande in perfectly matched uniform bindings.

First edition, one of 20 numbered copies on Hollande, tirage de tête.
Tiny foxings and stains, not serious, on the covers.

First edition.
Elegant contemporary light brown calf in the english Romantic style, spine richly gilt with blindstamped friezes, gilt friezes to head and foot of the spine, upper cover richly ornamented with blindstamped decorative motifs, plats frappés en leurs centres d'un grand cartouche en losange et estampé à froid agrémenté d'un quadrilobe, marble pastedowns and endpapers, all edges green.
Occasional small foxing, a lack to edge of head-piece, Quelques petites rousseurs, un manque en tête d'une coiffe supérieure, slight insignificant rubbing to some spines, some corners rubbed.
Provenance : thee Bloomfield's library with his armorial etching ex libris to head of pastedowns.
A very attractive copy handsomely bound.

First edition of the author’s second book.
Decorated paper boards by Boichot, dark green morocco-like shagreen title label, covers and spine preserved (spine slightly faded).
Handsome autograph inscription signed by Louis Pergaud to the poet Georges Duhamel.
A good copy in an attractive binding.

First edition. This copy has an autograph inscription from Pierre Nicole to his student and friend M. [Louis] Angran. It also contains two manuscript additions (pp. 48 and 329), most probably from the hand of the author.

 

Contemporary speckled sheep. Spine in six compartments with gilt fleurons. Gilt roulettes to head- and tail-pieces. All edges speckled red. Two little wormholes to spine, a few more to covers. Joints rubbed and a little cracked. Library label to pastedown.

 

Louis Angran (1622-1706), from an important family of magistrates near Port-Royal, with ties of kinship to the Arnaulds, was a student of Pierre Nicole alongside Jean Racine in the “little schools” of Port-Royal-des-Champs. Graduating in Theology from the Sorbonne (in 1645) and Canon of Troyes, Louis Angran was part of the Jansenist deputation to Rome on behalf of Augustinus in 1653. It was at his house that Pierre Nicole, under the pseudonym of M. Rosny, stayed during his time in Paris with Antoine Arnauld. Louis Angran was also, with Nicole, one of the principal actors in the Nordstrands affair, the island where the Jansenists deposited their valuables from Port-Royal for fear of persecution.

 

This precious autograph inscription bears witness to the lifelong faithful friendship that bound pupil and master.

 

Prior to the revocation of the edict of Nantes in 1685, most polemicist theological writers criticized the Protestant Church on the points of doctrine that separated it from the Catholic Church. The Port-Royal writers, essentially Arnauld and Nicole, were the heralds of the Roman Church, and thus took part in theological jousts with Protestant authors, notably Pierre Jurieu, which sometimes lasted years.

 

De l'unité de l'église [On the unity of the Church] thus presents itself as a response to Jurieu’s work published in 1686, Le Vrai Système de l'église [The True System of the Church], but the latter was already an attack on Nicole’s Prétendus réformés convaincus de schisme [The pseudo-Reformed determined on Schism]. Each of these books – and there were many of them – follow the same pattern: a systematic and paraphrasing analysis of each chapter of the book under attack, polemicists being alive to the slightest contradiction or imprecision. Thus Jurieu in Le Vrai Système de l'église concludes from Nicole’s book that if the Catholic Church is meant to be universal as the Church of Christ – which he notes it most assuredly isn’t – it contributes by its arbitrary power to the schismatic position of the Protestants. Each of these works pursues the same goal, which is to decry their opponent, render null their attempts to do down the other’s knowledge of their subject, and thus destroy the religious cause it defends. In mounting a constant critique of the aforementioned work by Jurieu, Pierre Nicole asserts once more that there can be only one Church, and only the Catholic Church is the universal Church, which he proves by copiously quoting the Church Fathers. In terms of history, it may seem ironic that the champions of the Catholic cause should emerge from the Port-Royal of the 17th century, when the entire religious community was banned from the abbey in 1709 and the place razed in 1712.

 

Autograph inscriptions from the 17th century are extremely rare. 

With 96 original engraved compositions by Maurice Leloir.
Superb contemporary red morocco by Gardiel, spine in six compartments, gilt dates to spines, gilt roulettes to head- and tail-pieces, gilt dentelle frame to pastedowns, marbled pastedowns and endpapers, double gilt fillets to edges of covers, all edges gilt.
Preface by Jules Clarétie.
A very good copy in a handsome binding.

Rare first edition of this work on the mysterious question of the Beast of Gévaudan.
Small clear stain to foot of spine.

First edition. One of 100 numbered copies on Hollande, this one n°89.
Half black morocco by Bellevallée ca 1950. Title and date gilt to bottom of spine, spine in compartments Jansenist, top edge gilt, covers and spine preserved. An uncut fine copy.

First edition.
Contemporary half black shagreen, spine gilt in compartments. Title gilt. A little limited spotting to some leaves, otherwise a very fresh, well-bound, set in a sober and elegant binding.

First edition, one of 18 numbered copies on pur fil paper, tirage de tête.
A rare and very good unsophisticated copy with the advertising slip preserved.

First edition, one of numbered copies for each volume.
A good complete set, despite some spots and foxing.

Collected edition of the first seven books, which appeared between 1648 and 1653, first edition of the eighth book. As almost always, this copy has only the seven books. It has an unsigned frontispiece etching.
19th century red morocco by Trautz-Bauzonnet, spine richly gilt in six compartments. Triple gilt fillet frame to covers. Large gilt dentelle frame to pastedowns. All edges gilt.
A superb copy in a handsome binding.

A counterfeit of the first edition published by Barrillot (with two ‘r's) in Geneva in 1748. This counterfeit was produced by Laurent Durand and was printed in Paris by Prault, and is – thus – the second printed edition.

Contemporary light brown speckled calf. Spine in six compartments with frames and gilt fleurons as well as title and volume labels in light brown morocco. Triple gilt fillet frame to covers, gilt frame of dentelles inside covers, all edges red. A few pale light angular dampstains. Trace of dampstaining to upper cover of volume I, small repairs to headpieces, joints (at head and foot) and corners.

An emblematic, definitive book of the 18^th century, the Spirit of the Laws, or the principles and tendencies which define the making of laws, had a decisive influence on political life and was a guide to the writing of the Constitution of 1791 as well as that of the United States.
Montesquieu's (1689- 1755) general argument is that laws are not purely made by men – the spirit of the laws is “the various relationships of the laws with different things,” – but that many elements go into making them. There are, thus, physical elements (the climate), moral elements (religion, custom), and so on. Moreover, a primitive justice is at the root of laws – there is thus indeed a spirit of the laws. But the book is not merely a treatise on the spirit that motivates law; it is above all a treatise on government and first and foremost, freedom. Though the book was extensively read, it was received with some coolness by the philosophers, who did not recognize Montesquieu as one of their own and held his conservatism against him. It was also heavily criticized by members of the Church.
A very good copy.

First edition, one of 17 numbered copies on vélin d'Arches, the only large paper copies.
A very good copy.

First edition, one of 23 numbered copies on vélin pur fil, the only large paper copies.
A very good copy.

First edition with the characteristics of the first impression, one of 300 copies of the first impression on alfa satiné paper numbered in the press and reserved for the author
Rare autograph inscription from the author to the political journalist and writer Paul Methiex, who was secretary to Aurélien Scholl and notably worked on Action Française
A few discreet repairs to spine, scattered wormholes
A precious copy reserved for the author in its original condition, with an autograph inscription.

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

First edition, one of 52 numbered copies on Montval, tirage de tête.
A very good copy with good margins.

First edition in French, one of 105 numbered copies on vélin Aravis paper, the only large paper copies.
Spine sunned.

First edition, one of 150 numbered copies on Ingres blanc de Lana, the only large paper copies.
A slight trace of an angular fold to head of upper cover, otherwise a very good copy.

First edition publiée under the half-pseudonym of Jacques Kessel, one of 20 numbered copies on Japon, tirage de tête.
A very good copy.

First edition of the French translation, one of 47 numbered copies on pur fil, the only large paper copies.
A very good copy.

First Edition, one of 50 numbered copies on Holland paper, head print.
Nice copy.

First edition, one of 30 numbered copies on vélin pur chiffon, the only large paper copies.
A very good copy.

First edition, one of 58 numbered copies on vélin d'Arches, the only large paper copies.
A very good copy.

First edition, one of 150 lettered copie hors commerce on alfa, advance (service de presse) copies .
With an autograph inscription from Georges Bernanos to (Robert) Garric : "... son diffamateur and son ami..."
Spine slightly sunned, a joint cracked and glued on foot.

First edition, one of 300 numbered copies on alfa, advance (service de presse) copies.
With an autograph inscription from Marguerite Yourcenar to Robert Garric.

First edition, one advance (service de presse) copy.
With an autograph inscription from Pierre Drieu la Rochelle for the "Revue des jeunes".
A small lack at foot of spine.

First edition of 600 copy, this one numéroté on vergé d'Arches.
A fine copy, as issued.

Fourteenth collected edition. “This edition, the nicest and most complete of the old editions of Ronsard, is richly illustrated with copper engravings,” (Seymour de Ricci, Éditions originales de Ronsard). Superb engraved title by Léonard Gaultier, the same as used for the collected edition of 1609, here in its second state. A small woodcut portrait of Muret in a medallion, half-page portrait of Richelieu, half-page portraits of Ronsard and Cassandre by Melland, half-page medallion portraits of Henri II, Charles IX, François Duc d'Anjou, Henri Duc de Guise, Anne de Joyeuse, Mary Stuart, the Duc d'Espernon, François II and Catherine de Medici, all engraved by Thomas de Leu. One figure on title of second volume by Léonard Gaultier.
Text in italic (except the commentaries). Each work with its own half-title. Spine in compartments with six fleurons, gilt title, double fillet frame to covers. Leather cracked in title compartment and one other, adjacent, headpieces, joints and corners finely (almost invisibly) restored. About forty leaves of first volume browned. Volume two: title and about 30 other leaves browned, traces of light dampstaining and foxing to initial leaves. The final leaf of first volume bound at beginning of second (half title of the elegies), leaves 1515, 1517 and 1519 with right corner folded back.
The best old collected edition of the author's works and without question the most attractive. Ronsard's poetry was in limbo for a long time before his rediscovery and celebration by the Romantics. Ronsard was pilloried in the 17^th century by the leading Classicist, Malherbe, and the 18^th century was not kind to him either. France had to wait for Prosper Blanchemain's 1857-1867 edition to get to know “the Prince of Poets.”

First edition, one of 55 numbered copies on Hollande paper as justified and initialed by the publisher, the only large paper copies
Half grey morocco by J
Weckesser, spine in six compartments, place and date at foot of spine, marbled pastedowns and endpapers, covers and spine preserved, top edge gilt
This copy enriched with an autograph manuscript of two closely-written pages, being the third poem of the collection: “Après la chose faite, après le coup porté... “, dated April 1887, with numerous variants and a few corrections
An exceptional large paper copy enriched with an important autograph poem by Paul Verlaine.

First edition, one advance (service de presse) copies.
Autograph inscription from Robert Desnos to René Arcos.
Occasional foxing on the covers.

First edition of Ruy Blas, the title with the address at Paris and Leipzig, the first state of the first edition without mention of Les Burgraves.
Contemporary half light brown calf, spine in five compartments with fillets, gilt specks and blindruled fillets, gilt Greek friezes to head and foot, marbled endpapers and pastedowns. A little spotting.
Autograph inscription signed by Victor Hugo to Madame Mareuil, who first played the character of Casilda in Ruy Blas. Signature of the actor M. Montdidier (who played the Comte de Camporeal) to first page of text.
Provenance: from the library of Madame Mareuil.
A fine and handsome copy in an elegant contemporary binding, with an autograph inscription by Victor Hugo to an actress of his circle.

Masterpiece Boucher as an illustrator and unquestionably one of the finest books made ??in the first part of the eighteenth ^century. Second edition. We rarely see Note that this edition.

The illustration includes a beautiful portrait by Coypel engraved by Lépicié a flagship title page repeated on each volume, 33 figures by Boucher engraved by Laurent Cars, and 198 vignettes and culs-de-lamp (more repeated) by Boucher, Blondel Oppenord and engraved by Cars and Joullain.

Binders full calf porphyry time. Back with five nerves decorated with parts of title and volume numbers of red morocco, coffered and gilded florets. Triple gilt fillets coaching dishes. All marbled edges. Tail jaws split six inches in the first volume, same thing on the second and fourth. Tail cap of the second volume threadbare. Three caps head and two tails restored and some reinforced corners. Some scuffs. A pale wetness in Volume I, and some very tiny and rare spots.

Boucher began his career as an illustrator and engraver, including participation in the illustration and ornamentation of several editions; the realization of Molière finally allows him to fully exploit its capabilities and gives publishing its absolutely exceptional. The costumes, the staging orchestrated by the artist are well wonder in the theater Molière which Boucher attend numerous times for his illustration. This is one of the first editions that fully and totally the work of a marriage between an artist and a text.

AN IMPORTANT 917 PAGE FOLIO MANUSCRIPT (no author or date specified), of an original work preserved by the heirs of the author, Félix Jouvenel des Ursins (also known as Jouvenel or Juvenal, 1617 - ?). Jouvenel, a noted scholar who devoted his life to his studies, was the author of a number of works.
The manuscript is mentioned in Antoine-Alexandre Barbier's Examen critique et complément des dictionnaires historiques of 1820.
Written in a fine, clear hand with numerous additions, corrections, crossings-out and marginal notes.
Bound in full contemporary vellum. Spine titled in black ink (partly illegible), ties, stitching visible. Tear to head, some staining to covers. A few spots, but the paper well preserved. Large engraved armorial ex-libris of Henri de Juvenel, Châtelain of Montpezat (1810-1875) inside upper cover.

The manuscript can be dated to between 1640 and 1645 thanks to the author's references to early 17^th century works as his principal historiographical sources, and especially to the following observation: “in any case, it has come to pass that in our time, the chronicles of the Moor Abulcaçim Tarif Abentarique have been translated from Arabic into Spanish.”
Several things confirm that this is Jouvenel's original manuscript. The spelling of the words “défaicte”, “loing”, “mesprisable”, “enfans”, “tesmoing” (p. 160) and “autresfois” (p. 83) are in accordance with that established in Jean Nicot's Thresor de la langue francoyse of 1606. The spelling of these words changed during the 17^th century and by 1694 the Dictionnaire de l'Académie has them as: “defaite”, “loin”, “meprisable”, “enfants”, “tesmoin” and “autrefois”.
Finally, the work is on laid paper, with a distance between chain-lines of 2.4 cm and two watermarks, the first of which is similar to 17^th century German marks appearing in several editions from 1599 on. This takes the form of a crowned shield with a hunting horn and the suspended initials WR. The second watermark is made up exclusively of the initials DL in the middle of the page.

One can assume that this manuscript predates the publication in 1645 of Jouvenel's historical novel Dom Pélage ou l'Entrée des Maures en Espagne, inspired by the research contained in the present work, as Emile de Colombey points out: Jouvenel “produced a novel entitled Dom Pélage from his unpublished Histoire des Maures d'Espagne, which stretched to no fewer than 917 folio pages” (in Correspondance authentique de Ninon de Lenclos, 1886). The present manuscript features a chapter on “The memorable adventures of the young Dom Pélage”, making up twelve pages in all.
We have found only three historical works on Moorish Spain published in France in the first half of the 17^th century: Louis Turquet de Mayerne's Histoire générale d'Espagne (first published in 1587, expanded until 1635, and partly based on Mariana's work Ioannis Marianae Hispani, e socie. Iesu, de ponderibus et mensuris, 1599); Ambrosio de Salazar's Inventaire general des plus curieuses recherches des Royaumes d'Espagne, compose en langue Castillane par A. de Salazar et par lui mis en François, Paris 1612; and an anonymous compilation of the aforementioned works, Inventaire general de l'histoire d'Espagne, Extrait de Mariana, Turquet et autres autheurs qui ont écrit de temps en temps, published in 1628.
Aside from a few accounts of travels in Spain from 1660 onwards, it was only in the 18^th century that genuinely historical works (and not merely versions of Mariana) on Spain and the Conquest of the Moors began to appear in France.
This manuscript, written barely a few years after the banishment of the Moors from Spain, is thus one of the first works on the history of Spain in French and without doubt the first to deal exclusively and in detail with the epic tale of Islam in Spain.
Encompassing the religious, political and military history of mediaeval Spain – the advent of Islam, the Reconquista, and Habsburg rule – the work is divided into twelve books, from the life of Mohammed to the expulsion of the Moors from Valencia in the reign of Philip III in 1609. Each book is then sub-divided into chapters, making for very straightforward reading, part of Jouvenel's intention of introducing newfound method to the writing of history.
This early manuscript is testimony to a new approach to historiography, notable for its rejection of oral tradition and legends and the use of selected written sources, subjected to the critical eye of the author. Jouvenel was not content merely to reproduce contemporary accounts, but uses a number of documentary sources. Referring where possible to Spanish authors not yet translated into French at the time, he compares and questions each of their versions. He prefers to lean on contemporary Andalusian sources in Arabic, while at the same time pointing out a lack of documentary material – especially Christian – that historians of the era deplore to this day.
The author uses Classical and modern sources alike, such as Sebastian of Salamanca (866-982), Vincent de Beauvais (1190 – 1264) and Jaime Bleda's (1550-1622) 1618 Coronica de los moros de España.
In a political environment where historical discourse was primarily treated as a legitimation of power and the State by means of a retrospective justification of the events giving rise to the established order, Jouvenel's research stands out all the more from this tradition of apologia; by choosing not to deal with France, it is not forced into presenting a partisan view of history. Moreover, Jouvenel having already successfully published several works, it seems clear that the present manuscript was not intended to be made public. Despite the importance and originality of his work, Jouvenel no doubt himself chose to keep his manuscript secret.

Nonetheless, like all historical treatises of the 17^th century, the present work is also steeped in ideology. As a fervent Christian – Elie Fréron recounts that when Jouvenel died, he was found to be wearing a belt with metal teeth “biting so far into his flesh that he had been unable to withdraw them in his final illness” – Jouvenel felt the need to give a theological view of History, counterpoising defeat with re-conquest.
Thus, Jouvenel begins his work with a virulent critique of the Islamic faith, describing the birth of Mohammed as a form of divine punishment: “If it be true that godlessness be the most cruel scourge employed by heavenly justice to punish the sins of men, we can say that since the incarnation of the Word that began the era of true grace, the Church has never felt so keenly the wrath of God as in the birth of Mohammed.” There follows a detailed, if extremely critical, history of the life of Mohammed, allowing Jouvenel to place his history of the Muslim Conquest under the aegis of the more perfect, Christian, religion.
Nonetheless, after this affirmation of Christian primacy, Jouvenel's actual historical work does not seem poisoned by theological considerations. His use of documents and his research on his sources show a deep respect for the accounts of Arab historians and a mistrust of the fanciful versions of Western authors.

So, for each event, Jouvenel provides a rigorous comparison between various versions and reflects upon their credibility, and when he does succumb to the power of the Christian account, he does so to make up for the lack of verisimilitude in the versions of Arab historians.
The absence of direct Christian documents gave rise in Jouvenel to a natural suspicion of the sources at his disposal and encouraged him to cross-check widely, as much to discover the historical truth as to produce an alternative to the Muslim accounts. Though admittedly he peppers his account with fantastical events indicating the continuity of the divine presence, he also at the same time produces a work of exacting research and comparison of various different versions.
With its methodological objectivity and cultural subjectivity, this General Account of the Moors of Spain holds a special interest from the point of view of the epistemology of History in the 18^th century. It is also a manuscript of great literary worth in which the author is given to charming lyrical touches - “Fleeing, the two of them, like owls from the light of day, they took to the paths of Arabia Felix…” - and takes great care to give his reader a lively, but nonetheless rigorous, account in which enmity towards the Islamic religion is mixed with fascination for a culture and civilisation with a profound impact on the West as well.

First edition of which there were no large paper copies.
Two slight lacks to head and foot of spine.

Typescript draft of a letter to André Breton, with autograph corrections and one line written by hand, with a questionnaire addressed to Blanchot by André Breton concerning magical art, with one line written by hand and signed.
One 4to leaf, recto only, with corrections and a line in black ink in the hand of Maurice Blanchot, and another 4to leaf (27,5 x 21,5 cm) printed and illustrated in black, recto-verso, with a hand-written line and signature by André Breton in purple ink.

When, in 1955, André Breton wrote to Maurice Blanchot, the two men already knew each other and had spent time together, developing a mutual appreciation but always keeping a respectful distance. Breton was working at the time on his important book L'Art magique [Magical Art] (Paris, 1957) and it was for this work that he undertook a huge survey of eighty figures (mainly artists, but also sociologists, ethnologists, philosophers, art historians, critics, and so on), including Blanchot. In order to conduct this survey, Breton published a tract entitled “Formes de l'art [Forms of Art]” illustrated with twelve images (of Egyptian, Gallic, Pre-Columbian, and Oceanian art as well as tarot, Paolo Uccello, etc.) which showed his progress and ended in a series of five questions on the links between art, magic, and modernity. “I am taking the liberty, my dear Maurice Blanchot, of asking for [your responses ] most particularly. André Breton “.
On the 22nd July, Blanchot replies, ”It has always seemed to me that the word ‘magic', like the word ‘religion' can help us to approach what art truly represents, since in certain eras we could get to one via the other; but there was a moment when we had to forsake that path, and it is as though the thing for which art is the harbinger, the thing that speaks in poetry, is a more profoundly original word. It is as if works of art or poetry enunciated a beginning in a more fundamental way than the power – magic or religious – that they took on in order to manifest themselves or act. “Like the answers of other respondents, Blanchot's text was to appear in L'Art magique.

A very interesting collaboration between Maurice Blanchot and André Breton on the subject of magic.

First edition, one of 135 numbered copies on marbled paper, this one of 100 with a signed engraving (one not used) by Max Papart, the only printing alongside 10 on Chapelle paper
With 11 original engravings by Max Paprt, signed in pencil
Autograph signatures of Jacques Prévert and Max Papart to the justification page
Autograph inscription from Max Papart to Jean-Pierre Chauvency, enriched with a signed original drawing of a stylized bird flying towards the sun
Faint dampstain (not serious) to top of slipcase, internally very good.

First edition on ordinary paper, falsely stated the fourth edition.
Spine soiled and repaired, internally good.

First edition, one advance (service de presse) copy.
With an autograph inscription from Georges Bataille to Monsieur Delepine.
Three small stains on the spine, slightly folded.

First edition, one of 480 numbered copies on vergé paper (the only large paper copies after 20 on Arches and 100 advance copies on vergé).
This copy with the rare vignette drawn and engraved by Bellmer, printed in blood red and only present in about 200 copies.
Preface by Jean Paulhan. A good copy of this masterpiece of erotic literature.

New edition.
Autograph inscription from Jean Cocteau to Odile Lespinasse, enriched with a drawing of a young man's profile.
Illustrated with hors text drawings by the author.
Spine faded as usual.

First edition printed on papier glacé.
Numerous illustrations.
One joint cracked to foot, internally good.