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3705 results
  2. La Syrie d'aujourd'hui. Voyages dans la Phénicie, le Liban et la Judée 1875-1880
    Louis LORTET
    La Syrie d'aujourd'hui. Voyages dans la Phénicie, le Liban et la Judée 1875-1880
    Hachette & Cie|Paris 1884|25.50 x 34.50 cm|reliure de l'éditeur
    First edition, with 364 engravings, of which some after original photographs by Bonfils, as well as 9 maps.
    Publisher's polychromatic shagreen, the spine with Orientalizing decorative gilt elements, the covers with a large plaque of polychrome decorative elements by A. Souze, marbled endpapers and pastedowns, gilt edges.
    A little light insignificant foxing, one small tear to head of front endpaper facing half title.
    A very good copy.
    €1,200
  10. C. Crispi Salustii quae exstant
    SALLUSTE [Caius Crispus Sallustius]
    C. Crispi Salustii quae exstant
    F. Changuion • J. Catuffe • H. Uytwerf • P. Gosse • A. Moetjens • A. van Dole • J. Néaulme • Steph. Néaulme • |Amsterdam, • La Haye [The Hague] • et Utrecht 1742|23 x 28 cm|2 volumes reliés
    Highly esteemed edition, provided by Sigibert Havercamp. His text, revised from several manuscripts and from the editio princeps, includes numerous notes. Deluxe paper copy.
    Bindings (contemporary, very slightly later) in full dark blue morocco signed Anguerrand, smooth spines decorated with gilt compartments and fleurons, as well as red morocco title labels, volume labels, date and place labels. Triple gilt fillet and fleurons framing the boards. Wide gilt dentelle framing the pastedowns. All edges gilt. Spines somewhat faded and some rubbing, otherwise fine copy. Interesting detail that traces the life of this copy: the spines were updated to contemporary taste at the end of the 18th century; the title labels, in red morocco, were changed, some moved and the compartments, originally plain, were overworked with tooling from this same period.
    It appears to be the copy that figured in the catalogue of the Lamoignon library of 1791 (II, n°4292).
    €1,500
  11. Les VII Psalmes de la pénitence de David. Traduicts de l'italien de P. l'Arétin par François de Rosset
    Pierre l' ARETIN, François de ROSSET (trans.)
    Les VII Psalmes de la pénitence de David. Traduicts de l'italien de P. l'Arétin par François de Rosset
    Chez Abrah. Saugrain|Paris 1605|7 x 13.50 cm|relié
    The rare first edition of this new French translation by François de Rosset, the work having previously been translated in 1540 by Vauzelles.
    Eighteenth-century full citron morocco binding. Smooth spine decorated à la grotesque, red morocco title label. Wide gilt dentelle framing the boards. Gilt dentelle framing the cream paper pastedowns with gilt stars. All edges gilt. Two corners very slightly bumped, otherwise a very fine copy.
    Aretino's translation is not actually a translation but rather a paraphrase, with reformulations that are amplified or conversely minimized, Aretino emphasizing certain scenes or feelings or conversely diminishing their intensity. Furthermore, it is indeed a manifest interpretation of the meaning of the psalms and a dramatic staging of them, Aretino seeking to demonstrate his main thesis of correspondence between divine mercy and the efficacy of penitence; he thus transforms diverse texts into a continuous unity by creating a narrator who speaks of David in the third person, and who allows him not only to give commentary but to frame the first-person text of the psalms: it is a form of literary recreation.
    €1,300
  14. Les Oeuvres latines et francoises
    Nicolas RAPIN
    Les Oeuvres latines et francoises
    Pierre Chevalier|Paris 1610|16 x 23.50 cm|relié
    First edition of this poetic collection divided into three parts, comprising Latin poetry, French verse imitations of Horace and Ovid, sonnets, odes, tombeaux and the two books of Vers mesurez by Nicolas Rapin (c. 1535-1608). The third part, composed of 47 leaves, contains various pieces of prose, some Latin poetry and six pieces in French verse on Rapin. The general title is decorated with a vignette engraved on copper with the arms of France and Navarre.

    Later binding (c. 1860) in full blonde shagreen, spine with four false raised bands decorated with gilt compartments and a green title label, triple gilt fillet framing the boards, decorative gilt board-edges, edges gilt.

    According to the author's wishes, this edition was established by his friend Gillot and under the direction of Scévole de Sainte-Marthe. It can be found either at the address of Pierre Chevalier, or at that of Olivier de Varennes.

    From the library of Léon Laurent Pichat, director of the Revue de Paris, with his bookplate. Lacking the 4 leaves of table.
    €1,300
  15. Les oeuvres de François Villon. - Les Repües Franches le Franc Archier de Baignollet. Le dialogue de messieurs de Mallepaye, et de Baillevant. - Lettre a Monsieur de ***, en lui envoyant la nouvelle édition des Oeuvres de François Villon
    François VILLON
    Les oeuvres de François Villon. - Les Repües Franches le Franc Archier de Baignollet. Le dialogue de messieurs de Mallepaye, et de Baillevant. - Lettre a Monsieur de ***, en lui envoyant la nouvelle édition des Oeuvres de François Villon
    de l'imprimerie d'Antoine-Urbain Coustelier|Paris 1723|10 x 16 cm|3 parties reliées en un volume
    New edition.

    Contemporary binding in full blonde calf. Spine with five raised bands decorated with gilt compartments and fleurons as well as a red morocco title-label. All edges red speckled.
    Leaves of the first part entirely browned, due to paper of inferior quality compared to the rest of the volume.

    Famous edition from the collection of French poets published by Coustelier. The works follow in this order: Les Repues franches. Le Franc Archier de Baignollet. Le Dialogue de messieurs de Mallepaye, et de Baillevant, Lettre à Monsieur de ***, en lui envoyant la nouvelle édition des Œuvres de François Villon et Le Petit Testament de F. Villon, thus titled without the author's consent, as he states in the second book. According to the "notice to readers" the first part, (that is to say in our edition the second and third), was published following Clément Marot's edition, with the difference that various readings drawn from editions anterior to the latter have been placed in the margins. The footnotes marked with letters are by Clément Marot, those marked with numbers are by another hand.
    €1,000
  27. La tour de Percemont - Marianne
    George SAND
    La tour de Percemont - Marianne
    Calmann Lévy|Paris 1876|12.50 x 19.50 cm|relié
    First edition published as part of the complete works
    Half light brown morocco by Petit successeur de Simier, spine in six compartments, marbled pastedowns and endpapers, top edge gilt
    Handsome autograph inscription from George Sand to his friend Charles Sagnier, a frequent visitor of the house at Nohant during the final years of Sand's life
    Provenance: from the library of Charles Sagnier with his ex libris.
    €3,000
  30. Les romans de Sartre. Manuscrit autographe
    Maurice BLANCHOT
    Les romans de Sartre. Manuscrit autographe
    1945|-|19 pages 1/2 in-8
    Autograph manuscript of the author of 19 pages and a half in-8 published in the October issue (No. 10) of L'Arche
    Complete two-sided manuscript, very dense writing, with many erasures, corrections and additions.

    Since the 1930s, Maurice Blanchot regularly devotes articles to Jean-Paul Sartre and especially to his novels. The publication of the first two volumes of the trilogy The paths of freedom was to give rise to the almost simultaneous publication of a rather short chronicle in Dimanche paysage (No. 19, October 21, 1945) and this large study, entitled "The Novels of Sartre ". This one, which goes beyond the circumscribed frame of the literary news, intends to analyze what makes the specificity of these works, namely the use of the "thesis": "One can wonder why the thesis novel has bad reputation" . Grievances seem as numerous on the side of the thesis as on the side of the novel; the theoretical affirmation complains of the adventure to which it is committed and from which it derives an additional truth. [ ... ] In a novel of this kind, we reproach the characters for being lifeless but it is "the idea" that is lifeless: it only looks like itself, it has only its own sense [ ... ] . "
    Therefore, Blanchot salutes Sartre's meeting of exceptional philosophical as well as literary capacities, while underlining that it is also the fruit of his time: "It is true that fiction works are more and more besieged by theoretical aims and that theoretical works are more and more a call to problems that require a complete expression. Existentialists or not, novelists and philosophers pursue similar experiments and research [ ... ] . "
    Moreover, he praises Sartre's ability to make his novels both an experience in itself and "the story of an experience" , an essential concept for Blanchot and which had emerged as one of the central themes of his first critical collection, False Pas (1943). And it is this same quality that he lends, by the way, to Simone de Beauvoir's Guest , a "remarkable work" .
    Thus, at the end of a reflection which reveals the admiration of Blanchot for the Sartrean novel, and particularly for Nausea composed at the same time as his Thomas the Obscure , he concludes: "In short, could not it be possible not that the novel was much less the enemy of the thesis than it is said? "The manuscript, and multiple deletions and additions, then reflects the hesitation of Blanchot in formulating the end of his demonstration, yet clear in the finished text," This only: to respect the status of bad faith that is its morality, it to recognize a power of transformation, of crystallization by the transparency of discovery through exposure, which is its reality, and finally, having formed of its substance, existing only by its duration, to triumph by disappearing, according to the movement proper to art, to recover in affirmation and to fulfill itself in failure - which is its truth. "

    The text will be repeated, with some corrections, in La Part du Feu (1949).
    €3,000
  31. Adolphe ou le malheur des sentiments - Manuscrit autographe.
    Maurice BLANCHOT
    Adolphe ou le malheur des sentiments - Manuscrit autographe.
    1946|20.90 x 13.70 cm|en feuilles
    Autograph manuscript by the author of sixteen and a half pages in-8vo published in issue 20 (October 1946) of L'Arche and reprinted, slightly revised, in La Part du Feu (1949).
    Complete recto-verso manuscript, in very dense handwriting, with numerous deletions, corrections and additions.

    Benjamin Constant's Adolphe, who was one of the prestigious contributors to the Journal des débats during its golden age, interests Maurice Blanchot at the very moment when he begins a passionate relationship with Denise Rollin, former mistress of Georges Bataille. Moreover, "Adolphe ou le malheur des sentiments vrais" is one of Blanchot's rare texts thus devoted to amorous desire: "On trouve presque à chaque page dans Adolphe la description des sentiments dont la cause a beau se renverser, tout les renvoie à eux-mêmes, tout en confirme la fatalité. C'est que le point est atteint où la diversité des évènements et tout l'infini du monde répètent inlassablement le mouvement en cercle dans lequel s'est enfermé le cœur avide de vérité." ["One finds on almost every page in Adolphe the description of feelings whose cause may well be reversed, everything sends them back to themselves, everything confirms their fatality. This is because the point is reached where the diversity of events and all the infinity of the world tirelessly repeat the circular movement in which the heart avid for truth has enclosed itself."]
    To support his analysis, Blanchot chooses to compare Constant's approach to that of other writers, particularly to that of Proust in the Recherche: "[...] Proust ne désire pas cette absence comme le mouvement de toute communication, ainsi que le fait Constant : il ne la désire même pas, mais c'est elle qui lui rend un être désirable en le faisant souffrir de ne pouvoir l'atteindre. [...] Proust aime parce qu'il souffre, et il souffre de sentir tout ce qu'il y a d'absence dans une présence toujours fuyante ; mais c'est aussi, à cause de cette absence, que cette présence fonde des rapports véritables. Constant commence à aimer lorsqu'un être particulier éclaire, aimante tout le vide qui le sépare des autres et que la possession est loin de restituer sous la forme de l'inconnu. Dès que, par un engagement trop exigeant, la possibilité de ses relations avec tous qu'il a voulu vivre avec une personne unique est épuisée, il étouffe, il succombe. Il a besoin d'être libre, mais il est toujours lié." ["Proust does not desire this absence as the movement of all communication, as Constant does: he does not even desire it, but it is this absence that makes a being desirable to him by making him suffer from not being able to reach it. [...] Proust loves because he suffers, and he suffers from feeling all the absence there is in a presence that is always fleeting; but it is also, because of this absence, that this presence establishes true relationships. Constant begins to love when a particular being illuminates, magnetizes all the void that separates him from others and which possession is far from restoring in the form of the unknown. As soon as, through too demanding an engagement, the possibility of his relationships with all that he wanted to live with a single person is exhausted, he suffocates, he succumbs. He needs to be free, but he is always bound."] Blanchot's biographer will see in this conception of Adolphe the reflection of his own feelings toward Denise Rollin (BIDENT Christophe, Maurice Blanchot : partenaire invisible, p. 275).

    Handsome study on passion and desire through the work of Benjamin Constant.
    €2,300
  32. Reflexions sur le surréalisme - Manuscrit autographe complet
    Maurice BLANCHOT (André BRETON)
    Reflexions sur le surréalisme - Manuscrit autographe complet
    1945|22 x 11.50 cm|8 feuillets foliotés
    Autograph manuscript by the author of 16 octavo pages published in number 8 (August 1945) of L'Arche under the title: Some Reflections on Surrealism.
    Complete recto-verso manuscript, with very dense writing, containing numerous deletions, corrections and additions.

    Some Reflections on Surrealism forms the first important text that Maurice Blanchot devoted to André Breton's movement. He rehabilitates surrealism which placed at the center of its activity the question of language and experience - aspects that could not leave Blanchot indifferent -, without forgetting to make the following observations: it carries within it a part of failure and its "situation [...] remains ambiguous".
    Now increasingly asserting his aesthetic positions, Blanchot fully recognizes the poetic and experimental value of automatic writing, for its very radicalism: "Automatic writing is [...] a war machine against reflection and language. It is destined to humiliate human pride, particularly in the form that traditional culture has given it. But, in reality, it is itself a proud aspiration to a mode of knowledge and it has opened to words a new unlimited credit."
    Blanchot continues his reflection and insists on the questionings of surrealist writers and poets regarding discourse: "Surrealism was haunted by this idea: that there was, that there had to be a moment [...] when language was not discourse, but reality itself, without however ceasing to be the proper reality of language [...]. The surrealists drew brilliant literary consequences from this 'discovery,' but for language the effects are more ambiguous and more varied. In this domain, they still seem above all to be destroyers. They are unleashed against discourse; they withdraw from it the right to signify something; as a means of [?] social, of precise designation, they break it ferociously. Language appears somewhat alone annihilated or sacrificed, but humiliated. In reality, it is a matter of something quite different and even the contrary: language disappears as instrument, but that is because it has become subject. Through automatic writing, it has benefited from the highest promotion [...]."
    The text would be reprinted in The Work of Fire (1949), not without Blanchot having taken care to attenuate the reservations he expressed in the initial article.

    First important monographic study devoted by Maurice Blanchot to the question of surrealist language.
    €4,000
  33. Sade ou le Royaume de l'Unique [Quelques remarques sur Sade] - Manuscrit autographe complet
    Maurice BLANCHOT
    Sade ou le Royaume de l'Unique [Quelques remarques sur Sade] - Manuscrit autographe complet
    S. n.|s. l. S.d (1946)|-|en feuilles
    Complete autograph manuscript of 12 pages on 6 octavo leaves with a title difficult to decipher, perhaps: "Sade or the Kingdoms of the Unique" and which would appear under the title "Some Remarks on Sade" in Critique no. 3-4 of August-September 1946.
    Manuscript with very dense writing, containing numerous deletions, corrections and additions.

    "It is Sade's thought that pushes Blanchot's to its fulfillment, and it is also Blanchot's that fulfills that of Sade." (Georges Bataille)
    Bataille's writing and friendship are undoubtedly not unrelated to the importance that Blanchot would attach throughout his life to this tutelary figure of his philosophical reflection.
    These Some Remarks on Sade, are nonetheless the first study that Blanchot devoted to this writer whom he had until then almost never mentioned.
    In this first impartial and sometimes severe analysis, Blanchot emphasizes the weaknesses of Sade's literary posture and his relative immorality within a post-revolutionary society shaped by ideological contradictions.
    However, beneath the artifice of extreme expression, Blanchot reveals a philosophy far more disconcerting and subversive than these "great extravagances".
    With singular acuity, he draws the portrait of a unique mind, embracing all the great ideals of his time but inflicting upon them the filter of his nihilistic singularity: "Freedom, in his eyes, is nothing but the prohibition made to any person from being anything other than what he wants, that is to say nothing."
    Under Blanchot's pen, Sadism is then no longer the enjoyment of violence inflicted on others, but the expression of "the infinite solitude of the individual" in a world "where the relationships between beings, the general forms of life and even language, everything is already consumed in universal destruction"; "and henceforth all particular cruelties are no longer destined (...) except to bring to the Unique the pleasant proofs of his existence in the midst of nothing."
    If, as Bataille emphasizes, more than a fresh perspective, Blanchot's reading of Sade reveals a community of thought, it is undoubtedly through the conclusion of this first major study that Blanchot the solitary most clearly testifies to his attachment to Sade the Unique:
    "And then, one comes to think: if circumstances made Sade a man forever reduced to the misery of an eternal prison, he himself knew how to make his prison the image of the solitude of the universe over which reigns his sole glory forever all-powerful. This prison does not hinder him, it is his work, it is commensurate with the world over which he has more rights than God himself, for not only does he reign there as master, but he has banished and excluded all creatures from it. Such is the advantage of the Destroyer over the Creator. This atheist is more God than God. Thus he is called divine."
    €2,300
  36. Orlando Furioso
    L' ARIOSTE
    Orlando Furioso
    appresso Gabriel Giolito de Ferrari|In Vinegia [Venice] • (Venise) [Venice] 1547|10.50 x 16 cm|relié

    A handsome illustrated edition and one of the first printed by Gabriele Giolito de Ferrari, dedicated to the Dauphin of France. It has a superb engraved title with Giolito's printer's device (a phoenix being reborn from its ashes on a globe marked with the printer's initials), 56 attractive woodcuts and numerous large ornate capitals, as well as a portrait of Ariosto after Titian in a medallion at the end of the poem, and two states of the printer's device.
    The end of the work is made up of a vocabulary of obscure words and an explanation of the difficult passages in the work compiled by Lodovico Dolce, with a separate title and not included in the pagination. Giolito published more than twenty books in thirteen years of printing – this is the third edition of this work, the first appearing in 1542 and the second in 1543.
    Printed in round Roman type, double column.
    Late 17th or early 18th century red morocco, spine richly gilt in six compartments, one compartment marked with “lettres rondes [round Roman type]”. Covers with a frame of triple gilt fillets, gilt roulette frame to insides of covers, all edges gilt. Binding a little rubbed, faint dampstaining to end of volume.
    A handsome copy in a lovely red morocco binding.

    €7,000
  38. Les rois en exil
    Alphonse DAUDET
    Les rois en exil
    E. Dentu|Paris 1879|12 x 18 cm|relié
    first edition on the current paper it is printed in Holland paper a few leading copies.
    Binding to bradel half percaline green, smooth back with a gold floral motif, double net gilded tail, as a piece of modern burgundy shagreen, marbled paper plates, two corners lightly used, contemporary binding.
    Precious autograph signed by Alphonse Daudet: ". The novelist JB d'Aurevilly his admirer and friend Alphonse Daudet"
    Some minor foxing.
    €6,000
  39. Les Burgraves
    Victor HUGO
    Les Burgraves
    E. Michaud|Paris 1843|14.50 x 23.50 cm|relié
    First edition.
    Half blue-grey cloth Bradel binding over marbled paper boards by Champs, spine with gilt stylized floral motif, date and double gilt fillet to foot, navy blue shagreen title-piece with a small angular lack to top, covers preserved.
    Autograph inscription signed by Victor Hugo to his friend, the literary critic Henri Trianon.
    Small manuscript correction to the first page of the introduction    , a few small wormtracks to the title and half-title.
    Provenance : Morizet collection, collection of Raymond Boueil with his engraved ex libris, Maurice Escoffier (Le mouvement romantique N°1557), Robert Schumann, manuscript initials (1965, N°207) and Philippe Zoummerouff (2001, N°62).
    €4,500
  44. Clef de la poésie
    Jean PAULHAN
    Clef de la poésie
    Gallimard|Paris 1944|14 x 19.50 cm|broché
    First edition, an advance (service de presse) copy.
    Handsome autograph inscription from Jean Paulhan to Raymond Queneau : "... ce petit cadeau de Noël de son ami..." with a quotation of Lie-Tzeu : "Tchoung-Ni, ayant d'abord rêvé qu'il était poisson dans les eaux puis oiseau dans les airs and un peu plus tard oiseau dans l'eau and poisson dans les airs, à son réveil y voyait très juste..."
    Spine slightly sunned as usual.
    €750
  57. Traité de la noblesse des Capitouls de Toulouse
    COLLECTIF
    Traité de la noblesse des Capitouls de Toulouse
    Aux dépens de Jean-François Forest|à Toulouse (ca.1720)|19 x 26 cm|relié
    Fourth edition, after the original published in 1673.
    Contemporary full red morocco binding richly decorated. Spine with five raised bands ornamented with gilt fillets and fleurons as well as a black morocco title label. Wide gilt dentelle frame on covers. Fine gilt dentelle (40 mm wide) framing the pastedowns; cornerpieces of exceptional complexity. All edges gilt. Headcap skillfully restored, as well as one joint.
    Very handsome copy richly bound.
    History of the Capitouls of Toulouse from their Roman origins. This study in which the author presents numerous hypotheses establishes a history of the city of Toulouse endowed with numerous precious information. The author has gathered multiple documents, drawing from historians the proofs of the nobility of the Capitouls.
    Rare copy elegantly bound in contemporary red morocco.
    €2,000
  60. Verlainiens et décadents
    Gustave LE ROUGE
    Verlainiens et décadents
    Editions Marcel Seheur|Paris 1928|13.50 x 18 cm|relié
    First edition, one of 50 numbered copies on Hollande paper, the tirage de tête.
    Elegant half cherry-red morocco over marbled paper boards by P. Goy & C. Vilaine, spine in six compartments, gilt date to foot, marbled endpapers and pastedowns, covers and spine preserved (spine sunned with filled-in lack at head), top edge gilt.
    Rare autograph inscription dated and signed by Gustave Le Rouge to Monsieur Crottet.
    Iconography.
    A very good copy in a nice binding.
    €1,800
  64. Mon corps et moi
    René CREVEL
    Mon corps et moi
    Simon Kra|Paris 1926|12.50 x 17.50 cm|relié
    First edition on ordinary paper, falsely stated the fifth.
    Half navy blue morocco over moiré-effect marbled paper boards by Goy & Vilaine, spine in six compartments, gilt date to foot, navy blue endpapers and pastedowns, top edge gilt (covers and spine (faded) preserved.
    Handsome autograph inscription from the author to the photographer and director Marc Allégret : "Pour Marc Allegret en marque d'allégresse à cause de son Tchad et avec toute l'affection de René Crevel [For Marc Allegret as a token of my pleasure at his Chad, and with all good wishes from René Crevel]".
    A very good copy nicely bound.
    €1,200
  65. Histoire de la ville de Paris
    Michel FÉLIBIEN, Guy-Alexis LOBINEAU
    Histoire de la ville de Paris
    Chez Guillaume Desprez • et Jean Desessartz|à Paris 1725|25.50 x 38 cm|5 volumes reliés
    First edition illustrated with a frontispiece engraved by Simonneau after Hallé, 3 vignettes by Cochin or Simonneau, a large folding plan by Coquart and 32 plates, most often folding, engraved by Hérisset, Lucas or Avéline; they offer a view of all the principal monuments of the capital, including three beautiful views drawn "sur le naturel" by Chaufourier showing the Pont Neuf and the Quai Conti from Saint-Germain l'Auxerrois, the Île Saint-Louis and the Quai Saint-Bernard, the Collège des Quatre Nations up to the Pont Royal from the Louvre.

    The famous plan of Paris (68 x 90 cm) predates that of Turgot by fifteen years. The last three volumes contain the numerous supporting documents and proofs and were organized by Lobineau; these form the public archives of the city.

    Contemporary bindings in full brown calf. Spines with six raised bands decorated with gilt compartments and fleurons, as well as red morocco title and volume labels. Joints cracked and most headcaps missing. All edges red.
    The most monumental work and undoubtedly the finest book published on Paris in the early 18th century. Although death surprised the author during the writing of his work, it was continued by Lobineau, another member of the famous scholarly congregation of the Benedictines of Saint Maur, who himself died in 1727. This major study which Paris was lacking was originally commissioned by the provost of merchants Jérôme Bignon (1711-1772) and it forms the first official history of the capital and an unprecedented documentary source; and it is undoubtedly through this that this history shines with particular brilliance: the extremely important documentation devoted to the history of Paris, the rigor of the analyses and hypotheses.

    It was following this work that Turgot made the decision to gather at the registry of the Hôtel de Ville a library devoted to the city of Paris in order to continue the work of the two historians, giving birth to the Historical Library of the city of Paris.

    The history of the city is preceded by two dissertations, the first by Le Roy on the origins of the hôtel de ville which was the first political government of Paris, the second on the explanation of the antiquities found at Notre-Dame.
    €4,000
  73. Du dandysme et de G. Brummell. - Memoranda
    Jules BARBEY D'AUREVILLY
    Du dandysme et de G. Brummell. - Memoranda
    Alphonse Lemerre|Paris 1887|9.50 x 16.50 cm|broché

    Later edition.
    Autograph inscription from Jules Barbey D'Aurevilly to Madame Salomon : "... parce qu'il est plus moi que mes autres livres, je vous l'offre...[since it is more like me than my other books, I give it to you…]" What an inscription!
    With a frontispiece portrait of the author by Martinez.
    The front free endpaper with the inscription very slightly and partially faded.
    Autograph inscriptions by Barbey d'Aurevilly on this work are rare and much sought after. 

    €2,500
  76. Opus tragoediarum aptissimisque figuris excultum. In quo tria millia errata atque inversa loca exemplorum depravatione & librariorum incuria diligentissime ad veterem lectionem nunc primum reformata. Cum expositoribus luculentissimis Bernardino Marmita & Daniele Gaietano
    SÉNÈQUE
    Opus tragoediarum aptissimisque figuris excultum. In quo tria millia errata atque inversa loca exemplorum depravatione & librariorum incuria diligentissime ad veterem lectionem nunc primum reformata. Cum expositoribus luculentissimis Bernardino Marmita & Daniele Gaietano
    Per Bernardinum de Vianis|Impressum Venetiis [Venice] • (Venise) [Venice] 1522|21 x 31 cm|relié
    Very rare post-incunabula edition of Seneca's tragedies, illustrated with 10 woodcut figures in-text (6.5 x 8 cm), at the head of each of the ten tragedies. Numerous initials in black or criblé. Text of the tragedy in a central column with commentaries distributed around it, in Roman type. Title within a large engraved floral border. The editio princeps of Seneca's tragedies is considered to be that of 1484 in Ferrara (Andreas Gallicum).
    Colophon: "Impressum Venetiis per Bernardinum de Vianis de Lexona Vercellensem. Anno Domini M.D.XXII, die VI Novembris."

    Contemporary full vellum binding, with a raised-band spine remade in old vellum (18th or early 19th century). Manuscript title in black ink. Lacking the endpaper before the first title leaf. Front board detached from the visible sewing. Last leaves frayed at right margin. Lack to edge on lower board. A copy of fine freshness, except for the title leaf, slightly faded.

    Edition prepared by Girolamo Avanzi who brought together his own commentaries on Seneca's Tragedies (which initially appeared in 1507 in Venice), and those of Daniel Galetanus and Bernardino Marmitae from the 1498 edition of the same Tragedies of Seneca. This professor of philosophy and philology worked in Padua, he prepared several editions of ancient texts, notably Catullus, Ausonius... He was Aldus Manutius's assistant in preparing editions of several ancient texts.

    Ten tragedies by the author have come down to us, two of which pose problems regarding their attribution, Octavia and Hercules Oetaeus. The Trojan Women is an adaptation of Euripides' Troades. Seneca's theater contains no scenic dramaturgy or intrigue, it is a theater where, as in Euripides - to whom the author is very close -, the word is sovereign and commands the tragic outcome. The plays thus appear as a succession of declamations where action is absent, Seneca concentrating his writing on the internal tragedy of his characters after the irremediable act that precipitated them into madness, thus Medea after her crimes, or Hercules after his infanticide. The influence of this writing would be great at the end of the 16th and beginning of the 17th century, notably in Garnier.
    €3,000
  78. Trois primitifs
    Joris-Karl HUYSMANS
    Trois primitifs
    Albert Messein|Paris 1905|16.50 x 23.50 cm|relié
    First edition on ordinary paper; there were only 17 large paper copies on Japon paper.
    Elegant pastiche Bradel binding by T. Boichot in varnished marbled paper boards, blue Russia title label to spine, covers and spine preserved, top edge gilt.
    Handsome autograph inscription signed by Joris-Karl Huysmans to his friend, the executor of his will, Lucien Descaves.
    With 6 plates hors-texte.
    A very good copy in a nice pastiche binding.
    €1,500
  85. Panegyricus, cum notis integris [Ensemble] Latini Pacati Drepanii panegyricus
    Caius Plinius Caecilius Secundus (dit) PLINE LE JEUNE
    Panegyricus, cum notis integris [Ensemble] Latini Pacati Drepanii panegyricus
    Apud Janssonio Waesbergios • Apud Viduam & filium S. Schouten|Amstelodami [Amsterdam] • (Amsterdam) 1738 - 1753|19 x 25.50 cm|relié
    First edition of these two works, illustrated with a frontispiece by Jongmann, and a title vignette for the first, and a title vignette for the second. Title pages in red and black.
    Copy with the large arms of the city of Amsterdam stamped on the boards.
    Dutch binding in full rigid gilt vellum. Spine with raised bands decorated with the arms of the city of Amsterdam. Boards stamped in the center with the arms of the city of Amsterdam, a first decorative border with the arms of the city of Amsterdam in the corners, a second wider decorative border. Traces of ties. Gilding slightly faded on the large arms of the boards. Spine yellowed. Despite the mentioned defects, a very handsome copy, rare in this condition.
    Edition produced by Johannes Arntzenius and incorporating the commentaries of François Juret, Juste Lipse, Jan Gruterus, Petrus Faber, Jan Lievens, as well as the prefaces and discourses from previous editions. The panegyric of Trajan was delivered on September 1st or October 100; it was indeed traditional to produce a speech when appointed Consul. This is the only example of this type of discourse that remains from the high Roman empire. Before being published by the author himself, he completely reworked and considerably expanded it. Edition abundantly annotated at the bottom of pages.
    The panegyric of Tracatus, who was professor of rhetoric in Bordeaux in the 4th century, is a praise of Emperor Theodosius, on the occasion of his victory over the usurper Maximus. It is an important document on Theodosius's ascension to the throne, his military career and his politics. The edition was likewise produced by Johannes Arntzenius with the same commentators.
    €1,400
  89. Voyage de la France equinoxiale en l'isle de Cayenne, entrepris par les François en l'année MDCLII
    Antoine BIET
    Voyage de la France equinoxiale en l'isle de Cayenne, entrepris par les François en l'année MDCLII
    Chez François Clouzier|à Paris 1664|17 x 24 cm|relié

    BIET Antoine
    Voyage de la France equinoxiale en l'isle de Cayenne, entrepris par les François en l'année MDCLII
    Chez François Clouzier, Paris 1664, in-4 (17 x 24 cm), (24) 432 pp.,contemporary calf
    First edition.
    Contemporary brown calf, spine in six compartments with blind-ruled compartments and gilt fleurons, remains of a manuscript title label. All edges speckled red, binding skillfully restored. Tear to lower margin of title skillfully restored, a few tiny stains.
    The work is divided into three parts: the first relates the establishment of the colony and its journey to Cayenne, the second is a collection of observations on the 15 months spent there by the author and the last is concerned with the country's climate, the fertility of the soil, and the customs and dress of the indigenous peoples. A last part is made up of a Franco-Amerindian dictionary, which is the very first appearance of a lexicon of the Galibi language. Some chapters also refer to Guadeloupe, Barbados and Martinique.
    Chaplain to the 700 colonists of the expedition sent to Guyana on the 18th May 1652, Antoine Biet gives a precise account of the second attempt at colonization. The attempt failed, and the hundred surviving colonists were forced to flee Cayenne for Surinam in January 1654 (and from there to Barbados), having suffered tropical illness and fierce resistance from the Galibi Indians. According to Boucher de La Richarderie, “no account other than Biet's sheds so much light on the natives of Guyana; he describes them in all their primitive simplicity.” (Bibliothèque universelle des voyages, 1808).
    Manuscript ex-libris on front endpaper: “Ce livre appartient à Mr. Adam de Saron [This book belongs to Mr Adam de Saron].”
    €3,500
  90. Quadragesimale opus declamatum parisiorum urbe ecclesia sancti Johanni in gracia
    Olivier MAILLARD
    Quadragesimale opus declamatum parisiorum urbe ecclesia sancti Johanni in gracia
    Jehan Petit|[Paris] 1508|10 x 16.50 cm|relié

    New post-incunabula edition in Petit Jehan. Gothic print in two columns to 45 lines. Thumbnail of the printer on the title page. The first edition was published in 1498. Jehan Petit reprinted several times in sermons 1506-1522 (Brunet). Many white initials on black (full of stars or others).
    Colophon transcribed: "Opera Johannis Barbier impensis vero honesti viri Johannis Small Bibliopole parisiensis impressorum. Anno. M.CCCCC. VIII quarto nonas maii. »
    Full burgundy morocco binding late nineteenth or early twentieth century. Back with nerves decorated with jewels box section 5. Golden tail date basis. Cold coaching nets on the dishes. Gilt edges. Wetting the top right corner of folios 65-73 and 153-175.
    Beautiful specimen, rare in this condition.
    Olivier Maillard (1430-1502), Vicar General of the Franciscan observant of France in 1502, is one of the greatest figures of the Franciscan order at the end of the XV. From Brittany and died in Toulouse, he was a preacher of Louis XI and the Duke of Burgundy. His reputation is mainly based on the preaching he did during the years 1494 and 1508 in the church of Saint-Jean en Greve in Paris and strange liberties he gave it. He seemed never find the word hard enough nor sufficiently vivid expression to his sermons. "Nobody had ever attacked all classes and all social professions more boldly, virulence and tasteless. Each of his sermons is a bitter and outrageous satire, covered with foul language, trivial, and words borrowed from bad places of the lowest "(Hoefer). The style of Olivier Maillard was rated "Macaronic" by Sainte-Beuve in his historical and critical Table of poetry and the French theater in the eighteenth century. See Moreau, chronological inventory Parisian editions of XVIII century. "Brother Olivier Maillard was a preacher of the fifteenth century who acquired much fame pronouncing several Latin sermons mixed with French, in which he declaimed against the vices of the great, the church people and lawyers. "(Brunet III, 1318)

    €1,800
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