Gift Ideas – Rare Editions

First edition, one of 340 numbered copies on Holland paper, the only deluxe paper issue.
Bound in brown half morocco with corners, smooth spine, marbled endpapers, original wrappers preserved.

Some discreet restorations to the spine and joints.
Our copy, with full margins, retains the folding genealogical table of the Rougon-Macquart.

First edition of one of the most important revolutionary publications against the African slave trade and the first manifesto of the Society of the Friends of the Blacks, founded in February 1788 by Jacques-Pierre Brissot, Étienne Clavière, and Mirabeau, barely nine months after the London Society for Effecting the Abolition of the Slave Trade, which served as their model.
 

 

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

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

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

A unique combination of French translations of the first two philosophical works on the Sublime, marking the beginning of the most important reflection on aesthetics in Western history.
Extremely rare first edition of the first French translation of a philosophical work by Immanuel Kant, and the second ever translation of a Kantian text. The others were only translated during the 19th century. Illustrated with a portrait of the author by Benezy. The first edition in German was published in 1764 in Königsberg under the title "Beobachtungen über das Gefühl des Schönen und Erhabenen".
Contemporary half brown roan binding with vellum corners, smooth spine ruled in gilt, blue paper boards, white paper pastedowns and endpapers, yellow red-speckled edges. Some marks on the endpapers, scattered foxing more noticeable on a few leaves.
This essay contains Kant's first observations on aesthetics - he had previously only published scientific texts - and more specifically on the sublime, a concept that would come into its own in Critique of Judgment (1790) left untranslated until the 19th century as it is the case with almost all of Kant's oeuvre.
"Certainly even before 1781 Kant's name was not completely unknown at the University of Strasbourg, where some students and professors had cited him in their research or lectures. The works of the Berlin Academy which included memoirs by staunch opponents of Kantianism were not completely ignored in France. However, it was not until the French Revolution and even the end of the Convention and the beginning of the Directoire, i.e. almost fifteen years after the publication of the Critique of Pure Reason that people in France began to talk about Kant and his work" (Jean Ferrari, "L'œuvre de Kant en France dans les dernières années du XVIIIè siècle" Les Études philosophiques No. 4, Kant (oct-dec 1981), pp. 399-411).
Bound at rear: Second French translation of Burke's text by E. Lagentie de Lavaïsse considered superior to the first 1765 translation by Abbé Des François. Illustrated with a portrait of the author by Mariage. The very first work on aesthetics, published in 1757 and translated into English the same year under the title A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful.
Burke regarded the sublime as that which has the power to compel and destroy us (a "delightful terror"). As an ardent admirer of his philosophy, Kant went beyond this consideration in Critique of Judgment (1790), concluding that the sublime is "that which is absolutely great", something in the face of which man feels inferior and feels respect.
The first two modern definitions of the sublime - one as realization of human reason, the other as reason's confrontation with that which surpasses it - aptly bound together by a scholar aware of the philosophical debates of his time.

First edition, one of 150 numbered copies, the only copies on deluxe paper.

Inscribed and signed by Jean-Pierre Abel to Paul Devivat.

Rare and handsome copy with full margins.

First edition in book form; the rare original edition was issued in parts between 1845 and 1856 (Brunet, I, 1707. Garrison and Morton reference three works by Cazenave on skin diseases).

Illustrated with 60 large and striking hand-colored plates.

Contemporary half red shagreen binding, spine with five raised bands adorned with double gilt and black fillets, sides covered in marbled “cat’s eye” paper, some rubbing to the upper portion of the front board, endpapers and pastedowns in combed marbled paper, corners a bit worn; later binding.

Minor foxing, a pleasing copy overall.

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

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

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

Beautiful set in a contemporary romantic binding signed by Bunetier.

First edition of the French translation, one of 51 numbered copies on pure wove paper, the only copies printed on deluxe paper.
Spine and boards slightly and marginally sunned, as often.
Rare and handsome copy of this work, splendidly adapted for the screen in 1967 by Richard Brooks, with Robert Blake, Scott Wilson, John Forsythe, and John MacLiam in the leading roles.
Richard Brooks even went so far as to film in the actual house where the crime took place, as well as in the same courthouse, where 7 of the 12 jurors played their own roles.

Illustrated edition with 192 color plates of military uniforms, chiefly from the Revolutionary and Napoleonic eras, after watercolors by Job (see Colas I, 1549).

Texts by various members of La Sabretache.

Contemporary bindings in cherry red morocco-grain half shagreen, spines with five raised bands framed by black fillets, marbled paper boards, marbled endpapers and pastedowns, gilt top edges, original wrappers preserved.

The illustrated plates are distributed as follows: in the first volume, 48 hand-colored plates numbered and captioned on their tissue guards; in the second, 48 unnumbered color plates; in the third, 48 unnumbered color plates; and in the fourth, 48 unnumbered color plates.

Complete set of all that appeared in La Sabretache, consisting of 48 issues each containing 4 color plates.

Themes of military life, patriotism, and even nationalism were the hallmark of Jacques Onfroy de Bréville (1858-1931), an illustrator whose vocation was initially thwarted.

A handsome set uniformly bound in contemporary bindings.

A collection of four extremely rare first editions:
- Thuileur des trente-trois degrés de l'écossisme (1813), “a rare and sought-after work and one of the best thuileurs in existence...” (Caillet, I, 2910). With a frontispiece and 14 plates (one folding) as well as a large folding table at end;
- Récapitulation de toute la maçonnerie ou Description et explication de l'hiéroglyphe universel du maître des maîtres (1812) with two plate;
- l'Explication de la croix philosophique (1806) with a folding plate showing the eponymous cross;
- l'Explication de la pierre cubique (1806) with a folding plate describing the stone.
This copy is further enriched with a small insert (8 x 10.5cm) entitled “Couplets d'obligations”, bound at page 30; these songs “to be sung at the end of every Masonic banquet.”

Contemporary half brown calf over green paper boards, spine with numerous gilt dentelles and fleurons, red russia title label.
A very good copy.
Crossed out pen and ink ex-libris to title.

Almost entirely unpublished handwritten letter from the painter Eugène Delacroix to the love of his youth, the mysterious “Julie”, now identified as being Madame de Pron, by her maiden name Louise du Bois des Cours de La Maisonfort, wife of Louis-Jules Baron Rossignol de Pron and daughter of the Marquis de La Maisonfort, Minister of France in Tuscany, patron of Lamartine and friend of Chateaubriand.

90 lines, 6 pages on two folded leaves. A few deletions and two bibliographical annotations in pencil on the upper part of the first page (“n^o114”).

This letter is one of the last to his lover in private ownership, all of Delacroix's correspondence to Madame de Pron being kept at the Getty Research Institute (Los Angeles).
Only nine of the ninety lines of this unpublished letter were transcribed in the Burlington Magazine in September 2009, alongside the long article by Michèle Hanoosh, Bertrand and Lorraine Servois, whose research finally revealed the identity of the famous recipient.

Sublime love letter from twenty-four-year-old Eugène Delacroix, addressed to his lover Madame de Pron, twelve years his senior, who unleashed the liveliest passion in him. This episode of the painter's youth, then considered the rising star of Romanticism, for a long time remained a mystery in the biography of Delacroix, who was careful to preserve the anonymity of his lover thanks to various pseudonyms: “Cara”, “the Lady of the Italians”, and even “Julie”, as in this letter, in reference to the famous epistolary novel Julie ou la Nouvelle Héloïse by Rousseau. For obvious reasons, Delacroix did not sign his name on any of the letters in correspondence with the lady.

A great figure of the legitimate aristocracy, the recipient of this feverish letter is Madame de Pron, daughter of the Marquis de La Maisonfort, Minister of France in Tuscany, patron of Lamartine, friend of Chateaubriand. Her beauty was immortalized in 1818 by Élisabeth Vigée-Lebrun, who painted her portrait in pastel, with an oriental hairstyle.
Delacroix and Madame de Pron met in April 1822 when the portrait of the latter's son, Adrien, was commissioned, a pupil at the Lycée Impérial (now Lycée Louis-le-Grand). Delacroix had been commissioned for the portrait by his close friend Charles Soulier, Madame de Pron's lover, who despite himself, served as an intermediary for Delacroix. In the absence of Soulier, who had gone to Italy, the painter and the young women established an intense romantic relationship. The portrait commission became a pretext for their tender meetings in his studio on rue de Grès, while no trace of the child's painting has been found to this day.
Their adventure lasted a little over a year, but it was one of the most intense passions of the artist's life.
Our letter undoubtedly corresponds to the last throes of their relationship, in the month of November 1823. After one of their visits at the end of a hiatus of several months, Delacroix writes to her again under the influence of emotion: “I come home with a shaken heart, what a wonderful evening! [...] Sometimes I say to myself: why did I see her again? In the calm sanctuary where I lived, even in the middle of the invisible places that I had formed [...] I managed to silence my heart”. Madame de Pron had indeed decided to bring an end to their intimate relationship (see her letter from 10 November 1823: “I want sweet friendship [...] I do not want to torment you”, (Getty Research Institute). Losing all discernment and with blind devotion, Delacroix attempts to revive their affair: “Make me lie, prove to me that your soul is indeed that of the Julie that I once knew, since mine has regained its charming emotions and its worries”.
But the painter runs into Soulier and General de Coëtlosquet, also lovers of Madame de Pron. Delacroix had narrowly avoided a final disagreement with Soulier, who had almost seen a letter from Madame de Pron in his apartments: “I pretend to have lost my key [...] I hope that my wrong towards him will not affect his relations with... God grant that he always ignores it!” (Journal, 27 October 1822, ed. Michèle Hanoosh, vol. 1, p. 94).

A prisoner of this love square, Delacroix resigns himself to sharing his lover's affection, but he bitterly reproaches her for it: “I fear that you cannot love perfectly. There has been a gap in your feelings which has been fatal to you [...] tell me no, tell me anyway, fool me if you want, I'll believe you, I want to believe you so much and I need it”.
Formalities and familiar invectives merge in the tormented mind of the painter. Ironically, Delacroix frequently stayed with Madame de Pron's other lover, her cousin Empire Général Charles Yves César Cyr du Coëtlosquet, with whom she stayed in rue Saint-Dominique. Delacroix will take his revenge on this rival in 1826 by painting for him the famous Nature morte aux homards (Louvre museum), taking care to slip in facetious references to the ultra-royalism of his sponsor: "I have completed the General's painting of animals [...] He has already seduced a provision of amateurs and I believe that will be funny at the Salon (1827-1828)” he writes in a letter to Charles Soulier.

A memory of Delacroix's affair with Madame de Pron remains in his ongoing painting, the Scènes du Massacre de Scio, a revelation of the 1824 Salon, which will place Delacroix as the leader of Romanticism and will revolutionise the history of painting. Indeed, through his lover, he obtained Mamluk weapons, of which there remains a study (J72) and which appear on the sides of the Spahi charging the women in the final composition. Also, a watercolor album at the hand of his friend Soulier shows him in the process of decorating the room of his former lover with Pompeian decorations in the château de Beffes, where he will briefly stay in June 1826.

The ardor of his passion for Madame de Pron is finally revealed by this letter which does not appear in any bibliographical essay or correspondence of the painter. Later, Delacroix will remember his lover fondly: “You will tell Madame de Pron that French women have no equal for grace” (letter to Soulier, 6 June 1825).

First edition of the exhibition catalogue presenting 37 works by Claude Monet at the Galerie Durand-Ruel from 9 May to 4 June 1904.

During the exhibition, most of the paintings were immediately purchased by American collectors.

Binding in vellum-effect paper boards, names of the catalogue preface writer and the painter inscribed in ink, water-effect paper endpapers, covers and spine preserved, curious ex-libris drawn by H. P. Gassier glued to a pastedown endpaper, binding signed Gonon.
Preface by Octave Mirbeau.

A rare and pleasant copy.

First edition, one of 150 numbered copies on offset, only print after 20 numbered copies.
Title vignette glued on the first board.

Text in French, English and German.
Illustrated with 14 photographs of the author performing different kinds of suicides.

First edition illustrated with wood engravings in the text by Gavarni, Daumier, D'Aubigny...
Bradel binding in full beige percaline, smooth spine with a black paper label, front cover decorated with an oil painting after the frontispiece, signed lower right "A. Dangleterre d'après document d'époque". Headcaps and joints skillfully restored.
A rare publication on Paris under Louis-Philippe. The work proceeds by subjects and articles: the wet-nurses’ office, flower sellers, baths, streetlamps, pavements, theatre outings, beards and moustaches, the Luxembourg Gardens, the Opera Ball, the auctioneers’ hall, lorettes and courtesans (Alexandre Dumas), restaurants and cheap eateries, the pawnshop, Monographie de la presse parisienne (Balzac), Jockey Club, etc.
"A very important work, remarkable for the fine gathering of writers and artists of the Romantic period who contributed to it." Carteret (Le trésor du bibliophile romantique et moderne).

First edition, one of 25 numbered copies on bouffant vellum paper from the Salzer mills, ours being No. 1, the only deluxe paper issue.
Handsome copy of this work awarded the Grand Prix du Roman of the Académie française. 
 

First edition on ordinary paper, without edition statement, bearing the correct colophon dated 30 November 1918.

The 128 deluxe paper copies would only be issued six months later, during the summer of 1919.

Light spotting to the margins of the endleaves, small l and a faint dampstain to the title page and following leaves, a bluish stain to the margins of pp. 339-340 inherent to the quality of the paper.

Bound in contemporary half forest-green morocco over corners, spine with five raised bands ruled in black, gilt date at foot, cat’s-eye patterned paper boards, comb-marbled endpapers and pastedowns, original wrappers and spine preserved, top edge gilt, binding signed by Huser.

A handsome copy in a well-executed binding.

First bilingual edition, one of 270 copies on Arches Ingres paper, including a photographic portrait of Ratna Mohini by her husband Henri Cartier-Bresson.

Rare and handsome copy.

First edition, one of 50 numbered copies on pur fil.
Spine slightly sunned, a small scratch to the front cover, corner creases at the preserved margins.
Rare copy as issued.

First edition on ordinary paper.

A few small spots of foxing, and a faint dampstain along the right margin affecting most leaves of the volume.

Black 3/4 morocco binding, spine with five raised bands framed in black, gilt date at foot, marbled paper boards framed in gilt, comb-marbled endpapers and pastedowns, covers preserved and bound on stubs, top edge gilt, slipcase trimmed with black morocco, marbled paper slipcase boards, binding signed P. Goy & C. Vilaine.
Very rare signed and inscribed copy to Madame Charpentier, his publisher’s wife: "... son bien dévoué et respectueux..."

First edition and definitive and posthumous edition, arranged in strict chronological order, of a very rare iconographic series whose publication had begun as early as 1806 in somewhat disorderly instalments, but was never completed (only 49 instalments had appeared at the author’s death).

Cf Brunet V, 1453.

Work illustrated with 300 plates: lithographed and watercoloured title-frontispiece and 149 engraved plates, most finely hand-coloured, for the first volume; 150 plates for the second.

Contemporary bindings in half cherry-red morocco-grained shagreen with corners, spines with five raised bands decorated with blind fillets and panels, some minor rubbing to spines and joints, one joint of volume 1 split at foot, double blind fillet border on marbled paper boards, comb-marbled endpapers and pastedowns, bindings of the period. 

Pleasing copy, complete with its 300 plates.

First edition, a Service de Presse (advance) copy.
Some worming to margins of covers.
Precious autograph inscription signed by Marcel Aymé: "A monsieur Valery Larbaud en sincère hommage. Marcel Aymé." ["To Mr. Valery Larbaud with sincere homage. Marcel Aymé."]
 

First edition of which there were no grand papier (deluxe) copies, an advance (service de presse) copy.
Bradel binding, spine slightly faded with a small spot to head, small stains on the covers, covers and spine preserved,
Contemporary binding signed by M.P. Trémois.
Exceptional and handsome autograph inscription signed by André Breton to Man Ray: “à Man Ray, dans la lumière qu'il a recréée, de tout cœur. André Breton” (“To Man Ray, in the light that he recreated, with all my heart. André Breton”)

First edition, on ordinary paper, of the French translation.
A small tear restored at the foot of the spine, a pleasing copy.
Letter-preface by Jean Cocteau, preface by Somerset Maugham.
Illustrated cover with a portrait of the Aga Khan by Kees Van Dongen, with iconography.

Rare and precious signed autograph presentation from the Aga Khan to Madame Avrillier.

 

First edition, no copies on deluxe paper issued.

3/4 brown half morocco binding, spine with color restoration, five raised bands framed in black, gilt date at foot, boards, endpapers and pastedowns in wood-grain style marbled paper, covers and spine preserved, gilt edges, an elegant binding signed Alix.

Manuscript ex-libris in black ink and a discreet restoration to the upper right corner of the first endpaper.

First edition, one of 45 numbered copies on Vélin du Marais, ours one of 15 lettered copies not for sale, the only copies on deluxe paper.

Attractive copy despite a faint shadow along the margin of the upper cover.

Three original childhood photographs of Maurice Béjart, and his birth announcement 
[after 1927] | 12.2 x 17.2 cm| three photographs and a card
Three original photographs of Maurice Béjart as a child beside his mother, taken in Mougins.
We attach the birth announcement, dated 1 January 1927, printed with his name “Maurice Jean Berger.”
Provenance: Maurice Béjart's personal archives.

Personal diary handwritten by Maurice Béjart, written in a 1969 diary celebrating the centenary of the birth of Mahatma Gandhi.
52 handwritten leaves, written in red and blue pen in a spiral-bound notebook. This diary features amongst Béjart's very rare, privately owned manuscripts, the choreographer's archives being shared between his house in Brussels, the Béjart foundation in Lausanne and the Théâtre Royal de la Monnaie.
The choreographer Maurice Béjart's diary written during the year 1969. An extremely rare collection of thoughts, questions and introspections from the point of view of Hinduism and Buddhist wisdom, which Béjart adopts following his first trip to India in 1967.
The diary is an emblematic testimony of the indo-hippie era of the 1960s, spiritual and artistic renaissance that inspired numerous ballets of the choreographer (Messe pour le temps présent, Bhakti, Les Vainqueurs).
A selection from this diary was published by Maurice Béjart in the second volume of his memoirs (La Vie de Qui ? Flammarion, 1996).
During the year 1969, Béjart wrote daily notes in a diary published in memory of Mahatma Gandhi. Fascinated by Hindu mysticism since his trip to India in 1967, he filled in this spiritual journal with numerous mantras and prayers (“Krishna guide my chariot, the light is at the end of the path. OM”; “Buddha is everywhere”; “Let God enter, but how to open the door”) and he calls upon the Hindu deities as well as the Bodhisattvas Mañju?r? et T?r? – soothing figures of the Buddhist pantheon. Béjart's “Indian period” was particularly rich in choreographic masterpieces, the progress of which can be followed in his diary (Baudelaire at the beginning of the year, the first performance of the Vainqueurs in Brussels and the Quatre fils Aymon in Avignon, as well as the filming and screening of his Indian ballet Bhakti). At the crossroads of New Age and the hippie movement, Béjart's “conversion” is symptomatic of an era that refuses progress and has a thirst for spirituality: “Calcutta is not India, but our western face. It is not religion or traditional thinking that is to blame, but capitalism. India, a rich country before colonisation.” The Beatle's visit to the guru Maharishi's ?shram and Ravi Shankar's concert at Woodstock in 1969 marks the beginning of a real western passion for Indian music and culture, which was decisive in Béjart's ballets at the time.
In Béjart's eyes, India presents itself as a place where art and ancestral traditions have not suffered the perversions of positivity. In his creations he seeks to express the spirit of a culture that intimately links the body and the spirit, and in which dance plays a major cosmic and spiritual role. Included in his ballets were Indian dance systems and Vedic songs that were discovered thanks to Alain Daniélou – in 1968 he opened the Messe pour temps présent with a long vînâ solo that lasted fifteen minutes: “Béjart is in his Hindu quarter-hour. And over there, Hindu quarter hours, can last for hours...” commented Jean Vilar, director of the Avignon festival. A wave of Indian fashion also passes through the costumes of the Ballet du XX^e siècle company: large silk trousers, tunics, jewellery and oriental eyes. In the diary, Béjart states that there is “no truth without yoga,” an art discovered from an Indian master that can be found in many of his ballets in the form of dance exercises on the barre. He also decides to make Bhakti “an act of Faith” by filming himself the ballet choreographer, and during the summer he prepares the Vainqueurs, an unusual meeting between Wagner and traditional Indian ragas.
Beyond the prolific artist, we also discover the choreographer's troubled personality in the diary, in the grips of doubt and melancholy: “vague state of physical weightlessness and moral emptiness. Lethargy or laziness. Weakness. Dizziness. Drowsiness. Unconsciousness.” Despite successes, Béjart will try to calm his fragile state by meditation and the teachings of Indian prophets and brahmins, which can be found throughout the pages of this diary (Ramana Maharshi, Swami Ramdas, the Dalai-Lama, Apollonius of Tyana).
His sometimes thwarted romances with his favourite dancer Jorge Donn monopolise him and plunge him into anxiety – on the eve of the Vainqueurs premiere, he writes, “Before dress rehearsal. Chaos. [Jorge] Donn disappeared. Tara absent. Me lost.” Torn between enjoyment and self-control, he tours at a frantic pace with his company Ballet du XXe siècle, first to the Netherlands, then to Milan, Turin and Venice in Italy: “I leave Venice completely enslaved to laziness, to sex and to ease, and yet a strange well-being of the brute who drank and fucked.” However, these happy moments did not go so far as to satisfy Béjart, for whom “Joy has a dead aftertaste” despite the “life of work and discipline” that he establishes during this richly creative year. At the end of his life, Béjart will look back with humour on his Indian escapades and the resolutely sombre tone of his diary: “I can't stop myself laughing at this idiot who cries and who moans, even though he created a great number of ballets [...] When I think that at the end of this diary in 1969 I was firmly considering retirement!”
An extremely rare document retracing the meeting of the East and the West in Maurice Béjart's personal life and choreographic work. This diary embodies an era of counter-culture and cultural syncretism that had long-lasting effects on avant-garde European ballet.

First edition, one of 85 numbered copies on pur fil paper, this one of 10 hors commerce lettered copies, the tirage de tête.
This copy is lettered “f”, specially printed for Raymond Queneau.
Handsome autograph inscription signed and dated by Youki Desnos to Raymond and Janine Queneau : "... La rue Lacretelle - le gras double du petit déjeûner...[…Rue Lacretelle – the double pleasures of breakfast…]", also with an inscription by René Bertelé : "... avec l'hommage bien amical du copiste...[with the copyist's best wishes]."
A very good copy.

Rare first edition.

A pleasing copy.
Contemporary full black cloth, spine gilt-stamped with a floral tool, double gilt fillet at foot of spine, red shagreen lettering-piece, blue paper endpapers and pastedowns, sprinkled edges, slightly frayed corners, contemporary binding.
Very rare signed and inscribed copy by Georges Gilles de la Tourette: "A mon cher confrère et ami le Dr Diamantberger. Gilles de La Tourette."

Dr. Mayer Saül Diamantberger was assistant physician at the Rothschild Hospital in the 1890s and regarded as one of the pioneers of rheumatology in France.  

First edition, one of 55 numbered copies on pure wove paper, the only deluxe paper issue.
Bound in half brown morocco, spines with five raised bands, gilt dates at foot, boards covered with abstract patterned paper, endleaves and doublures of brown paper, original wrappers and backstrips preserved, gilt edges, bindings signed by Thomas Boichot.
A precious copy of this foundational text of modern feminism.

Black cloth binding. A white star made by Mugler in corrector fluid on the first cover.

Fifteen pages of the notebook filled in by the fashion designer:
- The first page, in neon blue felt-tip pen, with the word "Yes" as and large exclamation mark ending with the iconic Mugler star.
- A double page with the word "white" enhanced with corrector fluid and in capital letters on a black felt-tip background, in orange the words "Indehain" (?) and "TRIBE" with a drawing depicting a sun, several notes in black ballpoint pen: "Aelino Rock-Elektro", "DJ", "Syath Choreographie".
- A double page with a wonderful drawing of a naked Black woman with voluminous pink hair, and on the left with a black ballpoint pen the words "Super NOVA MAMA" with star enhanced with purple marker.
- A double page with three lines in green, red, and purple markers: "- La Perle de l'Afrique... / RIEN QUI BOUGE !!! / Le chic des mains de Paris !" [- The Pearl of Africa... / NOTHING THAT MOVES!!! / The chic of the hands of Paris!] The last exclamation point ends with a star.
- Several drawings of stars and perfume bottles sketches in pencil.
- A list of names in pencil, opposite some of them the letter "G" in blue marker, the mention "Kab" in red marker and a spiral in orange marker.
- A double page with a drawing of a perfume bottle and a planet with a phallus on it; above, several lines in blue, purple, orange, green and red markers with the following text: “Alice se perdit dans Brocéliande et se fit courser par le centaure Manfred...et ses dangereux attributs...Pauvre petite fille riche...Ce n'est pas le luxe qui va la sauver. Ombres d'arbres sous la lune "EN TRAVERS" CQFD... Testosterone et innocence...la Belle et la Bête !!! Rugissement furieux de métal...Perforation du Tympan et l'Hymen...L'HISTOIRE DU MONDE !" [Alice got lost in Broceliande [a forest in Brittany] and was chased by the centaur Manfred...and his dangerous attributes...Poor little rich girl...It's not luxury that will save her. Shadows of trees under the moon "IN THE WAY" QED... Testosterone and innocence...Beauty and the Beast!!! Furious roar of metal...Tympanum and Hymen perforation...THE HISTORY OF THE WORLD!]
- A double page in pencil with a sketch of a pole dancer with her head upside down in the left margin; with a text around it: "Strip Tease intello : laide, pas laide... Qui suis je ? Oui !... Je suis belle. Non ! Je suis laide... Regardez moi ! Non ne me regardez pas ! Voyez moi ! Aimez moi ! BAISE MOI !!! VAS T'EN ! Reviens. Folle... Pas folle... Grand Corps Malade ? Fabien" [Strip Tease nerd: ugly, not ugly... Who am I ? Yes !... I am beautiful. No! I am ugly... Look at me ! No don't look at me! Look at me! Love me! FUCK ME!!! GO AWAY! Come back. Crazy... Not crazy... Grand Corps Malade ? Fabien" [French singer Grand Corps Malade, whose real name is Fabien, wrote a song for the designer's music-hall show Mugler Follies]
- A pencil note: "Acte Vente Chelsea AT 92". Thierry Mugler sold his penthouse in New York's Chelsea neighborhood in 2012.
The personal archives of Manfred Thierry Mugler are exceedingly rare.

Clear pictures upon request

One of the very few copies bearing an autograph inscription—fewer than ten are recorded—of this first edition, containing the Marseillaise.
First edition illustrated with an engraved frontispiece by Charles-Étienne Gaucher after Jean-Jacques Le Barbier and four pages of engraved musical score at the end of the volume. La Marseillaise appears here in its true first edition, having first been pre-published in the Almanach des Muses in 1793 and circulated as separate leaves.
Contemporary half-sheepskin binding, smooth spine gilt-decorated with compartments, fleurons and fillets, red morocco title-piece, black pasteboard sides. Several manuscript and pasted ex-libris on the pastedown and endpapers. Spine restored, some foxing. The last two letters of the dedicatee’s name have been trimmed in the binding.
The work is enriched on the half-title with an exceptional autograph presentation by Rouget de L’Isle to a fellow artist of the Revolution: “M de La Chabeaussiè[re] / de la part de l'auteur.”
Rouget de Lisle and Poisson de la Chabeaussière, the recipient of the dedication, both embodied the revolutionary fervour and left their mark on the republican history of France through their writings.
La Marseillaise is presented here alongside other poems and songs. This first edition delivers the celebrated anthem in its original form: six quatrains, as written by Captain Rouget de L’Isle for the Army of the Rhine in April 1792, and proclaimed the national anthem in 1795 by the decree of 26 Messidor Year III.
As lyricists and men of letters, Rouget de L’Isle and La Chabeaussière were zealous servants of the Revolution but also victims of its excesses. At the time of this inscription, in Year V of the Republic, the two men were at the height of their glory: one as the author of the national anthem that thrilled revolutionary France, the other as the writer of the most widely disseminated republican catechism of the Revolution. Indeed, La Chabeaussière composed another major work of revolutionary heritage: a Catéchisme républicain, philosophique et moral, reprinted eighty-two times up to the Third Republic, which earned him a seat on the Commission exécutive de l’instruction publique. Like Rouget de L’Isle, he also achieved success as a lyricist and librettist, notably for the comic operas of Nicolas Delayrac. The history of La Marseillaise from its creation is interwoven with that of La Chabeaussière and of the composer Delayrac, whose heroic drama Sargines ou l’Élève de l’amour presents striking similarities with the anthem.
Neither La Chabeaussière nor Rouget de L’Isle, despite the fame of the Marseillaise, escaped the terrors of the Revolution. Declared “suspects,” they were both imprisoned in 1793, respectively at the prisons of the Madelonettes and of Saint-Germain-en-Laye. After these dark hours, they resumed a more peaceful existence and continued to collaborate actively with the Almanach des Muses, which first published La Marseillaise in volume form.
Upon La Chabeaussière’s death in 1820, the copy embarked on a most romantic history. It still bears the inscription of its second owner, Édouard Gendron: “Ce livre a été acheté en 1821 – à un carrefour près la place de l’école de médecine, parmi un tas de ferraille.”
First publication by its composer of the most celebrated symbol of the French Republic: La Marseillaise. Its precious presentation brings together revolutionary poets whose intertwined destinies left an indelible mark on the history of France.